The Lair - Tutorials

I've scoured both bookstores and the web for in search of different techniques on how to color line art images. I've found that there are many different possibilities out there, and have complied some of those techniques here. The first I ever found was Dynotaku's coloring tutorial, this is where I stared with my digital color. Since then, I have found many different techniques to accomplish the same, or a very similar things. The ease of use of these different techniques can vary from person to person depending on personal preference, their proficiency with Photoshop, and what their computer system can handle easily. From my findings, I have developed two techniques that I have been experimenting with. I've provided explanations here on those techniques, in addition to Dyno's tutorial, that should give you a few more options in tackling digital color. Now, neither of these tutorials are any "better" than Dyno's, it really just depends on the variables I mentioned above. If you have the resources on your computer to handle larger files, then my technique makes things *pretty* easy.

The first, for the most part, is an alternative to Dyno's tutorial. It gives the artist some freer space to work in, but in turn can create much larger files to work with. It's a tutorial meant for true, two color black and white images, or very high contrast grayscale images (usually inked line work). The second is a tutorial for much freer and softer line work, most commonly pencil, but I suppose you could use any medium you wanted, such as charcoal, brushpens, markers, or colored pencils. The beauty of this technique is that it allows you to get as sketchy as you want with your line work, with only a small added amount of extra work in the digital sphere. This is a favorite among those who enjoy a more painterly digital style, especially those with styluses.

These tutorials are designed for work destined for the web. If you wish to color work for print, that's a whole other ball game. If you need information on coloring work for publication, then email me, other wise, this tutorial should suit your needs. Both tutorials assume a basic level of proficiency in Photoshop, as well has having preexisting line art ready to scan. These tutorials are really more like Photoshop tutorials than actual coloring tutorials; giving you more choices in how to manipulate the software to get what you want. If you're looking for true technique in coloring digitally to create form and texture, Dyno's tutorial is still the best. They were compiled working in Photoshop 5.0, so I cannot predict how different things may be with earlier or later versions of the software. Also take note that 80% of the work I've colored is done with a graphics tablet, which gives me the added flexibility of pressure sensitivity. No matter how well you manipulate a mouse, you may not be able to completely achieve all of the visual effects I've created on my images. Having a graphics tablet is really an awesome thing to have, and if you're going to be doing any decent amount of digital coloring, I suggest you get one. Even a cheap tablet is better than a mouse!! Each technique starts and ends in the same place, so I'll begin with the basics here, then go on to the separate tutorials, and them come back here for the finishing touches. Have fun and remember to save often!! ^_^

Preparing an image for computer generated color ¤ ¤ ¤

aliasedanit-aliased

Jaggies are evil things at low resolutions and make you images look awful, but they can be your friend at high resolutions!
Step One: Scan the image at a high resolution value, 300 to 400 dpi. Depending on if your prefer crisp linework or soft linework, will decide on what mode you scan it in.
• For crisp linework, scan in bitmap or black and white drawing mode, ~always~ at at least 300 dpi. This technique will give you aliased linework (jaggies) but they won't be noticeable at such a high resolution. If your scanner software still gives you horrid looking bitmap images at high resolutions, then you can do it manually using Photoshop. To do so, scan as you would for soft linework.
• If you prefer softer linework, scan in grayscale or photographic mode.
• If you prefer to work big, you can resize the image up 150-200%, but I've never found this to be necessary. Import the file into Photoshop, make sure the image is in grayscale mode (Image>Mode>Grayscale), and save it as a PSD.

Sample of Levels dialog box
Step Two: [If you scanned in Bitmap mode, you can skip this step.]
• If you scanned in Grayscale mode, then you need to clean up the image using Levels: Image>Adjust>Levels, making sure the preview box is checked in the Levels dialog box. The histogram shown will display the levels of black and white in your image. Most often, there will be two humps indicating those levels. Move the black and white input level sliders inward until you find a good balance between white and black. Judge the best combination in the image by eye, making sure none of the linework is washed out. Click Okay. Use the eraser tool to get rid of any remaining noise in the image. If you prefer line work with a softer edge, you're ready to go on to the next step.
• If you prefer only true B&W images, then go to Image>Adjust>Threshold. Use the slider to obtain the perfect balance between white and black pixels, then click Okay.

