#clip studio tutorial

Brushes: I can probably dig up the download links if needed. My main rendering brush is from the dp-fuzzy charcoal set.

Step-1: Sketch. I had a rough pass or two before this, but this is the lineart-ready sketch. I use a blunt round brush to keep from over-detailing at this stage. I usually draw separate body and clothing layers unless the pose is very simple. 

Step 2: Lineart. I often opt for a pencil lineart rather than ink for color pieces to avoid overwhelming contrast and let the color and value carry the piece, similar to using color holds. Additionally, a pencil lineart needs less precision than an ink lineart and tends to be less time/labor-intensive to produce. The drawback is that it doesn’t stand as well on its own as an ink lineart and requires strong rendering to make up the difference. It’s also much harder to fill cleanly with the selection wand.

Step 3: Underpainting. I do most of my rendering in grayscale with color layers on top. Here I filled the figures and laid down a basic black and white value scheme with the big textured watercolor brush. Then I overlaid that with a cerulean blue Difference layer at 35% opacity to set the temperature of the light and shadows (this tints your image with a light-dark  gradient of your chosen color and its complement. Blue-green in the shadows and yellow-orange in the highlights, in this instance. If I were painting a night scene with a cold light source I would use a red/orange layer. Warm light makes cool shadows and vice versa). A similar effect can be achieved with a gradient map. (Never color against a white background if you don’t intend to leave it white. It’s harder on the eyes and compromises your ability to accurately gauge color, value, and contrast.)

Step 4: Base Colors. I do the base colors on Hard Light layers on top of the Difference layer. It’s important to have basic values down at this stage so you can see what the full value range looks like for each color. I usually end up adjusting and readjusting them all by the end anyway. A few notes on skin: Be mindful of the undertone of your subject’s skin (pink/yellow/grey) when choosing a base. Lips should only be a step or two darker in value than the skin and just a bit more saturated/reddish. Avoid bright pink lip colors on characters with darker skin, especially. I always add a 30-35% Soft Light layer of red across the cheeks, eyelids, and nose, as well as knuckles, knees, and elbows if visible. I also add a 10-15% opacity dark, dull blue-green Normal layer over the lower face/jaw, especially for characters who grow facial hair (even if they’re clean-shaven.)

Step 5: Rendering. I realize the jump to this step from the last is a bit “draw the rest of the fucking owl”, but this the stage where most of the hard work happens. I do my underpainting on the grayscale layer under the colors and Difference layer using the big textured watercolor brush for the broad strokes and charcoal brush for precision work and blending. Keep your details in the highlights and leave your shadow areas a little loose for the sake of focal point. 

Step 6: Highlights. This what really makes a piece look tactile and complete. I used a light yellow Add(Glow) layer and shifted the color a little on the hair to match. The uniforms got a midtone blue green. Leave the highlights slightly sharp and distinct rather than soft blended on the focal points, especially on faces. Anything wet, metallic, or otherwise shiny is likely to have more distinct, hard-edged highlights. There tend to be many on and around the eyes since these areas are smooth and draw moisture. (Don’t mirror your eye highlights. If they’re from the same light source they should be on the same side in both eyes.) Highlights typically stand out and have more dramatic impact on darker skin due to increased contrast.

Step 7: Secondary light source. I often add some kind of funky colored secondary light source over the reflected light areas, but this piece called for that glowy pink orb, which made a similar effect. I layered an Overlay, Add(Glow), and Color Dodge layer to make the orb and an Add(Glow) for the rays and the cast light on the figures. I typically use a Normal layer for really strong, colorful rim lighting and the like since they’re opaque and won’t react with the underlying colors/values the way Add(Glow) layers do.