This is something I’ve wanted for a while, the ability to select something (say, a wheel) and then move it somewhere else while leaving the original. Again no way to do this in Clip Studio Paint, but again you can build one.
As with the previous tool, I created and auto action – this one named Transform and Keep Original, in it I created the following actions (see previous post for how to do this)
I draw a marquee around the object to be duplicated, and then created the action with the following steps:
Step 1: Copy (CTRL+C) (makes a copy of the currently selected marqueed drawing)
Step 2: Paste (CTL+V) (creates a new layer with the selected artwork in it)
Step 3: Transform (CTRL+T) (I did this here just to record the action, really doesn’t matter too much what you do with the transformed drawing) once I’d transformed the selection, I confirmed the transformation – by hitting return.
Step 4: Layer->Merge with Layer Below.
And that’s the entirety of the action. The next step though is to slightly alter the action, by taking Step 4 – TRANSFORM – and making sure that the action requires user input (and doesn’t just perform exactly the same transform every time). You do this by clicking a little check box that is on the action’s description, like so:
When you click here (as I’ve scrawled poorly on the image above) it will add a little mini dialogue in place of the check box – and it will add a mini dialogue to the title of the action too.
Now, all that’s left is to map this keyboard action, I went with CTRL+ALT+T (check my previous post for details) and that’s it!
(One point, it’s not perfect, and you’re essentially copying/pasting every time. An minor edit might be to remove the copy stage for the user to do, so that it’s the exact same thing is pasted every time rather than a brand new thing).
There’s lots of things I love about Clip Studio Paint, and a few things that annoy the heck out of me. Luckily, I can often fix the latter with the former.
One feature I miss from Photoshop is “Paste Into Layer” this takes something from the clipboard and then pastes it -INTO-the layer.
Clip Studio Paint, no doubt because of the complexities it adds by having different layer types lacks this feature. But we can easily add it using Auto Actions AND Shortcut settings.
Step one: create a new Clip Studio Paint document. This is purely so we can create the actions, so don’t worry too much about any of the specifics of the file – anything here will do.
Step two: put something on the clip board. Select some art, or copy an image from somewhere. Again, largely unimportant what – just make sure you have something.
Step three: Make sure Window->Auto Action is displayed then create a new Auto Action – call it “Paste Into Layer”
Step four: Press the record button to record the steps.
Step five (record these steps!):
Step 5.1 : Paste the clip board into the document (CTRL+V on PC, CMD+V on mac)
Step 5.2: Merge the layer with the layer below (Layer->Merge With Layer Below, you can also press CTRL+E on the PC, CMD+E on the mac)
Step 5.3 press stop on the auto action record. That’s it. Action is recorded.
Step 6: Select File->Shortcut Settings. From the “Setting Area” drop down select “Auto Action”. Find the action you just recorded. Select Add Shortcut and then press “CTRL+SHIFT+V” – or, on a mac “CMD+SHIFT+V”
And that’s it! Hit ok!
Now if you press CTRL+SHIFT+V anything in the clipboard gets pasted IN to the current layer. Couple of caveats: the layer then becomes the same type of layer as whatever was in the pasteboard. Ie if you are pasting full colour art into a line art layer then the resulting merged image will be full colour. It’s not a big deal, but worth knowing. (If you cut from a CSP line art layer and paste into another line at
I’m thinking it’s time for an inking detox. I’m gonna drop all inking tools except my brush.
Like many artists I struggle with every part of the drawing process, with a bit of luck you never see that in the final work, all that there is is the art and that’s it. The relentless self-loathing, frustration, abandonment of hope and more doesn’t seep through in the artwork.
A trick that I’ll often turn to to get through particularly hard points is to pick up a different tool and try that, it’s a too-easy option for inking yourself out of dead ends. Frustrated with a brush? Try a dip pen. Dip pen not working? Gah! Lift the Micron. Damn micron not playing ball, time to hit the cintiq. Cintiq effective but ultimately soulless? Let’s head back to the brush.
And the whole, horrific cycle repeats endlessly. Because really, I haven’t addressed the original problem. Like Father Ted and the car, I’ve attacked the one unsightly problem with a hammer and tried to bodge my way out of it.
As I say though, in the end, it’s usually unnoticed. But there are strips where I’ve used every possible inking tool at every point in the drawing process and ended up with a patchwork quilt of a strip. Colouring often saves it (and maybe it’s only me that notices it) but I’m left feeling incomplete, knowing the job wasn’t as it could or should be.
So, I’m gonna try a different tack – I try this often, but the temptation to just lift a dip pen is overpowering so this time, I’m gonna hide every tool except the brush.
The brush is, ultimately, the most flexible tool there is for inking. Nothing is as responsive or can give a line so much life. It’s constantly surprising and always vivid.
My big problem is I get lazy with it, and the line starts becoming unsubtle (and great subtly can be achieved). In this case, rather than throw the brush down in frustration I’ll pick up the white out and thin the line down and go back to the brush.
When you get to look at original art it’s always surprisingly how much white out is used by your favourite artists, and it’s frequently used to make lines thinner or more subtle.
Transmissions from a parallel place, Channel Hex is your window into alternative dimensions and worlds.
Bughunt was just a one note gag based on the Bill Paxton line in Aliens (yeah, like you needed that explained). Just thought it’d be funny if they were actual bugs, giant massive bugs. I also loved the line in Skull Island (a fantastic movie) were to old hand on hearing a weird chirping sound goes “f***ing ants”. As Rob Williams pointed out, that’s likely an ad-libbed line (which is why we never saw the ants) but it was damn funny.
The troopers are (with the exception of the sarge) based on a popular All American comic series, see if you can guess which (should be pretty obvious when you realise…)
So you get this, and in a final – putting-too-much-thought-into-a-stupid-two-panel joke – the Space Ship they’re landing in is the SS Jerry Paris (writer/artist of the strip Bughunters from C&VG from years ago, who is, pleasantly, become a pal).
On the colouring, I wanted something that felt like the Skull Island set pieces (sun setting behind KONG! F*** YEAH!) and the landscape would be hot pink (based on the photos in this article where the photographer used infra red and processing to arrive at hotpink landscapes, be warned – some of these photos are disturbing, being from a war zone www.nytimes.com/interactive/2012/12/16/magazine/congo-color.html?hp )
I buzzed through the colouring as fast as I could, tbh, it wasn’t my main objective, so if anyone wants to have a stab at colouring this bad boy properly, let me know!
Will there be more bughunters? Probably not. Really this was an an exercise in controlled inking, my inking often runs away with me and I wanted to ink something and feel like I was in charge and not just the ink. (Inking the giant ant was good fun but the temptation to just slosh down black ink on the outline of it was almost unbearable, had to thin down so many lines).
I have a couple more one page strips in my ideas file just waiting on some time to execute them, this was a nice little palette cleanser before starting some more 2000AD work.
Digging through old sketchbooks, I found some (solicited) advice on using a brush – specifically on cleaning a brush from Simon Fraser and Frazer Irving from May 2000. It was before my career as a comic artist and I felt sure I’d only get somewhere if I was using a brush.
The great thing is, unlike advice on digital drawing tools, this advice is NEVER out of date, so thought you might like to read it:
A good winsor & Newtown Series 7 Sable can last for years with constant use. Apparently some of the acrylic ones are as good now, but I like the sables.
Never dip the brush all the way into the ink, only about half way up the bristles, this stops the ink going into the ferrule where it is hard to remove by cleaning. You can overload brushes for filling in large areas but use a different brush for this, noe you don’t expect to come to a decent point.
Rinse the brush thoroughly in a jam jar of tap wate/
Twist it a bit on the edge to remove the water, if there is still ink coming out of it then keep rinsing until only water runs from the bristles.
Gently dry the brush on a piece of cloth, shape it back to a point.
Stick it in your mouth and use your tongue to bring the thing to a good point and your spit will protect it until the next time you use it.
THIS is why you don’t use anyone else’s brush!
Frazer had this to say
D’oh! NEVER use that eeeevil windsor + newton shit on the brush… it’s WAY too thick with shellac for them, and should only be used with pens. I use Rowney Kandahar black indian ink, which is about as watery as I’m prepared to go… Also, if you use the brush mainly for spotting blacks and big lines, then the brush will clog quicker because it’s always loaded… When I use that much ink I generally clean the brush afterwards to purify the ferrul. Also: what brush you using? Could be that the brush is shit also. A tip I got for cleaning brushes was to dab off the exceess ink BEFORE dunking in water (always cold) and I find sloshing around in a jar more effective than the tap. The soap I tried, but was too much hassle, and may even contribute to wear and tear. And the sucking… I (rather disgustingly so0 load the brush wid spit and then gently lick it to a point… A tiny point I know, but you gotta Lurve that brush…
In the past 16 years I’ve generally stuck with Winsor & Newtown ink-clearly completely ignoring Fraz’s rather splendid advice.