Step Three: Now your ready to color your image. Choose one of the tutorials below to continue.

Note: Both of these tutorials use what I call "color segregation layering." This is just a simple process of separating colors that are next to each other in an image into to different layers for easier editing. I try to keep like colors together if I can, and try to keep group things in a manner that makes the most sense. You can organize your layers however you wish, but keep in mind the important part is to keep colors that are close to each on separate layers, and that each new layer makes your file bigger.

Here's an example of an image with flat color in it and its corresponding Layers palette. As you can see, the inks are on a separate layer that is above everything else, and there is a pure white background on the very bottom. The colors are by themselves, divided up into four different layers that contain the skin, The gold decorations, the purple of her dress, and the red trim.

This is a pretty simple image, layer segragations can get a whole lot more complicated with more complicated images. Be careful that you don't overload yourself with tons of layers. You have to prioritize which areas will need lots of attention with complicated selections and which ones won't. You can always divide everything up the way you want first, then if there are too many layers, you can merge some of the less important ones together. Do this by clicking on the box next to the eye in the non-active layer that you want to merge with the current active layer. A chain link will appear. Then click on the arrow at the top of the palette to get the layers menu, and choose "Merge Linked."

All this may seem complicated but once you try it a few times it gets quite easy. If this is too complicated for you, by all means, search out ways that are easier for you. But since people want to know how I work, well, here it is!!

Now, on with the fun!!!!!

Digitial Coloring Techniques ¤ ¤ ¤
(More tutorials will be added here as they are made.)

Finishing up your colored image ¤ ¤ ¤

Sample Image Size dialog box

magnifying glass tool

Step Four: If your image is destined for the Web, you're not done yet. You'll want to change the image size and resolution to best fit the Web, but be sure to save your PSD file before you do this. Choose Image>Image Size to get the Image size dialog box. Change your resolution to 72 dpi (pixels/inch) and then check what the Pixel Dimensions read. A width of between 300 and 650 pixels is about the average range of web images. Choose a size you like, making sure the "Constrain Proportions" box is checked, and click okay. After the image is resized, double click on the magnifying glass in the tools palette to bring your image to 100%. (hee, that's a shortcut!!) This is how big the image looks at the resolution of your screen; (keep note, it will look either bigger or smaller at lower or higher screen resolutions). If it's a size you like, then go to the next step, if not, then undo that step and repeat the process until you've got something you're happy with. Keep in mind that the smaller pics are, the more detail you lose. This works both ways. If your pic is simple, or if your linework or coloring is a bit rough, then small is good. If you have lots of detail then larger is better, but larger sizes also make flaws more obvious!!!

Step Five: Now you must save your file into a compressed format that is readable by the Web.
• JPEG is the most common choice, PNG is good as well (although not widely used yet). Go to File>Save A Copy, and choose your file name and format. Click Okay. When the compression dialog box comes up , choose the level of compression you prefer, (I usually choose between 6-8) and click Okay. If you view the image and are not satisfied with the compression results, simply repeat the process and choose a different compression value.
• If your pic is pretty simple, then you might be able to save it as a GIF. Choose File>Export>GIF89a. A dialog box will come up that will allow you to preview the image. Choose an adaptive palette, and check the interlaced box if your choose to. Click the preview button to see the results, and if they are acceptable to you, then save it!
• Congratulations! You're all done!!

