20 steps to colour your manga art like a pro

For this workshop I want to paint something that's not a straightforward fantasy image, but rather a
commemorative poster. I want the viewer to be reminded of the Art Nouveau movement, without the
scene becoming a pastiche of that distinctive period. I also intend to play with the ideas of composition,
texture and contrast.

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Some experts believe that when an image is reduced to a thumbnail, or when you see it from a distance,
such as on a billboard at the end of the road, it has about three seconds to grab the viewer's eye. So
artists have to ensure that their art is easy to 'read', and that the viewer is able to quickly identify focal
points through basic shapes, contrast and colours.

Promotion
A successful image will pass this three-second test and entice the viewer into giving it a second reading.
However, if the image is overcomplicated, or if there isn't clear contrast between visual elements such
as colour, structure and shape, then your message is going to be one of confusion and the viewer will
move on.

Every artist's mission is to think about the elements that make up an image, and to contrast between
them harmoniously. I'll reveal how I achieve this while painting this poster, which celebrates the 100th
issue of ImagineFX. My art will use manga as a starting point, but also incorporate fantasy and magic –
just like the best issues of ImagineFX!

01. Start sketching

Once I decide on the canvas size, I create a loose sketch. My approach is to visualise as many possible
directions for the image as possible, before going on to the final drawing.

Unlike my usual paintings, I'm keen to add a range of decorative elements that are inspired by Art
Nouveau. The idea is not to completely emulate the art movement, but to remind the viewer of it.

02. Begin inking the sketch

I copy the layer and set my initial image as the base. