llll Tutorial ver.2: 1: Preparation.
Skip to step: [1.] [2.] [3.] [4.] [index.]

1. After I scan in the sketch. I duplicate it and clear the background so that the background layer can be used for later purposes, and I can lower the opacity of the sketch so I can draw the lineart without getting confused. Then I create a new layer to draw the lineart on (using a 3px brush if scanned at 300dpi, or 4px if I decide to enlarge the sketch), and a folder to put the colour-layers in for easy access. This is what my layer organization looks like:


2. After the lineart is done, I go to the background layer and lay down my colour plans, starting from the ambient to the character. I was pretty sure of my colour choices in this CG, so I didn't draft out the character's colours as well on the background layer; although most of the time I would do that first, then fill in the character colours precisely and separately on different layers after I am sure what colours to use. In this case, I filled the back with the colour of the sky, used the gradient tool to add the touch of dusk, and then used a brush to roughly draw out what I want for the rest of the background, just so I can look at the general picture later.

 

 

 

 

 


3. Then I will fill in all the colours in separate layers according to either clothing layer or colour used, so I can take advantage of the preserve transparency option and not have to worry about colouring out of line.I use magic wand to select the area, then go to Select > Modify > Expand to expand the selection for a few pixels to make it override under the lineart, and use a brush to fill in corners that I've missed. I also use Image > Hue and Saturation to adjust the tones I use, especially for lighting that is unfamiliar to me because I suck at picking colours.

 

 


4. Then I will add additional rough special effects on a separate layer on top of all othe layers, just so I can look at the general picture again and see what I'm working with.


5. Last but not least, I lay out the general lights and shadows on these layers with a brush, so that on top of detailed shading and shadowing, there will be a general sense of where the lights are.


6. Here is the final image of the preparation. Now it's ready for fine-tuning!


Skip to step: [1.] [2.] [3.] [4.] [index.]