En­hance your fin­ished im­age

Tan Hui Tian demon­strates sim­ple post-pro­cess­ing tech­niques in Clip Stu­dio Paint that will bring out the best in your art­work

ImagineFX - - Contents -

Tan Hui Tian shares Clip Stu­dio Paint tech­niques.

Much like in pho­tog­ra­phy, an art­work may not feel com­plete un­til it’s been post­pro­cessed. Post-pro­cess­ing en­hances the art and may be used to ramp up the im­age con­trast, change hues, cre­ate a blur or bokeh ef­fect and so on.

The fea­tures on Clip Stu­dio Paint may not be as com­pre­hen­sive as those in photo-edit­ing soft­ware, but it should be suf­fi­cient for most pur­poses. How­ever, you can also sup­ple­ment Clip Stu­dio Paint with free edit­ing tools such as Pixlr or Google’s Nik Col­lec­tion. As­sum­ing your screen is well­cal­i­brated, printed im­ages are duller in colour than when shown on a mon­i­tor screen. In this re­gard, I find that most im­ages work well with ramped-up con­trast un­less the mood of the art­work ben­e­fits from tonal am­bi­gu­ity. But whether the end re­sults will be printed or not, layer over­lays and colour ad­just­ments make the colours more co­he­sive, and can help to bring out the in­tended at­mos­phere of the art.

As for how to de­velop a good sense of colour, be­yond the usual study of colour the­ory, I find the sub­ject of colour grad­ing in films both fas­ci­nat­ing and help­ful. For in­stance, many Hol­ly­wood movies em­ploy an orange and blue pal­ette be­cause the orange hues of the ac­tors con­trast vi­brantly against a blue back­drop.

There seems to be cer­tain stocks of colour grad­ing by genre in the film in­dus­try as well: cold blue for hor­ror movies, grimy grey for the apoc­a­lyp­tic ones, pink­ish tones for ro­mance. The rules aren’t hard and fast, but can be use­ful in ma­nip­u­lat­ing hu­mans’ psy­cho­log­i­cal as­so­ci­a­tions with colours.

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