Digital Painting Tutorial – WOW – Manga Studio 5 – Narrated



hey what's up everybody rob Marzullo here ram studio Comics welcome back in today's video I'm painting orgrim from World of Warcraft and I think his name's orgrim doomhammer if I'm not mistaken but I you know I can't say that I know the characters a lot I've never actually played the game but I was very inspired by the the movie art the 3d conceptualization and movie shots stuff like that gets me kind of geeked and so I'm more of a movie fan than a gamer I love games but I actually limit myself because I get highly addicted to them and from what I've read about this game I would get highly addicted so yeah and I'd get no drawing done and you won't see anything on here on my channel so but yeah but I love the art I love the creativity that's expressed within them so that's what compelled me to do this one and it's popular which is nice because you know more people recognize what I'm doing and I think the best thing about recognizable characters is you can tell whether or not somebody does a good job with it if I just sit around drawing my own character then you know you don't really know if I'm doing as good of a job just because you know it's my character and I know what it looks like and maybe you don't so alright so anyways this is on the process of the digital painting inside of manga studio 5 I'm using a Wacom Intuos 5 to do this particular painting reason why I want to make note of that is I generally draw with a Cintiq but I've had a lot of comments where people are either concerned that they can't draw without a Cintiq or that maybe I'm only a good hardest because I use a Sindhi or whatever you know I'm not going to get into that whole debate but what I want to express here is I'm actually just testing myself I don't necessarily don't have to draw with the in tools so I'm doing this for you as a viewer and then also to test myself and strengthen my own abilities so if you notice my work generally just had by doing it in this method I'm sketching more I'm having to kind of scribble a bit more but it's not to say that I can't keep refining this and get some really good line work I've done it now it's not necessarily as needed for paintwork because you're going to get in here and and paint all these effects so whether or not you want tight line work that's going to be up to you as an artist and what you're capable of and what your strong suits are I consider myself a better line artist than a painter at this point so I give myself more lines to guide my paint work over time I'm sure it'll change or at least shift a little bit more where I can just block in big shapes I'll actually like watching paintings like that where people throw in those large chunks of color and work down into their finer forms I can't do that yet so see if you notice they're like me selecting and moving facial features around that's something that I have to do in my work to kind of place things so that I feel more confident when I go in with the the paint work so you know so I just keep soft erasing as you see there I'm still working on one layer obviously and just using the darker pencil setting and I just soft erase and then draw back and if I kept doing that I could refine this to even the type of line work that I would consider using for comic book illustration but it would just take me longer so the only difference the only reason why I really segwayed into using a Cintiq is because I wanted to be faster and I produce a lot of line work and cross hatching for my black stone comic so for me it made more sense but I had to also work up to that financially because the other big beef that I always hear about is well they're just so expensive and I'm a young artist how do I you know forward one of those and all I can say is if you're working traditionally one of the strongest there's lots of pros to working digitally or I'm sorry traditionally and one of the biggest ones is you have originals now maybe you're not to the level where you want to try to sell your work or that your work will sell but I'm pretty sure that you know if you keep practicing eventually as an artist your work will sell at some level so you just have to justify the cost with working up to it I guess so you know it's not like I just woke up one day and said I'm going to be an artist and I ran out bought a Cintiq the very next day I definitely will worked up to that actually drew with it in two O's for about five years so alright so that's that's that part of the conversation here or whatever so now what I'm doing here is I'm actually drawing with the G pen and I'm inking a line around the perimeter of the design just to create a selection you don't have to create a selection this way that's just the way I do it I feel that it gives me a nice clean result and I do away with the the line when I'm done but what I'm doing is giving myself that selection I use the magic wand then with that quick task bar that pops up I use the shrink selection command and I shrink it to pixels behind the line work then I invert it I delete the line work on the outside of it and then I fill another layer on the inside of it I merge that together so now I've got my sketch line and my merged flat color tone all together and I start painting away so that's how I set up the work to kind of give myself you know a boundary of my artwork so I can all I know I don't have to worry about painting over the edge of the artwork makes my background easier whatever the only thing I have to remember to do when I'm done is blur the edge or whatever all right so I jump in and I start with the soft brush I I quickly go to smooth watercolor like I look at it like this at this point that I use the soft brush to get in big shadows and kind of hurry up and punch up some mom light source