That said, I’ve never done experimenting with traditional inks and you can now get all sorts of great manga focused inking tools from amazon – at the moment my preference is for Deleter Black ink (Number 4) which goes on Matt black and is pretty damn dark.
Anyways, apologies to Fraz and Si for digging up this old info (I’d printed it out from emails I think and cut it out and stuck it in a book that I was using to keep advice in – it has one page on Brush cleaning and… pretty much nothing else. C’est la vie.
Photoshop and Clip Studio Paint (and Manga Studio – since it’s the same software) share a number of features, one of them – the one we’ll talk about today is called “Quick Mask”
I’m sure you’ve used the Rectangular Marquee tool (a square tool that lets you select an area, with “marching ants” you can then resize, move or cut/copy from), the Lasso tool (to select an area you draw around) or some of the other selection tools.
One difficulty is refining the selection, and that’s where Quick Mask comes in.
Quick Mask (Menu option: Selection->Quick Mask) turns your selection into a mask over the artwork – usually a red colour (now the blog post makes sense, right? RIGHT?)
This selection can then be refined with all of the standard drawing tools – you use the pen to draw red over the artwork and you use an erase to remove some of the red mask. And, get this, you can even use the selection tools to select bits of the mask to delete/fill/etc.
Once you’ve finished you then hit the quick mask button again and your red mask is turned into a selection area, which is now yours to cut,copy,resize,rotate or otherwise futz around with.
Go now and use this new found power wisely.
Super quick HINT!
Oh I find it best to add the quick mask option to the Command Bar settings – go to Preference->Command Bar, and then find the Selection->Quick Mask in the list of menu options displayed and click “Add” to add it, you’ll end up with a nifty little red dollar bill (Like this: ) looking icon that you can now click when you need to turn it off and on…
Hey! My good pal, Rob Williams, writer of stuff forwarded on a young artists portfolio – Brian Corcoran – a Dredd story he’d drawn from one of Rob’s scripts.
I spent a little time and dug through the art commenting on it over the next few days. Brian kindly agreed to let me share our conversation about the art, hopefully you’ll enjoy this too. I’ve tried to edit the entire correspondence down to just things that I think other people may learn something from, so in case it’s not clear, Brian’s generosity in accepting this critique allowed me to be this thorough (and I’ve had similar done to me so I know ho much this stuff can sting!)
Let’s start with Brian’s full art and the script. (the script in question is Judge Dredd FIT). I want to stress: I haven’t read the script. My suggestions here are purely for the story telling in the artwork as I see it. My choices might be different if I’d been reading the script.
Our email’s started with my amendments to page 1.
[..] only had a chance to glance over some of it, but I broadly agree with Rob [… about pulling the viewpoint back as I tend to have a lot of close-ups]- you want to pull out and give the page panels room to breath. I think it’s a pretty common thing to try and fill a panel with things so there’s as little dead space as possible, but the dead space is pretty important, both for space for dialogue but also for not making it feel cramped (except, of course, when you want a reader to feel cramped). (Have you read the 2000AD artists 10 commandments, I treated them like gospel for years… top left 25% of a panel should be dead space…)
I’ve tweaked the first page, I’ll talk you through my choices – which won’t be everyone’s choices, so don’t worry if you disagree, I’m sure plenty would!
Ok, panel 1 – it’s a big close up of Dredd, so let’s make it a big close up of Dredd.
Also added a little bit of black behind the other judges so they don’t get lost. I realise this goes against what I’ve said about pulling out – but I think one key thing you’re also missing is a rhythm – it’s midshot after midshot (or at least not terribly big distances between midshots) but you want close up, distance, midshot, midshot, close up, etc (or any sort of rhythm, really – it’s like a drum beat, a repetitive tap tap tap quickly bores you, and you want something that will keep the reader interested).
Panel 2, Pulled out a little more and whited out a lot of details (though I didn’t have a high res scan to work from so it’s all a bit vague! sorry!) I suspect I’d’ve pulled that out further and had someone silhouetted in front of the floating figure to frame it. Giving a little more context and interest.
