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DIGITAL MANGA
12
DIGITAL MANGA
INTroDucTIoN To DIGITAL ArT
13
INTroDucTIoN
To DIGITAL ArT
The use of computers in the production of art has
revolutionized the way artists work and has made
it very easy to create professional-quality images.
Fast and powerful computers are already a ixture
in many households, and art-focused peripherals have
become incredibly popular. This, combined with the
improvements in software, has made it easier than
ever before to create fantastic manga artwork.
Mouse
Every computer has a
pointing device, but it is
worth making sure you have
a good one if you intend to
use it for artwork. Ideally,
you should use a laser- or
LED-based mouse. These
are much more precise than
traditional ball-based mice,
and won’t jam or become
slow. Their other advantage is
that they don’t require such
frequent cleaning to operate
reliably. The only drawback
is that they can be a bit
picky about the surface they
operate on.
Graphics Tablet
Although it takes a little
practice, it’s much easier to
draw and color on a computer
if you’re using a graphics
tablet. Many different brands
and types of tablets are
available. When buying a
tablet, consider the software
that is bundled with it, and
whether or not the pen
requires batteries. Although
some popular brands can
be more expensive, their
quality and reliability can
more than justify the cost.
Inkjet Printer
Color printing is now very
cheap and high quality, and
it’s certainly worth buying
a color inkjet to see your
creations on paper. Even
relatively cheap printers are
able to create good quality
prints, and quality can be
improved considerably with
the use of photographic
paper (so long as you set
the appropriate options in
your printer’s software).
It’s worth knowing that
certain colors will look
different when printed than
on a monitor. Many shades
of purple will look different
in print, as well as bright
shades of blue and yellow,
but your pictures will look
great regardless of this
small inaccuracy.
Laser Printer
Although laser printers—
particularly the more
affordable ones—are usually
only black and white, they do
have some advantages over
inkjets. The lines are often
crisper and the printing speed
is signiicantly faster. Most
importantly, the ink from a
laser printer is waterproof
and alcohol resistant. This
means that printed pages
can be handled without
risk of being smudged by
ingers, which is great for
comic pages. It also means
that it is possible to use
markers to color in your
characters, without risk of
the ink smudging. Inkjet inks
would mix with the pens
and run (one way round
this is to use a photocopy).
Computers like the one
shown are capable of many
things—storing your music
library, editing your videos,
and, most signiicantly from
our perspective, editing
images. There has been a
great deal of development
in that ield recently, and we
can use the results—powerful
applications like Photoshop—
to our advantage. You may
already have access to most,
if not all, of the equipment
shown. If not, it can all be
acquired relatively cheaply.
Even Photoshop itself is now
available in a cut-down form
called Photoshop Elements.
For the purposes of this book,
everything can be achieved
with this signiicantly
less expensive program.
Elements will also show you
the color-coded layers we’ve
used to make the creation
of manga characters as easy
as possible, though it won’t
let you change the color
codes. From a professional
perspective, the full version’s
CMYK facilities and masking
tools are invaluable, but at
home you’ll just be able to
draw, color, and have fun
with either.
Internet
The Internet has made it
much easier for artists to
share their work than ever
before. By publishing your
artwork on the net, you can
get immediate feedback
and impressions from other
manga enthusiasts. It’s
also possible to get advice
and support when trying to
improve your skills. Looking
at other people’s work
can be both inspiring and
informative when learning
skills like computer coloring,
and it’s often possible to ask
artists questions about how
speciic illustrations were
made. Be sure to make the
most of this great resource
and allow the whole world to
see your manga creations.
14
DIGITAL MANGA
phoToshop AND phoToshop eLeMeNTs
15
phoToshop AND phoToshop eLeMeNTs
Tool Options bar
While the Toolbox provides
access to many different
functions, the Tool Options
bar allows you to reine the
selected tool. If you’re using
the Brush tool, for example,
you can pick different size
and texture brushes here.
Photoshop has become the standard for digital art among
both home users and industry professionals. Although the
software was originally designed for use in photo manipulation,
the variety of tools it offers makes it the perfect choice for
illustration too. From an illustrator’s perspective, and therefore
that of a manga artist, Photoshop offers lexibility combined
with the ability to handle very high-resolution images.
Photoshop comes in two versions: the classic image editor,
now part of the powerful Adobe Creative Suite; and Photoshop
Elements, a cut-down version for home use. Both are ideal for
our purposes. Let’s see why.
Toolbox
Though they differ slightly,
both versions of Photoshop
have a Toolbox which, by
default, appears on the left
side of the window.
(In Photoshop Elements it
might also be docked to
the side of the window as
a long single column.)
Palettes
Both versions of Photoshop
equip you with a number of
loating windows, known as
“palettes.” Perhaps the most
useful is the Layers palette,
where you can switch on and
off the alternative elements
in the projects supplied in this
book. This is done by clicking in
the box to the left of the layer.
An eye logo indicates that the
layer is visible, or “on.”