and form and then I use a smooth watercolor to block in some bigger shapes of shadows and anything where I want a little bit more of a painterly or a hard edge I kind of go to that smooth watercolor brush it's really amazing brush inside of manga and I absolutely love it it's like you you apply paint by pushing down you smooth paint by softly blending away on the same process so to me that saves a lot of time and it feels just very natural even though I haven't really painted naturally but I would imagine that's what natural painting feels like so and when I say that I mean I have airbrushed a lot over the years but not not like you know acrylics or watercolors or whatever so yeah so now it's just a process of me going through and mixing up those effects now one of the things that I do a lot with with the soft airbrush is I set it to like shadow you see there it's shadow and if you look at the lower bottom left that says combine mode to normal you'll see that I play around with those especially the more I progress through the painting I start to you know using like overlay for the combine mode and keep in mind combined mode is like blending mode in a Photoshop and you can control it with the brush and with the layer just like you can in Photoshop one of the neat things about this program is if you're like me and you're you know Photoshop guy you know abused Photoshop for like eighteen years or something then you're going to be really at home segue into this program because there's a lot of the identical shortcut commands there's a lot of similar ways that it works yeah it's just it's kind of freaky it's it's really close and then there's just some real strong suits that each one has over the other mingi studio I feel has a lot more of a artwork production feel to it so you can kind of produce your artwork a lot better when it comes to digital paintings and comic book illustration definitely the inking is is one of the strongest suits of it and in the perspective tools but that's that's another whole other series of videos or whatever this house stand point with this so if you notice I'm just grabbing a tone of black hand and at first excuse me at first I'm kind of I struggled a bit with this one actually and and I almost I don't say almost gave up but I definitely kind of rethought the process a few times you know as I'm doing it some of these paintings just come out a lot easier for some reason I think it's because I'm still a bit new to digital painting in a sense but um but yeah I kind of combated this a bit and I don't know why that is I can't really explain that to you it just happens sometimes you feel like you can draw and paint anything and other times you just feel like maybe I should just set an Apple in the corner of the room and just paint that because that's all I'm going to be good at today is an apple and then afterwards I can I can eat the Apple which is nice but you know so I just had to fight through this and one of the things that I did learn by this particular process is overlaying lots of colors in and I'm always hesitant about doing that I don't know why that is but I'm always scared to like throw a bunch of colors around in my painting in this one I didn't at first you see I start very kind of almost monochromatic in basic but then I start throwing in lots of colors mainly because the reference material a 3d shot from the movie had lots of good colors in it but it's real easy to simplify that and just go with you know just some basic versions and some muted versions of that color are those colors but if you start painting more you'll realize that you know the stuff around you and the things your subject matter the things you're painting have lots of subtle colors and color shifts one thing that kind of opens you up to that is take a take a face a portrait and just hold the color picker you can in both this one and Photoshop you hold alt and start selecting around and you'll notice that just in the face there's all these different colors and so that's why when you paint something and maybe your faces come out you know boring or just not realistic or whatever it's just because you're probably not adding enough colors and small texture and details so I try to make sure to add a lot of that in this and I'm not sure that it gets all the way there but you know it's a little bit closer than some of my other renditions so one of my main goals as an artist is just to make sure that maybe not every painting but to make sure that every few paintings I progress and if you can just do that then you're winning you know you're winning the game don't feel like you you know have to make your very next painting be this amazing miraculous thing that's a good way to kind of set yourself up for failure I think that it's better to just enjoy the journey and and watch the slow process and sometimes it's not slow sometimes you're going to just nail it and other times you're not so it's just good to just enjoy what you're doing and then not you know hold yourself over a fire on any of this stuff or burning coals or what of that expression this anyways um so yeah so and once I get more colors down on my painting I can start holding the alt button which is the color selector and you see you'll see it pop up every now and then and then just keep you know basically using my existing painting as a color palette but I still don't have enough colors down by any means and if you notice I'm still painting on one layer for the character as I progress and I start to feel like I need to tweak things a bit more I start to add layers I know not every artist does that it's just something that I I still currently do but you know though I think the more you progress you'll start to paint more and more with confidence on one layer so yeah just trying to find the form now like I remember even this part of the ear I struggled with and it wasn't just the shape of it it was kind of everything they had some really great texture and detail in this part and you know ears are kind of this funny thing where they have this weird shape already wall is definitely does has got a point to it but their ears themselves are pretty weird and they're real easy to get wrong so I kind of battled that here and you'll see that I can't keep just you know hodgepodge and around with it but one of the things to remember about digital painting is that you know just keep adding and adding and you can just keep painting back and forth and sometimes that addition of work overlapping comes out looking really cool so it's okay to just keep painting over the same area you see I'm trying to change the shape and and figure that out as well but just kind of thrown some stippling I throw in some different tones I come back and paint light over dark again so when in doubt I guess just keep painting you know and I don't know it'll always figure it out that way I guess but it's a it definitely seems to work sometimes and I don't know if it does with this here it still looks kind of goofy to me but and you notice I keep panning back you know I'm panning back to check my work I flipped it early on I should have been flipping the canvas more so keep that in mind if you're trying to find flaws in your work definitely flip that canvas back and forth yeah I kind of lost track of that as I as I kept painting I guess I just thought it was potentially fine I'm gonna be scared if I flip it now and you know his nose is all funky or whatever because that happens it's really weird and he flipped the canvas all sudden you see something just you didn't see not exactly sure why that is some mental thing there but and if you know be sure to drop it in the comment section below I think it's just recognition for some reason you get you stare at something for long enough and you get used to it even the flaws but then you flip it and all sudden everything sticks out like a sore thumb so here's another thing that I do is I go to the highlight brush and if you notice it's the soft airbrush or airbrush and what's called soft airbrush but it's set to highlight and down at the blending mode it's set to at glow and it is a really great feature because you can take any color so say I'm doing the skin or those teeth or whatever I can hold alt sample that same color but when I paint back with that it's going to give me a highlight version at the same color so I use that to really quickly punch up highlights and then if I want a bit of a color dodge like a colored version of whatever color I'm trying to add I select that color I paint it in and I get a nice highlight version of that color and as a light source so I use that one a lot it's kind of just a quick way to punch up a form it reminds me a lot of the Dodge tool in Photoshop but I think just a hair a bit better because the coloring which I think you can do the same thing with color Dodge blending mode and Photoshop but it's just neat that it's already incorporated into a brush like that so I start noticing right about here at the face is just really boring you know just it doesn't have any life to it so you know when it whatever doesn't have any life to it I say you know paint more detail and add more color so tiny little specks scratch lines especially this guy's a warrior so lots of little scratch lines little shifts of color sometimes not so little or more you know more dramatic and when in doubt I just apply some paint and I blend it down now here I'm using the blend brush which also works really well in this program and then there you see I'm using the Dodge kind of effect with the highlight brush and I vary levels of the opacity on everything just to kind of get a feel for it and one thing I want to make mention of real quick if you don't feel that you're getting accurate settings to what you're doing with what you see me doing here if you're trying to follow along or whatever keep in mind that your tablet settings and your hand pressure are two factors that I can't really do for you explain you have to just get in there and play around so I use a Wacom tablet even if it's mind tools I can get in there and change the pressure sensitivity of it and I'm also kind of a heavy-handed person but the more I paint the more I notice that I can kind of tone down the pressure sensitivity I guess I guess it's subjective to the way you're looking at it but so keep that in mind that it's it's just going to be based on how heavy-handed you are what your settings are what you used to so you got to just play with that stuff you know so if you see that my settings on the brush density right there is down to 19 but you get a totally different effect just means our settings are different somewhere in the driver the tablet settings themselves all right sorry I just have to make sure to express that because I think so many people immediately go oh I'm not getting what he's getting he's just you know better at it or whatever you know practice is a lot of this stuff but then you know getting just the right settings down and the use of whatever you're using is a big part as well yeah so the other thing that I that I start to use a lot as I progress through the painting is I actually use just a pencil tool and even like the G pen and what I'll do is I'll just turn those down like put the pencil tool off to wait and see when I pop back to it I'll use it set to like a lower opacity and I'll draw in details so the thing is with the smooth watercolor brush you have to kind of press down get a little bit of paint and then blend it out so sometimes for certain things that doesn't work as well for detail work so I just grabbed the pencil tool of the G