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Cel-style digital coloring, Take 2
By  Liz Chesterman
From start:
to finish
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Another method of coloring a cel-style picture digitally.
The character featured, Hinomizu, is copyright/property of myself.
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Pencils were done in Painter using the 2B pencil tool. I wanted a rough look to the piece.
In Photoshop I used the pencil tool to create an outline on the whole piece, then used the paintbucket tool to fill in the empty area. (This can be done with Painter too.)
I used the same technique for the flats after I locked the layer.
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To illustrate the technique I use to make the blocks of shadows I'll use his pants as an example.
First off, I make a new layer and set it on multiply. This will be my shades layer. I use the same orange-color on all the shades for this piece to give it more unity. It also saves some time as I don't have to come up with a new and different shade color for each tone.
I blocked in all the areas I wanted shaded with the basic fold shapes using the Paintbrush.
Then I use the Eraser to adjust the jagged and messy areas as I see fit. I often jump back and forth between the two tools as I work on the shades, creating and shaping areas of darkness as I see fit.
If you don't like the tone you picked out originally you can Lock the layer and use Ctrl/Cloverleaf+Backspace to fill in the shaded areas with a different color, until you get the effect you want. (The secondary (bottom) color on your toolbar is the one the program fills with on Ctrl/Cloverleaf+Backspace command.)
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Using the same technique I did the highlights of his hair.
I also put the layer on 'Group with previous' (Ctrl/Cloverleaf+G) so even if I stroked outside the flats color area it didn't show up. Later on I'll take grouping off and clear out the extra using the following steps:
Ctrl/Cloverleaf+click on flats layer (in layer palette), select inverse (Ctrl/Cloverleaf+Shift+I), Delete (while on the 'highlights' layer). This clears all the highlights outside the flats color area.
For now, using the grouping option keeps the image looking clean without having to clean it up.
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Please keep in mind, less is more, especially when it comes to highlights. I try to use highlights only where things are supposed to be shiney or bright. (Let's face it, not everyone wears jeans with ground-up glass in them.) Sticking with shadows can convey a more pleasing look to your cel-style art, so when you do use highlights they have more pop to them. Here's the finished image. The shadow was created by duplicating the flats layer and filling it with black, then using Edit-> Free Transform (Ctrl/Cloverleaf+T) to distort it enough to make it look flat and blasting backwards. I leave it up to you to figure out how the SFX wave thing was made.
FARP Article Guestbook
| Date | Name | Comment | | | 8 Oct 2003 |  Trigger |  Loading...Another great tutorial, I really like the colors on this one. Its a good little read and nice to see the different types of cel shading you do.
Hope we will be seeing another few tutorials by you! | |
| 17 Apr 2004 | Anonymous | Loading... That’s amazing! How did you do the magic part? It looks really awesome! Liz Chesterman replies: "I’m trying to remember... the rings at his hand were made with an elipse seelction tool and some airbrush effects most likely on Screen, and I think the wave was another transformed elipse that I tried to paint waves and added in fire effects using the airbrush on Exclusion or Difference." | |
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