Layers
Layers are one of the most
useful features of digital
imaging. Imagine each layer
is a piece of clear acetate
with part of a picture drawn
on it, creating the complete
image only when the
layers are stacked together.
Because each layer can be
manipulated independently,
it is possible to work much
more freely, without the risk
of spoiling your artwork.
You can use layers to
experiment, simply turning
them off if you don’t like
them, a process essential to
building manga characters.
Adobe Photoshop CS2 shown
running on an Apple Macintosh
PowerMac G5. If your computer
has a large monitor, you’ll ind
yourself with more room for
your palettes. You can also zoom
in and out of your image, but
you should always check your
artwork at 100%. That’s because
only at that size are the pixels
in the ile seen 1:1 with the
pixels on your monitor. At other
sizes, false pixels can create a
less pleasing, and less accurate,
simulation of the inal printout.
Selection Areas
When working in Photoshop,
selections are an important
way to control which part
of the picture is affected by
your painting. A selection
is outlined by “marching
ants” and changes can only
be made within it while it
is active. You can deine a
selection using tools—for
example, the Rectangular
Selection tool draws a simple
box, while the Magic Wand
tool selects areas of similar
color, whatever the shape.
When you have inished
with a selection you must
remember to switch it off,
or “deselect,” or you will not
be able to edit outside it.
16
DIGITAL MANGA
phoToshop TooLs
17
phoToshop TooLs
Tip
Holding the Shift key when
using a selection tool will
“add” your selection to the
existing selection. Holding
Alt/⌥ will allow you to
delete from the existing
selection area. look out
for the + and – signs next
to the mouse cursor. They
indicate whether you’ll be
adding or subtracting.
Selection
Accurate selections are vital
for professional-looking
artwork. Luckily, there’s a
tool for every situation.
Paint Tools
The paint tools are used to draw lines and add color to an
image. Different shapes and sizes of brush will affect the
way the lines appear on the image. See page 18 for more
information on brushes.
The Photoshop Toolbox is the centerpiece of your digital
manga world. Without it you couldn’t zoom in and out of
creations, move your characters’ accessories around, or
paint them any color you wish. Here we’ll have a quick
look at the main tools in the Photoshop Elements Toolbox.
(Photoshop itself has very similar tools, and the only ones
we need to use appear in both versions of the program.)
Navigation tools
Marquee tools
In both Rectangular and Elliptical
form, these are the simplest
selection tools, enabling you to
highlight a simple rectangle or
ellipse by clicking and dragging.
Hold Shift as you do so for a
perfect square or circle.
Pencil
A special variation of the Brush
tool, creating pixel-perfect (or
“aliased”) lines. This is very
useful for cel-style coloring (see
page 32), since by default the
computer tends to soften edges.
Eraser
The Eraser deletes color
from the currently selected
layer. The Eraser works in
exactly the same way as the
Paintbrush, but removes the
color instead of adding it.
Navigator Window
This window will enable
you to move around your
document quickly without
using the Toolbox or
keyboard. This is especially
useful if you’re using a
graphics tablet and prefer to
avoid using the keyboard.
Navigation
The ability to move around
a document easily is an
important part of working
digitally. Whether it’s to
focus on a different part of
the body, or to zoom out
and see the big picture, or
simply to check the color of
a different part—being able
to get around the image
quickly will help you to
work more eficiently.
Move
Click and drag to move
the currently active layer
or selection.
Paintbrush
The standard painting tool, useful
for soft edges and smooth lines.
This is a great coloring tool, and
there are many stylistic options
in the Tool Options bar.
Paint Bucket
This tool ills an area with
a selected color or pattern,
and is perfect for laying
block colors on an illustration.
Click on an area and it will be
illed to its edges (the level
of contrast required to deine
an edge is called “Tolerance”).
To make a selection in this
way, without illing, use the
Magic Wand tool.
Lasso tools
These tools allow you to
select any shape you wish.
The Freehand Lasso allows
you to quickly deine a shape
with the mouse, but it can be
dificult to control precisely.
The Polygonal Lasso creates a
selection by drawing a series
of points to deine a shape.
Hand
The Hand tool lets you pan
(or scroll) the image around,
making it possible to see
different sections of the image.
Selection
tools
Dodge, Burn, and Sponge
These brush-like tools adjust the
color in different ways. Dodge
lightens the current color, while
Burn makes the color darker and
richer. These tools can offer easy
ways to shade images, but most
artists prefer to use layers and
other methods of shading. The
Sponge tool, on the other hand,
absorbs the color and turns the
image to gray.
Zoom
Using the Zoom control will let
you enlarge and reduce the
preview of your image. Holding
Ctrl/� and pressing the + and
– keys will allow you to zoom
in and out at any time.
Selection Brush
The Selection Brush allows you
to “draw” the areas of selection
directly onto the page. The
Selection Brush is exclusive
to Photoshop Elements, but
Photoshop offers an alternative
in the form of the Quick Mask
feature, which allows other tools
to be used to “paint” the mask.