pen turn the opacity way down and a detail and same thing with the airbrush if I want a small you know you see I'm actually filling in details right now with just the airbrush but I've got it turned really small where it almost looks like a hard brush so the size of the brushes are very much a part of the creation process as well I would say that you could do this entire painting with just a soft brush but you'd have to do a lot of sizing up and sizing down and you'd have to work a little bit harder than necessary to get some of your hard edge effects you know when you can simply grab something that's going to give you a hard edge effect and work with that and then just blend it down as need be so it's just a process of figuring that out you know when do you want a hard shadow when do you want a soft shadow when do you want a hearted shadow that blends off like if you notice that highlight over the his right or his left eyebrow are right it starts off as a hard edge to the left and it blends off into the brow softly you know and that's because I use that smooth watercolor to do that and I blended it off so it's just taking note of things like that and as you build up the painting and you incorporate more of that you start to get a better I don't know about realism somewhat of a realism but just a variety of tones and effect in your work that really help your painting kind of stand out and I think that's the trickiest part really I mean it passed that for me it's uh its color just making colors work together knowing when to incorporate certain colors excuse me now the other thing I do as I start to get a little bit more depth into the face you can see I'm spending most of my time in the face of the character reason being is we we identify the most with the face of our characters so that's where you should put you know majority of your work now here this is a different effect I'll add a layer I actually created a selection off the original layer I do that by right-clicking and tanta to select add selection but then here I added a flood fill of a solid and then i softly erased parts to show the highlight on the back of the head and I blended edges of it to make it look like more of a birthmark or whatever because that was obviously on the character so just keep in mind that when it's something like that I could have tried to paint that in but it probably would have ruined some of the lying paintwork that I had already built into the a texture and the head of the character the veins or whatever so you have to start analyzing parts your painting go odd make more sense add a layer and then I can I cannot effect just that layer and then merge it down if need be and I do that more and more as I progress so I kind of get this foundational structure you know all the little dots all little texture lines down and then if it gets to an area that I'm trying to apply another effect or another series of shadows or even color over top of that area but I'm afraid that by blending I might wash away some of my detail that's when I add a layer so I just want you to be aware of that because again some people can paint where they paint everything on one layer and that's just fine for them I'm not really there yet but I think that there's a certain amount of detail that you can keep working in by adding layers so like all these little stipple x' you know I'm still adding that into the the character on the main layer but if I go to blend those areas I might lose all that and have to paint it back in so yeah and then the other thing I keep looking at it I might man it needs more liveliness color something you know and you see I take a little bit of yellow sure if I had that set to glow or not but I start using the soft brush set to overlay even soft light a little bit hard light but mainly overlay or just normal mode even but with a lower opacity and I'll start to paint in more color into the face the body things like that so you'll see that later on the painting now here I was painting the skull around his neck which I still wish I would have did better but you know there's always gonna be parts you're painting you locate like dad leash I would hit that differently but it's just way goes so but I end up drawing a selection around it in hindsight I kind of wish I wouldn't have did it this way but this allows me to paint it separately I just copy and paste nice thing about mingus to do too is you copy and paste it stays right in the same place thanks guys good call where we develop Photoshop and you copy and paste something and it flips over to the other side I don't know why it does that but it does you got to go copy and you gotta go up in the link edit paste in place whatever but here you copy and paste something it stays right in the same place which is nice so you can paint behind it and on top of it as its own layer the other way to do it without having to turn everything into a blue line like I did and draw another layer over top is just actually just paint it on its own layer as a solid and then start painting I don't know why I did that differently here I don't know why I do some of the things I do I just do them and then explain it later I don't know but I just did it differently so yeah so you know just like you know painting in some texture I struggled with this too for some reason which is weird because I painted some pretty cool bone skull type stuff before and had no problem but yeah I don't know someday some days and sometimes you just struggle with certain aspects I don't I can't even explain why that is so here I'm trying to get some little like grit and grime stuff that was on the skull there and yeah just didn't come out as well as I was hoping but I'm using the pencil brush and then going back with the blend and softening up parts of it one of the reasons I