Flatting Face Off!
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- Опубліковано 18 жов 2024
- I take two popular graphic novel flatting methods and pit them head to head in an epic flatting battle! See the pros and cons on both methods. Also, wait till the end for a timesaving trick to make your flats layer even more useful!
Intro to Graphic Novel Coloring:
Gumroad: gum.co/graphic...
Skillshare: skl.sh/2tvcrtb
www.reubenlara.com
Follow me on Instagram: reubenlaraart
Tutorials: www.gumroad.co...
This is great! I love CSP, it saves so much time. I usually have two layers for inking, one with the big shapes and outlines and one for the shading/hatching and details, so I just turn the latter off when I do my flats. That way I don't get those pesky white spots, and when I turn the shadow and detail layer back on, the whole page comes together! Has been a lifesaver.
Thank you! Glad it was helpful.
Clip studio has a close and fill tool that is amazing for those small hard to fill areas. Just do a rough lasso around it with the brush and it auto fills those spots. You could actually just lasso the hole character and you'd be surprised how well it fills.
Thanks for bringing this out! See my comment to 'samuel dobbins'. Thanks for watching!
hi, Reuben. As Jin yoon mentions, CSP's Close and Fill tool is pretty great. But it has a Secret Power! The same power also applies to the Bucket Tool as well. It manifests when you use it with line art drawn on a Vector Layer and the options to "Fill up to vector path" and "include vector path" are selected. Make your Close and Fill selection on a raster layer, with the vector layer set as the Reference Layer. Use "Color surrounded by black" as your "Target Area." This will create an aliased join of color right in the center of the lines, even if the line art itself is antialiased.
Since you can't fill big areas with black on a Vector Layer, you can also use this technique to fill in black areas on a separate Raster Layer...
Of course, all this only works if you are doing your own inking, or if your inker works with Clip Studio and has the wisdom to use Vector Layers for his/her work. ;) I use this workflow exclusively for inking because it offers so many other powerful advantages. For work already scanned or inked in another program, your approach is excellent, as it leverages CSP's drawing tools to create the selection and is a lot more fun than Photoshop's Lasso. Anyway, my 2.5 cents worth.
Thanks for pointing that out!
Super informative! Thank you!
Hey Reuben, thank you for this video, wondering if you have any videos tutorials on settings up comic book panels and word bubbles on CSP. Since you're a awesome teacher that will be great a great video to explain. thank you
Cool comparison! Thanks for this breakdown
thanks!
hi there, I see your point about the brush method being better for most professional work, and what you have shown is great. I do have a question about what you think of the tool called "close and fill" it works kind of like a lasso tool but it fills in everything inside of a close area you surround and leaves no transparents.
samuel dobbins whoops, missed your comment when I responded above
Thanks for watching! And great question about the "Close and fill". It is an amazing tool, but I find that it is hit and miss with many types of dark shadow, inky artworks with lots of crosshatching. It obviously can't identify the form of a character where a character in shadow meets a large, pure black cast shadow on a wall, for example. I end up doing lots of cleanup as well as having to close gaps in those types of art styles. But it is absolutely brilliant for artwork that doesn't rely on inked shadows as much (like many manga, anime, and more traditional 2D cel animation). I should do another video highlighting "Close and fill" for that category of artwork. Thanks for mentioning it in this thread!
And just as a follow up to my previous comment, here's the same file with the closest I could get with "close and fill": www.dropbox.com/s/n2quysy3c0fbxg5/Close%20and%20fill%20sample.png?dl=0 . So it would still need a good amount of cleanup to achieve the full character silhouettes that are often requested. But I do see your point that it's not much worse than what i achieved with the regular fill bucket (and did so in much less time), so if the messy fills are good enough for your usage in this type of artwork, then by all means, "close and fill" away! Glad to have this as part of the conversation. Thanks!
I gotta point out one major difference - the opacity. You didn't lower the opacity on the left side, only the right side. That contributed to more time used to going back and filling in the missing spots. You would've seen them had you done so. In my opinion, this time test had a huge flaw.
Wowowow, how do you have you tools organized like that!? I've never seen the ''Quick Access'' toolbar before and it seems like absolutely great! Also, do you have your tools presets available somewhere? Thnaks!!
Fantastic video!
Thank you! Glad it was helpful.
awesome!! but the whole time i was wondering how you erased the colors from the original.Any tip? thank you very much!!
a thousand thank yous good sir!
Thank you! Glad it was helpful.
great video. are you saying: "turn up pen"? very helpful setting details
haha. I'm not sure which part of the video you're referring to, but it's likely "Turnip pen" which is a name of one of the brushes.
hmmz I recently completed your intro to graphic novel coloring lesson on skillshare. Would the right side method used here be better then the flatting lasso fill used in the lesson?
Hey good question! Essentially they are the same in principle. The idea is to manually create non anti-aliased shapes vs. relying on a tool to automatically "find" shapes. On the Skillshare course (around the 11min mark of the "02 Adding Flats" section) I'm using the Lasso Fill tool. Here I'm creating a boundary first with a non anti-aliased brush, then filling with the bucket. For complex work, this is faster for me. But i'm often reaching for the Lasso Fill tool when flatting easy silhouettes. Since the Skillshare course was more of an intro I didn't want to overburden it with technical methods, but in essence both techniques are toward the same principle (with current tech at least): creating shapes manually results in a cleaner flats layer, which is valued when working as a professional flatter. And even when working for myself, I sometimes use auto fill methods when I'm rushing, and that sometimes just gets the job done, but it often comes back to bite me later on...ha! Hope that answers your question?
@@ReubenLara ah, I see :) thanks for the explaination. I've just begun with this artsy/coloring stuff, so its all quite overwhelming. So seeing you use a little bit different method was just a bit confusing. But I understand better now why you would change the methods depending on time and neatness (?).
appreciate the content regardless, cheers
Didn’t the CSP paint bucket method suffer because of the bad quality of the linework? It appeared to me that the linework was suffering from artifacts like a jpg, possibly caused by the method of extracting it from the colour file?
Thanks for the observation. You are right, I am starting with artwork that is not optimal. I am trying to provide some workflows that work under non-optimal situations, which are sometimes out of our control. But certainly the bucket works well with sharper and higher resolution files. Thanks for watching!
I don't understand why it has to be exclusively one way or the other? Why not use the brush and then hide the line layer to see the tiny specks that weren't filled and just brush over them.
It would add like 1 minute tops and you would still finish before the tedious lasso-ing in shapes. Especially if the reference layer is turned on you could brush even faster.
But if you want to maintain the premise of the test, instead of going back and doing hand filling with the brush for the specs you can just go to the FILL subtool "Paint Unfilled Area" and then just quickly go over the places where there might be flecks. This method is even faster and adds about 30 seconds tops.
Goto 26:08 ua-cam.com/video/61LJglSp70o/v-deo.html