Panel 3 pulled out a big chunk, and added some bg. This whole scene really needs a back ground – I don’t think the pure black background in this scene is really helping to sell it. I’d’ve been tempted to try and get a panel with both judges in it, to give a reader a context for them together – though the file he hands over does this job too.
Panel 4 added some bg.
Panel 5 – I dropped the dutch angle, didn’t think it was doing anything useful here aside from making it look a little off kilter.
Panel 6 – I’ve silhouetted dredd’s always identifiable chin. My preference here, but it feels like it reads a bit better.
(I’ve edited out some kind remarks and tried to keep it as succinct as possible)
The page looks so much better, totally agree on everything, especially the inclusion of the backgrounds and the Dutch angle removal. I took Rob’s script too literally, I think – he said the office was ‘darkened’, so I went straight to black backgrounds without taking the time to think about what interest a ‘darkened office’ could bring to backgrounds. It’s all so much less static now. The silhouette in the last panel is inspired.
Rob’s script called for the presence of the shocked technician in Panel 1, but his omission in favour of a more ‘present’ close-up Dredd works wonders. There’s a point there, I suppose, about maybe not always slavishly following scripts to the letter?
To be fair, I’m working without script and just with the page as you’ve drawn it, so I’m cutting/pasting/shrinking enlarging. Rob’s scripts are usually pretty good at calling out stuff that’s useful – I suspect that panel one, while impactful may get a little note from Tharg saying “Where’s the technician”.
(That said, it wouldn’t have been hard to move the technician up and nearer the bikes looking around to Dredd, framed by that smoke coming off him)
I’ve pulled out the 2000AD drawing commandments and stuck them on the wall, thanks for the heads up. Love what you have to say about the drum beat, makes so much sense.
The next day I sent an edited version of page 2, along with comments:
Looking at page 2 here and I’m struggling to know what’s going on in Panel 1 – is it a flashback? did it just happen? Needs to be clearer. I’ll assume it’s a flash back.
I’ve dropped the overlapping hand in behind the panel, which I think i more effective for a story telling pov and sells it a little better as a flashback.
Panel 2, I’m afraid I dropped the top down panel – normally those kind of panels have one strength and that’s to give you a clear sense of location, but here I think it’s actually obscuring the location – I THINK (but am not sure) Dredd is at a locker? Assuming that’s the case, I’ve redrawn it with Dredd and the other judge and the lockers more clearly in view. (I could be wrong; haven’t read the script! so that applies to all of these things. Acutally as a good rule of thumb, I always tell people to ask their partner – who often isn’t a comic reader – to explain to them what they think is happening in a story without the script or lettering, if the partner can tell them boom! Solid storytelling. If they’re confused then you need to think about how to improve that).
Panel 3 – more breathing space. Love this panel, but you’ve obscured the other judges face partially behind a panel (in fact you habitually crop figures out of panels, which is ok, but feels like it’s happening too much and rarely happening deliberately…)
Panel 4.. Ok I’ve futzed around a lot on this. Initially couldn’t see dredd and giant(?) on the bikes, and I think that’s because there’s so many lines on the panel it’s hard for the eye to find anything (that and it’s low res, which is killer!). So I added a ton of shadows to all the vehicles hopefully to direct your eye. Also brought the SJS judge more into the FG – made him a little larger and moved him so he’s not cropped out of shot. (I’ve also moved giant a little so he’s less cropped – I’d be inclined to make sure you have a super clear view of giant and dredd on bikes, even if giant’s bike is behind dredd’s bike a little you want to make sure nothing else is overlapping them)
Panel 5 I redrew. It wasn’t selling this was dredd on his bike. Repositioning the camera below and up, gets dredd in, and a big vehicle. But I’m not sold on that either. Suspect if I was drawing this properly I’d’ve gone for a silhoutte of Dredd looking right, with speed lines behind him (maybe half his figure in the “riding a bike stance”)
Panel 6 – I like this, but it feels little cramped, which, I’ve cured, ironically by making him much larger, which has the nice side effect of really framing those scared people under his left arm.
I don’t want you to feel like these are “I’m right, you’re wrong” – it’s all “this is what I might do” give it to a hundred other artists and you might get a hundred different interpretations. Also I’m trying as much as possible to do stuff by just moving things around and adding shadows, from scratch I might make different/similar choices.