like to utilize different brushes throughout the painting I even though you could probably do this all with one brush is because it yields a different result and therefore those varying degrees of texture you know make your painting kind of stand out better you know it's not all one texture one effect one of the things that realize the more of the stuff that I paint is that I do a lot of things by contrast visual contrast so like as I paint something in it makes something else stick out to me you know I don't know also explain that I just call it visual contrast I don't know that's a technical term or what but so like I'll paint something and then all sudden the background needs something and then I'll paint something the background the shoulder what the spike will need something and that's why I bounced around a lot because I'm actually painting to kind of expose other areas of my painting that need work so in something like this where I have a reference piece that I'm studying it's not as much of a factor I guess because I have that reference piece to study and kind of gain insight from and it's you know what what do I need to add next but I still feel it occurring when I'm painting on stuff like this and I definitely feel it occurring when I paint just out of my you know my mind's eye and create my own thing without any reference and you know just so you know like when you study stuff like this it's it's a really great thing it helps your your own paintings where you're not going to maybe be looking at anything even though I think you should pull from reference regardless you know one of the things that I tend to do more now is even if I'm painting say I don't know my character jumping off a building you know doing whatever I'll still look at other things for the way that light reacts off a building or the way that you know the glares react off a character where the light source is behind them so even though I'm not you know trying to recreate something I'm still pulling from reference in other aspects the way that the composition might be or the way that the you know again the lighting the color all that stuff so I do recommend studying from reference regardless so there I'm just you know dropping into more than a little stipple effect you know and that's the airbrush with either droplet or spray or blurred spray I just kind of mix those up just to give it a little bit more grit and it seems to work pretty well I don't know that there's even a right or wrong way to do that I know skin you can you know definitely overdo it but anything else that you just need a little little more texture to I definitely recommend just painting some of that stuff in you know it just saves you time you can sit there and do it all by hand but it just gets you a little bit quicker through the process now that little part right there if you call it that but when I'm trying to do straight lines even with the paintbrush what are we using you can simply click hold shift and it will draw that out and even shows you interactively the line so that's what you were seeing if you if you notice that and I recommend doing that whenever you have to get a quick straightedge in your work it's it's really fast just click hold shift click again and I like that it works with every brush you can even be using a soft brush while you're painting and it works just fine so I'm going back to that smooth watercolor that's like one of my favorite brushes in this program now it's just really well done sometimes I'll forget that I'm on that brush and I'll think I'm on the blending brush and I'll just be blending away you know kind of refining my painting all of a sudden I'm like oh if I push down to our to get some paint because I'm actually still on that data smooth watercolor so yeah kudos to you guys for developing that at a being a studio land because that's that's a really good brush so here I grab the soft brush set to overlay sometimes I'll even set overlay with black I kind of like the of the effect that it gives to the shadow I don't know if it's any different than normal it just seems like it is and I start shading up from the bottom of the character one of the things to make your characters look more imposing in large scale is to give them a darker shadow at the bottom so I find myself doing that occasionally and then I go to the chest hair which I kind of struggled with like i don't really paint chest hair that often kind of crazy but this guy's got a lot of chest hair so i start painting it in and i'm like man it just looks weird it looks like it's just drawn in with a pencil or something and probably because I'm using the pencil but I end up just putting a Gaussian blur on it because I don't want to sit there and blend all those little hairs so I just did a quick blur it worked out pretty well so yeah it's it's good to remember those effects – you have Gaussian blur you've got color correction or color balance hue saturation sliders all that fun stuff you know the one drawback – minguk's to do in comparison to photoshop is it doesn't have as much of the color correction and filters as photoshop that's probably the only thing and in past that it's pretty much extremely comparable so and here's the other method I was talking about where you just go straight to paint you know if it's a basic shape or if you've got a good enough line rendition down or whatever you can really just paint your large shapes in you know like I'm doing with the necklace I actually did the bones on the necklace and the necklace itself on separate layers and that makes for a really quick way of painting because you can just lock transparency on those and start painting in that confinements of that area so certain things especially like overlapping things like a necklace like a belt like you know whatever anything