New manga colour­ing skills

James Ghio breaks down his ren­der­ing tech­niques for cre­at­ing colour­ful and ap­peal­ing manga art with­out hav­ing to ren­der ev­ery el­e­ment

ImagineFX - - Contents -

James Ghio breaks down his ren­der­ing method for cre­at­ing colour­ful manga art.

In this workshop, I’ll ex­plain the ba­sic ren­der­ing tech­niques that artists can use to ef­fec­tively man­age their il­lus­tra­tion process.

There’s a pri­mary di­rec­tional light in my paint­ing that helps show off forms with a strong de­gree of clar­ity. I’ll be ex­plain­ing the sig­nif­i­cance of this light­ing scheme and how to ren­der out the lights and darks within a set tonal range. Note that I’ll be keep­ing all the tones within this tonal range un­til I’m sat­is­fied with their over­all forms. Af­ter es­tab­lish­ing a strong black and white base, I’ll ap­ply colour through the use of Color ad­just­ment lay­ers.

As you de­cide on your tonal range, think of it as 0 be­ing white and 100 be­ing black. When work­ing in black and white, it’s best to keep the tonal range close and main­tain the val­ues within 30 units of each other. This means that when ren­der­ing, your light­est tone should be only 30 units brighter than your dark­est tone.

Once you’ve fin­ished this tonally con­trolled ren­der­ing, you can add tones out­side of this range to en­hance your core shad­ows, drop shad­ows and oc­clu­sions in the dark ar­eas, as well as any high­lights or spec­u­lars in the light ar­eas.

I’ll also dis­cuss colour choices and how these de­ci­sions re­duce the time taken to fin­ish the im­age. Fi­nally, cover and box art re­quire some de­sign flair in plac­ing el­e­ments to strengthen the com­po­si­tion, and so I’ll re­veal how you can achieve this.

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