Little things you may have never known about Photoshop. ¤ ¤ ¤

Did you know? Any tool that has a little arrow in the corner of its box has more tools underneath it. Click on it and drag to choose them.
You can double click on the magnifying glass in the tools palette to zoom your image to 100%.
You can double click on the hand tool in the tools palette to zoom your image to fit in the window.
When you copy something to the clipboard, and choose File>New, the new file will be the exact dimensions of what's currently on the clipboard.
You can add to or subtract from a current selection by holding down the Alt or Shift keys while using any selection tool.
You can click and drag layers in the Layers palette to rearrange them.
You can do cool things with linked layers. Merge them, transform them, move them... all together. How do you link layers? Click in the little box next to the eye in any layer that isn't active, that layer is now linked to the active layer!
You can Cntl click on any channel or layer to load it as a selection.
You can set your History palette to be non linear. If you go back a few steps and make changes, your pervious steps aren't overwritten, the new ones are merely added to the end. (i.e., you can do four different versions of a filter application, and then choose the best one and throw the rest away. You can set this up in the options portion of the History palette menu).
You can click and drag a step in the history palette into the trash can to get rid of it. This works different depending on if your History palette is set to nonlinear.
Hold down the space bar to get the hand tool, just click and drag to move your image around on the screen.
Try right clicking with various tools to get commonly used menus.
If you want something moved to another layer, you can do so by selecting it, right clicking and choosing "Layer Via Cut" or "Layer Via Copy."
Your eraser has two faces. When working on the background layer or a layer with the transparency protected, the eraser will apply whatever is the background color. When working on a layer with transparency enabled, then it creates transparency.
If you sketch using a non-photo blue pencil, and ink or pencil over it, you can scan your image in color and use Image>Hue/Saturation to remove all the blue. Just set the drop down menu in the Hue/Saturation Dialog box to "Cyan" and turn up the lightness all the way. If there's still some left over, just repeat the process.

aliasedanit-aliased Jaggies are evil things at low resolutions and make you images look awful, but they can be your friend at high resolutions!	Step One: Scan the image at a high resolution value, 300 to 400 dpi. Depending on if your prefer crisp linework or soft linework, will decide on what mode you scan it in. • For crisp linework, scan in bitmap or black and white drawing mode, ~always~ at at least 300 dpi. This technique will give you aliased linework (jaggies) but they won't be noticeable at such a high resolution. If your scanner software still gives you horrid looking bitmap images at high resolutions, then you can do it manually using Photoshop. To do so, scan as you would for soft linework. • If you prefer softer linework, scan in grayscale or photographic mode. • If you prefer to work big, you can resize the image up 150-200%, but I've never found this to be necessary. Import the file into Photoshop, make sure the image is in grayscale mode (Image>Mode>Grayscale), and save it as a PSD.
Sample of Levels dialog box	Step Two: [If you scanned in Bitmap mode, you can skip this step.] • If you scanned in Grayscale mode, then you need to clean up the image using Levels: Image>Adjust>Levels, making sure the preview box is checked in the Levels dialog box. The histogram shown will display the levels of black and white in your image. Most often, there will be two humps indicating those levels. Move the black and white input level sliders inward until you find a good balance between white and black. Judge the best combination in the image by eye, making sure none of the linework is washed out. Click Okay. Use the eraser tool to get rid of any remaining noise in the image. If you prefer line work with a softer edge, you're ready to go on to the next step. • If you prefer only true B&W images, then go to Image>Adjust>Threshold. Use the slider to obtain the perfect balance between white and black pixels, then click Okay.
	Step Three: Now your ready to color your image. Choose one of the tutorials below to continue. Note: Both of these tutorials use what I call "color segregation layering." This is just a simple process of separating colors that are next to each other in an image into to different layers for easier editing. I try to keep like colors together if I can, and try to keep group things in a manner that makes the most sense. You can organize your layers however you wish, but keep in mind the important part is to keep colors that are close to each on separate layers, and that each new layer makes your file bigger. Here's an example of an image with flat color in it and its corresponding Layers palette. As you can see, the inks are on a separate layer that is above everything else, and there is a pure white background on the very bottom. The colors are by themselves, divided up into four different layers that contain the skin, The gold decorations, the purple of her dress, and the red trim. This is a pretty simple image, layer segragations can get a whole lot more complicated with more complicated images. Be careful that you don't overload yourself with tons of layers. You have to prioritize which areas will need lots of attention with complicated selections and which ones won't. You can always divide everything up the way you want first, then if there are too many layers, you can merge some of the less important ones together. Do this by clicking on the box next to the eye in the non-active layer that you want to merge with the current active layer. A chain link will appear. Then click on the arrow at the top of the palette to get the layers menu, and choose "Merge Linked." All this may seem complicated but once you try it a few times it gets quite easy. If this is too complicated for you, by all means, search out ways that are easier for you. But since people want to know how I work, well, here it is!! Now, on with the fun!!!!!