you feel yourself struggling with when it comes to hitting the edge of the other parts of your painting just paint another layer it saves you a lot of time and energy it makes it really easy for like I'm getting ready to drop in the well first I paint in a lot of the texture of the bones and stuff like that but then when I go to add the drop shadow from the bones to the the characters skin it's just really easy to do that because I simply paint behind the layer and if I wanted a little bit more area of edit I guess I could just paint another layer in between the two so you know you'll notice I start to get a little layer crazy but I think for a character like this made a lot of sense because he's got all these little elements to them you know and the more elements the more things that you're you know going to run into edges that you have to blend and worry about so that's where layers come in really handy so yeah just using the highlight brush that was actually set to normal and then I go to setting it to add glow and then I notice that I painted away a little bit too much of my texture so I start painting that back in again with just some little dots and some sniffles and you know once I get to this level the painting I actually start selecting a lot from just what's in the painting I mean grab the occasional color off to the side but for the most part I start selecting more and more from the existing painting and the other thing that I think that really helped this painting do a little bit better than some of the other things that I painted is like I said before I just started incorporating more color so before I might have I don't know maybe used a maximum of three colors for the skin tone in here I end up going a lot further I end up painting like blue in the facial features yellow kind of a reddish orange so I really try to expand what I was doing before as far as adding more color into the skin tone and even just a more variety of textures like even in the beard where before I probably would have just added more texture of the beard actually but I used three different brushes I have one that's a hair brush that I created and then there I'm using the actually that's the hair brush right there that I'm using now and I ended up using that end up using the pencil I think even a smooth watercolor I end up setting one layer to overlay and painting in a little bit more red so I did a lot more kind of working up in this painting that I did I do it a lot of my my previous digital paintings so I've actually done that with my past two paintings and I really like the effect so I'm going to start doing that so essentially I'm just doing more of a layering process and letting the letting the textures kind of do the work for me so I recommend doing that and in like even right there I'm using the darker pencil which kind of makes a little bit too many stroke lines just go back and soft blend them out you know you can use the Gaussian blur but I end up just taking the blending brush and softening up some of that edge work so here I'm just playing around with the lip texture which I still feel like I didn't nail it I was I was kind of struggling with that part so I start painting in some color adding some more little details some little highlights and again just painting my way through it it's almost like what I mentioned about the ear certain parts I just struggle with and I just keep painting back and forth till I get it I may go and work on a different part of the painting and come back to it sometimes I don't get it at all and I just got a look back at the painting and kind of be upset with myself but you know hopefully you grow past it one day and you can always go back to digital work and do a paint over which is nice I've actually contemplated that on a few of my pieces now so I'll learn like how to get the wrinkles in the eyes just right and then I'll remember a piece where I struggled with that I want to go back and repaint it you know and then some of them you look back and your eyes God the whole thing was just horrible the foundation of it and I don't want to paint it over I want to delete it you know so just I don't know it's just it's just a process I guess you know the main thing is just to constantly create new pieces you know everybody asks on my channel here and different things you know how to get better and it just keep creating that's all I can tell you you're just going to figure things out some things I could explain to you right now maybe you're watching this video and you're getting some ideas but they really won't sink in until you apply them so you just got to take we learn here and figure out if it fits into your style of work some of this stuff will make perfect sense and you'll just jump to it and go to town other stuff it's not going to fit you're going to have to try something different so it just really depends on what style of painting you do and what type of illustrator you are or Allah we're all extremely different in that way so like one of the things that I think I think opens up the door to your your paintings and stuff is like when you see a particular artist and you're a fan of their work and you go man I really like the way they do the hair texture or their rock textures are really cool or whatever you know you just pick something out about the way they do something and it resonates with you and you're really impressed by it I think a little bit of that is a mental calling I think that the reason that you're so attracted to it is that that possibly might be the next thing you need to learn I think it goes past just going on I could paint really good or you know I go can do perfection really nicely I think that you're basically you're your eye your artistic eye is telling you that you need to study that you know that