Smudge, Blur,
and Sharpen
These tools have no color of their
own. Instead, the Smudge tool
will smudge the colors around in
the direction in which you move
the cursor. Blur and Sharpen will
alter the contrast of neighboring
pixels to soften the deinition, or
increase sharpness.
Eyedropper
The Eyedropper tool selects any
color you click on and makes it
the foreground color (as shown
at the foot of the Toolbox). Set
the mode to “point sample” to
ensure precise color picking. The
Alt/⌥ key has the same effect
when you’re using the Brush tool.
Terminology
occasionally this book will
mention keyboard shortcuts
that can save time. While
the letter is usually the
same, control keys vary
between PCs and Macs, so
Ctrl/� + Alt/⌥ + C means
hold the keys marked ‘Ctrl’
and ‘Alt’ and tap b on a
PC, but on a Mac use the
keys marked � + ⌥ + C.
Paint tools
DoDGE
buRN
SPoNGE
SHARPEN
bluR
SMuDGE
18
DIGITAL MANGA
phoToshop Brushes
19
phoToshop Brushes
Brush Shapes
Hard brush [1]
These brushes give you a solid
shape and smooth outline.
Although the edge is anti-aliased
(softened), it is still sharp enough
to give a convincingly hard line.
Keyboard Shortcuts
Quick Brush Resizing
The [ and ] (square bracket) keys allow you to quickly resize
your brush (holding down the Shift key at the same time
also alters the hardness). by making the most of this you can
quickly adjust the level of detail you’re working with. This is
especially useful when using soft brushes to color your images.
When you start drawing your own manga, or editing some
of the creations on the CD accompanying this book, the Brush
and Pencil tools will be your main allies. They represent the
most basic method of adding lines and colors to an image. By
changing the brush shape and other settings, you can set the
Brush tool to be opaque like a paint, translucent like a marker
pen, or even remove color like an eraser. The nib can be blunt
like a piece of chalk, sharp like a pencil, or even vary in width
like a paintbrush or nib pen. Learning how to easily change and
control these settings will give you much more freedom when
working in Photoshop or Photoshop Elements.
Soft round [2]
These brushes have a gradient
of density, and their opacity is
reduced toward the edge of the
basic shape. They are perfect for
soft, airbrush-style coloring.
Quick Color Changes
When working with the brush or Pencil tools, you’ll often want to
change color quickly. by holding the Alt/⌥ key and clicking over
a pixel the color of your choice, you pick up that color from the
canvas. (You might even want to keep a “palette” area of dabs of
color on your image, until you’re inished.) Also worth noting is the
X button, which will quickly alternate between your foreground
color and background color.
Brush Spacing
A simple setting in the
Brushes palette, this can
make a big difference in the
quality of your lines, as well
as the performance of your
computer. By reducing the
brush spacing, the dots will
be drawn closer together,
resulting in a smoother line
(in most instances), and
translucent areas of the
Natural brushes [3 + 4]
A selection of irregularly shaped
brushes are available with the
intention of emulating “natural
media” such as paints, pastels,
and charcoal. This style is covered
later in the book (see page 44).
brush will appear darker.
However, as more dots will
be drawn it also means that
your computer will have
to work harder. Also, when
using a graphics tablet it is
often crucial to increase the
spacing in order to avoid the
line breaking when the pen is
moved very quickly.
Painting with Opacity Controls
The number keys along the top of the keyboard act as handy
shortcuts for adjusting the opacity of your brush. Press 1 for 10%
opacity, 2 for 20% opacity, etc. If you press 2 and 5 quickly, you will
get 25% opacity. This is useful if you want to introduce subtlety to
your coloring, but don’t want to change color. Combined with the X
button it can allow for very fast monochrome illustrating.
Brush
Choose the type of brush you
want to use from this menu.
Pressing < and > will cycle
through the range of brushes.
Size
This adjusts the size of the
currently chosen brush. You
can use the [ and ] keys to
perform the same function.
Opacity
Changes how transparent the ink
or paint will be. 0% would make
the paint completely invisible,
50% is half-transparent, and
100% is completely solid.
Airbrush
This changes the brush to
Airbrush mode, which gives you a
gradual low of paint (depending
on the Flow setting). Although
this is useful, many people just
use a soft brush instead.
Graphic Tablet
Pressure Settings
One of the biggest
advantages of using a
graphics tablet over using a
mouse is the fact that the
pen is pressure-sensitive.
This allows you to change
the way a Photoshop tool
behaves, depending upon
how irmly you press the
tip of the pen against
the tablet.
Usually you’ll want to set the
pressure control to Size when
drawing inks and block colors,
and to Opacity when shading
or adding color.
Pressure = Opacity
Some more expensive tablets
(such as the Wacom Intuos
series) also allow for pen tilt
recognition, which allows
for additional settings to
be adjusted relative to how
close the pen is to being
held vertical. This is a handy
feature, but not as useful as
the pressure control.
Pressure = Size
Pressure = Size +
transparency.
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