- Joined
- Dec 16, 2006
- Messages
- 45
- Reaction score
- 17
- Age
- 37
- Gender
- Female
- Country
-
[WARNING] Many images are used in this thread. Since there is an obscene amount of them, they'll be put behind spoiler tags.
As per request, I'm setting this up here n_n I'm not super professional explaining these kinds of things, but I'll try my best.
The original linework that was used in this tutorial can be found here.
Original linework was also beautifully scanned by neophos.
When linework is scanned, a good scanner will pick up everything. From the dust on the scanner, to the way the ink bled into the paper. If you're lucky enough to get a clean scan that's already rotated straight with minimal debris, you'll be good to go.
As you know, Shounen JUMP and graphic novels are printed in the hundreds of thousands. With thousands of copies, you are never going to get perfect linework. Distributors try to use as little ink as possible in their copiers to save and profit. With this in mind, you're going to see a lot of choppy blocking or scratchy linework. Fortunatley for us, we have computers and digital painting programs that we can fix this with :> This Tutorial was entirely done in OpenCanvas 3.03+ but can easily be done the same way in Photoshop or Painter.
[Line Repair]
->
Depending on your scan, there's going to probably be a lot of areas where lines cut off where they're not supposed to, or they become super blotchy. If they're simple cut offs like the ones above that have a path to follow, its easy enough to go in with a small brush and connect the areas. Straight lines are also probably the easiest things to clean and repair. Most programs have a 'line tool' that you can use the consistency of your current paint brush with. (For Oc Users: Use the pen tool with 75% brush size *first bar*)
-Thin Lines
(Above: Repaired Linework -> Original Scan)
Dealing with super thin lines (especially hair), its really important that the radius of your brush is the same size as the original linework. For Oc users, the pen radius you want to use for this particular linework is pen radius .07 . It's okay to leave parts a bit scratchy if its hard to repair by judgment. Repairing linework like this is the same as before; there's already a definite shape for you to follow.
I also removed the tone done above Nami's bottom lip for the purpose of actually coloring it later. If I was just repairing the linework and nothing else, I would have left the tone there. Use your judgment based off what you're planning to do with the linework later.
[Blocking & Blocking Removal - Repair]
This is probably the most difficult section. 'Blocking' is a professional term used by comic artists to describe an area of space that's completely inked black. In sketches, the comic artists might draw X's or a symbol of sorts in the middle of places they want their inkers to block. It's just a lazy form of communication
When you're removing/erasing a large portion of blocking, it's important the outline of the area has the same line (in)consistency of the figure. This all also depends on the mangaka's style. In the above image, I drew in the missing shapes of Sogeking's cape and pants in white so I know how much of the blocking to erase. It's important that your judgment be as precise as possible, because removing this much blocking can change the way the artwork looks! If it starts looking like something the mangaka did not draw, you're not doing a very good job.
After removing a credible amount of blocking, you may have to draw in what's missing. This is where your own artwork expertise comes into play n_n If you're really good at it, you'll be able to imitate the mangaka's style on the button, or gain a shape that doesn't look like a huge alteration.
In this case Sogeking's huge cape was redrawn. Flowing cloth has difficult shapes when it's flowing in the wind, and staying true to Oda's linework, I tried to follow his curves. It isn't the best job, but it worked out for the coloring style I used on it later.
->
It's super important to not always leave that space blank! Consistency is important when you're adding inside of the new blank spots, and also be sure to follow the shapes of the body or environment. Following true to the mangaka's style, Eiichiro Oda never relies heavily on tones. Instead, he uses various forms of vertical lines and crosshatching to define depth. Don't be afraid to try and mimic his style
[Isolation & Imitation]
Many mangaka use a technique to add depth into their environments called 'isolation'. Its basically a white line or aura around a character or object that disconnects it from any of the background. Mangakas that use a lot of blocking or heavy toning you will see using isolation a lot more than others. This is a good thing to leave alone in black and white artwork, but I'm putting this up here for those that like coloring in artwork. Its important that you fill in these isolated places as good as you can, because when you're finished, places that are missing line work in them will stick out like a sore thumb through the coloring.
So you're going to have to imitate line work again to fill in the gaps. If you don't know what goes in there, make something up that looks good with your coloring. If its a shape or a pattern, follow it.
[Coloring & SFX Stylization]
I hate teaching coloring, because that's what makes you different from everyone else. Your coloring style will separate you from another person when you're coloring manga line work. However, I will display some basic ground rules on how you can start a shading process. To follow this tutorial correctly, you'll need to have a basic understanding of how to use layers and coloring under/over the lines in your art program. (That in itself is a whole tutorial!)
-Coloring figures
To start off with on any character, you'll want to do the inner most part of the character first. This is usually(always) their skin. Lay a flat base color of their skin on a new layer. Sanji is a super pale character compared to a tan Zorro or a pink Nami. Skin color is important!
Next, you'll want to pick a darker shade of their skin color. I usually go down the color palate of that particular color, then move the color wheel slightly back up to red to get the right skin contrast that doesn't look dull. PLAN OUT A LIGHT SOURCE BEFORE YOU START COLORING! Usually you'll be able to figure out the light source based on the shadows drawn into the line work, but sometimes you need to make one up. Use something predictable! If they're outside in the sun during the day, figure out where you want the sun to be. In this case, I put the sun directly in front of all of the characters. Shade accordingly to your style, in mine, I used all of one color, gradating it into the curves of the face to spread it out. Keep a swatch of each of your colors on the side so you can grab them at will.