might be the next thing you need to learn even in your work I don't know that that's true I'm just saying that I seem to feel that way the more that I create this stuff and I feel that you can learn something from every artist and just studying their work you know is so so essential to grow into that next level you know sometimes you look at something you go you know I want to do what they're doing which I would I would say kind of stay away from that thought process a little bit don't look at art and this is just my narrow opinion or idea this but don't look at art as a competition you're not in competition with other artists as much as you're in competition with yourself you know it's it's you trying to grow your own perspective and ability you can learn from other artists which is great don't you know don't constantly compare yourself and think that you're not as good as so-and-so because they do this really well you know you just don't know what it took them to get to that level so it's just better to enjoy the journey and just keep working at it I'm sorry I know I repeat that but I really I really mean it and I just I'll get people on the channel say oh your artworks so good and I don't know if I could ever be that good at say of course you could you know you just don't know that I've dedicated lots and lots of time to this so you dedicate lots and lots of time and guess what you'll be good too there's like some mathematical equation to what they consider being an expert at something I can't remember what it is it's something like five thousand hours but don't quote me on that and they say that if you log five thousand hours into something you'll be a pro or I don't know the exact number you have to google it I guess but but it kind of opened your eyes to you know how much practice you really need it something before you can consider yourself even good or or that you should expect to be good at it you know I think so many people think that they're going to do five or six paintings and they're going to be a great artist and like you're just getting started you know so I mean I don't even know where I'm at I'm at probably five or six hundred by now or who knows I mean I didn't keep track I wish I would have I guess but yeah so just keep your uh your nose to the grindstone and not enjoy what you do if you enjoy what you paint then it's all great anyways right you're you're loving what you do so there's not a wasted day in your life so if anything focus more on that focus more on what you really enjoy and trying to do more of that there's going to be times obviously when you have to paint what a client needs and pay the bills if you're going to be a working professional so so you gotta weigh that as well say alright anyways enough for my spiel there but uh yeah so just really repeating the process I guess that's why I feel it's okay to get into some other topics there because it's it's kind of just a repeating of all the same things so the brushes work really well in this program you can you see I even got a few like little dust shader brushes I don't use them a lot I got those from online I want to say they were from the friend inset so you could probably google that but I don't use them a lot for this type of stuff I got those more for just like pencil drawings I'm going to actually create some brushes where I'll make them available and all that good stuff but I'm going to do like some different texture brushes I showed you that hair brush obviously I make that with every set every software that I use and yeah I'll just do a variety of texture brushes and I'll let you know when those are available if you want to get a copy of them so here I start filling in a background that's another direct to paint effect and then a lock transparency on its own layer and just start brushing in some quick textures I kind of already knew that I was going to blur that out so I didn't go too far with the detail plus I don't want it to be distracting away from the character and again this is where I think about visual contrast you know I probably should have kept the blue in the background because it contrasted the character better but I wanted this dark ominous feel you know kind of edgy gamey look so I gamer look I should say so I basically you know went with the reddish sky and you know that whole thing which I don't know in hindsight if I should have kept with the blue but whatever um so I put all that back there and you know I'm kind of making sure I don't add too much detail too especially to the rocks even the sky because I want the focus to be on his face and I want you to pan out from there so you know if you notice I even kind of pointed the rocks off to the right to kind of point towards his face just again thinking of composition and trying to direct the viewer just a little bit so I'm not sure if I nailed that because my my composition skills are still a little weak but but you'll notice here I even blur the background a bit you know using Gaussian blur that's what I'm doing right there and that's the other thing is to create contrast just with things like what's in focus what's not I could have D saturated the background colors which in turn would have made him stand out or vice versa so it's always you know creating contrast by the way that you create the piece so at any rate that's pretty much bringing it to a close so hopefully this has been beneficial for you which is adding some final touch-ups blending the edges at intima edge highlights and things like that to bring him into the background more so I appreciate you tuning in today and I hope you've enjoyed this video if you don't mind like share and subscribe all that fun stuff and let me know what you'd like to see in the future as always keep drawing keep em fun and I will talk to you soon you