(Brian obviously responded to this with generosity, but it doesn’t add much to our discussion here so I’ve cut it for brevity)
On the third day, there was a third page, luckily it was page three, and I sent:
And said [and please forgive the typos and other errors):
It’s your daily page!
Page ..3 ? (losing track)
Ok, the edits here show up a little more of my own preferences and idiosyncrasies, they’re solutions I often draw on when I need to solve similar problems – but as always they don’t mark the right answers, just my answers.
I’ve extended the panel off the top of the page (bleeding it out helps to lead the eye down and in to that panel)
I’ve also added more black /shadows – your rendering of the uniform is pretty consisitent regardless of the lighting, and it’s become sort of habitual – good idea is to look at some black tight leather (you’re own your own their for google searches…!) to get a feel for different ways light play on it. Ultimately, dredd’s uniform is a futuristic material so can work/light however you want, but it’s good to get some more ideas in your head for how it might look rather than just other comic artists.
Panel 2 – shifted Dredd over – no need to crop that eagle.
Added soem shadow over the perp’s face – added shadow all over the place (esp on the gun) to hep control the flow of the read, feels more focused – your lighting is too uniform and you want to let the black help you with the story telling – the shadow on the perp’s face does two things: it heightens the drama and it splits the action in to two bits – bit one dredd shooting, bit two explosion off the backpack.
Shadowed up the SJS – sinister SJS judge looks more sinister. Also removed some wall as it was serving no useful purpose (except to separate sjs from dredd, and the does that job)
Panel 4: enlarged dredd, straightened him up a bit. Now his shoulder frames the SJS judge and the distance between them looks greater, better drama.
Panel 5: Futsed around with the shadow, moved head down to stop him overlapping hershey, so you can see her hands (if you can do it, separate figures and make them readable in silhouette form)
Enlared the 2 headed bloke, more drama. Put Dredd’s face in shadow, more drama and more cleanly separates Dredd from the background peeps. You want to cleanly have foreground/middleground/background (at the very least)
This is brilliant. Lighting and shadow are a particular issue for me definitely and I tend to be nervous around applying loads of black even though it always looks better when I do! This’ll steel my resolve to get more shadow on them thar drawin’s! The shadow applied to the perp’s face is fantastic as a device, I always thought the exploding backpack was quite lost in this panel, your trick has totally changed that. Likewise the introduced distinction in the last panel between back/mid/ foreground.
It’s amazing how improved Panel 5 is now with your changes, (well, really how improved they all are!) such a small simple panel now has so much more interest and depth.
This will get confusing, so sorry about that, but I muddled up my pages here and did a page review of page four thinking it was page five. So, in the interests of clarity, I’m going to present page four here (in the correct order)
So, page four:
And my notes:
Apologies for the scrappiness of this redo. But here we go:
Panel 1: more breathing space! pulled out (Hershey should probably be higher in this panel, but sod it) needs room to breath.
Panel3: pull out and up so we can get a decent view of where dredd is, also gave him a little movement and old lady so,e body language. All pushing us towards the door.
Panel 4: I think a straight on exploding door shot is possibly the dullest on possible, it Works in film because they have movement, but you’ve got to suggest movement through camera angle, s/fx and speed lines.
Panel 5: dredd silhouette more menacing, tense. Old lady behind dredd, worried.
Panel 6: push the foreground/background. But harder. Kept the gun in shot, helps sell the story telling panel to panel…
As always, everything you’ve done is really instructive. As I’ve said before, it’s real wood for the trees stuff for me, I keep asking myself why didn’t I think of this or that. The pull-out of Panel 3 to set the scene for example. Love the added tension in panel 5 by silhouetting Dredd, never thought of including the old lady! Panel 6 is looking way better, and way more dramatic for the difference in foreground/ background. Loving the addition of the gun for better connection from the last panel.
Ok, page five, having skipped page four by accident I remained a little confused by page 5 – though I think the notes are still pretty useful…
Getting near the end!
I found this page a little confusing, as a result I’ve probably done more redrawing than I’d normally do, but here we go:
I pulled out. You can do a headshot without getting right up in dredd’s chin (and gives room for any dialogue)
Panel two. I’ve moved in closer, confusing jumble of hands, more interesting if it’s even more confusing jumble of hands
Panel three: pulled out more (though I’ve no context here, beyond I’m assuming dredd is reacting to this, I’d’ve been tempted to add Dredd in the bg looking at this.