Next, Shade in even darker areas. Find a color the same way as before on the color wheel to fully contrast the darker shading. Really make it vibrant! I usually use this stage to also alter lips, eyebrows, etc with new base colors. Putting a little pink in a man's lips does'nt make them girly, just makes them a little more human n_n
Next, add highlighting. Usually its a brighter version of the base color, or a white. This adds in to make the shapes really come alive and stand out. Don't overdo it! Be subtle in areas that you can help it. Remember to follow your light source!
And finally, finish the hair the same way, the eyes, teeth, accessories, etc the same way. I suck on teaching tutorials about hair, so don't ask 
-SFX Stylization
Don't tell you you're leaving those black and white? Give them color! Here's a basic rundown on how to deal with black blocks :U
on a layer ABOVE the linework, draw in a colored shape of your choice in the SFX lettering.
use a small eraser brush to give it even more shape and stylize it a little. uneasy lines and cool shapes around the perimeter of the color is always a neat thing to do. Don't overdue it though!
lock the layer transparency and run some kind of gradient over it. If not, hand paint it in or draw patterns/pictures in the middle to make it stand out more.
If you're dealing with SFX that run through or over a character, proceed with 1-5 the same, but draw the whole shape in from thats missing.
Next, UNLOCK your layer and set it to around 65% transparency. With a small erasure tool, go in and erase the parts of the shape that shouldn't be overlapping.
ta-da! Vibrant and cool looking SFX <3
-----------------------------------------
That tutorial took about 3 hours to type out, hopefully its useful n_n; To see the full colored version of what I did, go to this thread.
enjoy!
As per request, I'm setting this up here n_n I'm not super professional explaining these kinds of things, but I'll try my best.
The original linework that was used in this tutorial can be found here.
Original linework was also beautifully scanned by neophos.
When linework is scanned, a good scanner will pick up everything. From the dust on the scanner, to the way the ink bled into the paper. If you're lucky enough to get a clean scan that's already rotated straight with minimal debris, you'll be good to go.
As you know, Shounen JUMP and graphic novels are printed in the hundreds of thousands. With thousands of copies, you are never going to get perfect linework. Distributors try to use as little ink as possible in their copiers to save and profit. With this in mind, you're going to see a lot of choppy blocking or scratchy linework. Fortunatley for us, we have computers and digital painting programs that we can fix this with :> This Tutorial was entirely done in OpenCanvas 3.03+ but can easily be done the same way in Photoshop or Painter.
[Line Repair]
Depending on your scan, there's going to probably be a lot of areas where lines cut off where they're not supposed to, or they become super blotchy. If they're simple cut offs like the ones above that have a path to follow, its easy enough to go in with a small brush and connect the areas. Straight lines are also probably the easiest things to clean and repair. Most programs have a 'line tool' that you can use the consistency of your current paint brush with. (For Oc Users: Use the pen tool with 75% brush size *first bar*)
-Thin Lines
Dealing with super thin lines (especially hair), its really important that the radius of your brush is the same size as the original linework. For Oc users, the pen radius you want to use for this particular linework is pen radius .07 . It's okay to leave parts a bit scratchy if its hard to repair by judgment. Repairing linework like this is the same as before; there's already a definite shape for you to follow.
I also removed the tone done above Nami's bottom lip for the purpose of actually coloring it later. If I was just repairing the linework and nothing else, I would have left the tone there. Use your judgment based off what you're planning to do with the linework later.
[Blocking & Blocking Removal - Repair]
This is probably the most difficult section. 'Blocking' is a professional term used by comic artists to describe an area of space that's completely inked black. In sketches, the comic artists might draw X's or a symbol of sorts in the middle of places they want their inkers to block. It's just a lazy form of communication
In this case Sogeking's huge cape was redrawn. Flowing cloth has difficult shapes when it's flowing in the wind, and staying true to Oda's linework, I tried to follow his curves. It isn't the best job, but it worked out for the coloring style I used on it later.
It's super important to not always leave that space blank! Consistency is important when you're adding inside of the new blank spots, and also be sure to follow the shapes of the body or environment. Following true to the mangaka's style, Eiichiro Oda never relies heavily on tones. Instead, he uses various forms of vertical lines and crosshatching to define depth. Don't be afraid to try and mimic his style
[Isolation & Imitation]
So you're going to have to imitate line work again to fill in the gaps. If you don't know what goes in there, make something up that looks good with your coloring. If its a shape or a pattern, follow it.
[Coloring & SFX Stylization]
I hate teaching coloring, because that's what makes you different from everyone else. Your coloring style will separate you from another person when you're coloring manga line work. However, I will display some basic ground rules on how you can start a shading process. To follow this tutorial correctly, you'll need to have a basic understanding of how to use layers and coloring under/over the lines in your art program. (That in itself is a whole tutorial!)
-Coloring figures
-SFX Stylization
Don't tell you you're leaving those black and white? Give them color! Here's a basic rundown on how to deal with black blocks :U
ta-da! Vibrant and cool looking SFX <3
-----------------------------------------
That tutorial took about 3 hours to type out, hopefully its useful n_n; To see the full colored version of what I did, go to this thread.
enjoy!