48 Replies to “Digital Painting Tutorial – WOW – Manga Studio 5 – Narrated”

  1. Very insightful stuff man! Do you have the iPad Pro, with the Apple Pencil if so I would some tutorials on that.

  2. I see that your brush size value keeps changing while you paint. I wonder how this happens. Mine sticks to the value I chose.

  3. It's awesome how the highlighting immediately brings him to life. I already love it at 8:35

  4. Honestly I would not be able to produce any digital art without my cintiq; for some people the intuous just doesn't work well with some people's workflow, especially if you hand-draw everything then digitally recreate it like me. I like to look at what is under my "brush" at all times.

    I use photoshop, but I'm considering taking the Clip Studio paint pro trial – it looks like a much faster workflow (I keep hopping between Ad-Illustrator and Ad-Photoshop) since manga studio has both bitmap and vector mechanics.

  5. You are a great artist no doubt but video too fast and you didn't explain most of process, i am just trying to learn how can i use Manga Studio and that video not so usefull for me. If you make an another video bit slower and more explanation about process, short cuts, tools which you used ext, would be great thanks…

  6. Right now CSP is my main program, with PS used for touch-ups. I'm similar to you in the sense that I'm also heavy handed. I'm also primarily a "old skool" black & white (pen & ink) type. I still think PS has a better airbrush, but I doubt I've used more then 30% of CSP at this point.

  7. if i blend with the smooth watercolor i always get blured edges, do someone know how i get a rid of this problem?

  8. I'm trying not to use the airbrush so much, it's nice but gives pieces a bit of a waxy/plasticy look, it's nice for laying down flats and basic shadows and highlights but I'm trying to mix that up with a more opaque Photoshop-esque brush or the paint brush from OpenCanvas.

  9. around 5:30 when he outlined it and made that a selection instead of using the lasso selection tool… HOW DO YOU DO THAT?? anyone

  10. Hello sir, you are a great talent! Would you mind telling us which brands and models of your pen and pad to use to draw digitally please?

  11. Hi, i asked yo a while back about using Clip studio over photoshop, just wondering, at the pay section it's asking me if i want clip studio (50 euro) or clip paint ex (200 euro). Is the 50 euro one rubbish or what? thanks for any help :]

  12. Hello Friend, I have a cardgame project going on and I think you would be interested in being one of its artists, what do you think?

  13. The Monoprice 22 Pen Display is an excellent alternative to a Cintiq, I've been very happy with mine and got it on sale for $429.

  14. Great video man! I appreciate the time you took to make it. Trying to transition from Photoshop to Clip Studio and your tutorial was crazy beneficial. Keep up the excellent work!

  15. I found your videos when searching for tutorials for digital drawing/painting. I love your work and enjoy watching your videos. I'm just starting out, but I'm trying to learn!

  16. this video is so good in so many ways (layers if i can say) 😀
    really man, your thoughts on the focusing and crafting your skills are spot on
    and at the same time you showed us around about this program, that's really awesome
    keep up the good work, i'm subscribed

  17. You earned yourself a sub! I've been drawing a while now, but I'm not to good with colors. This video inspired me to start coloring all of my pieces so that I may get better! I drew my profile picture… that was my first drawing in MS5. XD pretty bad, but I like to see where I came from! Keep doing what you're doing! Love the vids.

  18. Robert, you mentioned the amount of time that goes into becoming a pro at what we do, and asked someone to post if they had a reference to those statistics. According to Malcolm Gladwell, in his book Outliers the figure is 10,000 hours of time dedicated to one's pursuit. BTW, I highly recommend the book. It is an amazing journey into the histories of some of the most successful people of our last 8 decades.

  19. I love your narration. Very helpful and kinda calming lol. I just got the program as a gift, do you have any tips for starting off on he program? I get lost in all the UI, lol.

  20. When you do a comic page, what is the size of the page used? I would like to dabble in making my own comic book, but I don't a page size to start with.

  21. Thank you very much for this video. I bought my first Wacom a few days ago and this tutorial really helped me to get started.

  22. I havent watched it all yet, but do you prefer the brushes in this over photoshop? I have tried a lot with photoshop but the brush interactions dont feel great. This seems like more of a dynamic, blending based experience. Do you think its better than photoshop strictly for painting? thanks!

  23. Great Job. Really appreciate this. Been using Manga Studio for a while now and STILL learning from it. This tutorial was very helpful to me.

  24. For us slow people. May you please explain to me how you set it so that you couldn't paint outside your linework? Lol

  25. I'm poor, so I've been using corel paintshop pro… Now that I'm doing 11×17 posters, at 300dpi, the program is sooooo slow! Does Manga studio do the same thing when working on a large canvas size?

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