Added more depth to this panel making the guy changing the positions slightly to make the guy on the right appear to be closer to us and turning to talk to the other guy, silhouetted most of the people behind them – they’re not important, lose them, but keep them readable. Adding figures between those guys and dredd – more depth – should be kept simple, lots of shadow, not much details. Dredd silhouette at doorway (dredd has a strong silhouette, albeit identical to most other judges but readers have been trained to assume any big judge silhouette is dredd – use that!) Also add some more distinguishing costume features to these dudes to help the next panels read better.
Closer in (I was confused about which of these guys were getting their head dunked, but seems like it would be the one closer to dredd – the baldy one, so I’ve made it more obvious here by using the costume additions)
Had to edit this guy to make him look like the other guy. Got more dredd in. Where there’s no panel border, and on thing bleeding into another, you end up with weird things like that guys hand in panel five appearing to pop out of dredd’s helmet.
TBH though, I’d rethink that panel, the SJS judge feels like a static cutout, maybe rethink this to have it from the POV of the SJS judge, so we’re seeing the back of his head as dredd mets out the old ultraviolence. I suspect that’s the intent here rather that Dredd smacks dude in face.
Brian responds, rightly questioning my sanity:
You skipped Page 4 I’m afraid! Unless I missed an e-mail? [no, you didn’t Brian, it turns out I’m a thicko]
No worries but maybe that’s part of the confusion? Dredd discovers a room full of starved slaves on page 4 and the 1st panel of this page is his reaction to that. I followed Rob’s script directions fairly closely for panels 1 & 2. I’ve attached the script – I should have sent it to you at the start – apologies!
Panel 4 works a lot better for sure, love the use of big recognisable silhouette on Dredd! One thing, this scene takes place outside – obviously another failing of my panel was not to make that clear enough. Totally get what you’re saying re costume elements.
You’re right, it is the bald guy getting mashed by Dredd into the table in panel 5, obviously I’m not making the info in these panels clear enough! I prefer it as you’ve drawn it, closer in, but I suppose I drew it like that with burger and drink flying to indicate it was him, and to show his companion to his left reeling back as Dredd did his thing.
Totally get what you’re saying in panel 6 about the hand coming out of Dredd’s head! Looks so much better showing him the way you have. Btw the guy in Panel 6 getting the punch is the same guy as in panel 5, hence the bald head and facial tattoo (direction from Rob’s script). I have to say this is a real wood for the trees moment for me, as I think you’re totally right about maybe showing it from the POV of the SJS judge. It would work so much better. Again, I took direction from Rob’s script here, which called for the SJS judge to be at a distance down the street. This is probably one of those moments where a more experienced artist might have queried the writer’s choice of set-up maybe?
And the last page. As I may have noted, I didn’t read the script. These notes were all based on the actual artwork. My standard advice to someone is to ask their partner whether they can understand what’s going on in a drawn page or not – if they can’t then it’s a confusing page, if they can then the storytelling is good. You shouldn’t need the script. That said, I wasn’t sure what emotion Brian was trying to sell on the last page, so I did two versions:
Version 1, using his artwork, and version 2 with a redrawn last panel to help sell what I thought he was trying to do.
Ok, let’s pull WAAAY out and show everything, this is our last best chance to give these two a decent establishing shot…
Framing them with the buildings etc. Once you’ve done a good establishing shot you earn the right to show some shots without background – you earned TWO panels like that with that background 🙂
I pushed and pulled thee last three panels, largely to give them something beyond a tap tap tap rhythm – so I moved in slightly closer here (added a background)
Brought him closer, add lots of shadow and now he can frame Hershy as he walks away.
Dropped the panel background altogether, and turned the angle to make it more interesting (contrapposta-italian phrase meaning counter pose, general a twist in a figure so that they’re more interesting. she needs to look off panel, so I flipped the figure and badly mangled her eyes to do so. Dropped the background too.
With final pages of a strip there’s a certain structure it feels (to me) that they need, this is nearly there, but not quite, not sure what’s missing, I’ve done an alternative last panel here, though I suspect I’d need to read the script to see what emotion I’m pulling for.
Ah, the establishing shot! Sets a much better tone for the overall page. The large background kind of creates a quietness or something as well I think. I have to say I think I’d change panels 2 & 3 now too, looking at your revised Panel 1, they just don’t do it for me any more! They look too static I think, especially panel 3.
I’m looking here at my drawing of Gerhart in panel 5 versus your shaded up-closer version, and I can’t help kicking myself! I have obviously been so tentative, so concerned with just getting the characters and detail into the panels rather than taking it farther and introducing the added drama and rhythm necessary to tell a good story. I tell you PJ, this experience has had a major effect on how I’ll draw my comics from here on in.
On what you said about structure of the final page, I have the same feeling, I was never too happy with this page, even in the pre-PJ edit days! It is so much better now after your edits, but I agree, there’s still something left to do. Rob’s script says: “As Gerhart leaves, Hershey stands alone in her office, the darkness surrounding her.” In my opinion I think your alternate final panel nails that – I love the shadow on Hershey’s face, her face looking slightly downwards; there’s “a picture worth a thousand words” if ever I saw one!
And… that’s it!
Not having read the original script, I maybe pushed and pulled in the wrong direction on some of the suggestions above, but I think – I hope – the advice is applicable beyond this story. Hopefully others will get something from it too.
Thanks to Rob Williams – his website is here– for his script and permission to put this online, and to Brian Corcoran – his website his here – for the good grace he showed in me tearing through his art.
La Placa Rifa.
(On a side note, my friend Stewart who passed away over the weekend was always so generous with his time for those that wanted to become writers/artists, and while he was never a pro in the comics industry, it pleases me to think that this would be the sort of thing he’d be happy to see happening)
I know other artists work at print size in the digital realm, but I like to work at actual art[*] size – it gives me a flexibility to print and rescan and redo artwork and work in both digital and traditional media (I don’t subscribe to the idea that one is better than the other, though I – personally – do prefer the satisfaction of a good page drawn on paper).
Anyhue, rather than copying down the settings, here’s a screen grab of my setup. You’ll note “Basic Expression Color” set to Monochrome, this makes all new layers default to monochrome. Number of Basic Lines kicks in when you’re using the letratone/ben day dots and I never use it, so 60 is fine. There’s lots of settings I ignore, Bleed width, X offset, Y offset, story information, folio (A think I’ve never adequately figured out) and MS has this annoying habit of “correcting” numbers for you as you add new settings, so if you’re trying to replicate these settings to create a new document make double sure you’ve got them right.
Hopefully this is useful to one or two people!
[* edited, when I originally wrote this I wrote “I like to work at print size” making everything that followed look like the ravings of a mad man. So I’ve fixed it.]
I ramble a little, things may not be as clear as they could be, but hopefully between this and the blog posts part 1, part 2, part 3 and part 4, it should be a little easier to deal with Panels in Manga Studio.
Let’s say you want to try drawing one of those fancy 9 panel grid comic panels. Here’s how Manga Studio (or Clip Studio Paint, since they’re the same thing) can help!
Step 1: Create a new frame folder (you can see how in part one)
Step 2: Select the object selection tool (you can also brush on that in part one) and click on the full frame of the page..
Step 3: Select from the Layer Menu : Layer->Ruler Frame->Divide Frame Border Equally
Step 4: You’ll get a new window asking how you want to divide the panel up and for a neat nine panel grid, you should have something like this:
The little graphic is just a demonstration of how the divisions will work – IT IS NOT a preview of what will happen. “Fit to side Direction of Frame” allows you to play with how the divisions will happen on panel shapes that are slightly skewed, for example, ticking it here you the preview looks like this:
But, again, this is a graphic to help explain what might happen, it’s not a preview. If you’re splitting a perfectly rectangular frame both options will actually net the same result.
Which is this:
As ever, I like to keep my frame folder/panel borders all on a single folder, so I select “divide folder: Not change”. You can split this as you see fit.
This tool is actually pretty useful for, for example, splitting a single tier into three/four (or whatever) perfectly even sized panels. A trick I use a lot.
Planning tomorrow or Friday to try and get a quick youtube video together of some of this stuff, so if you have any questions you’d like me to answer on panel borders that are either unclear or I haven’t covered, please add a comment below!
And that should wrap up a week of manga studio Panel Borders. Next week? Let’s see if we can look at flatting in Manga Studio…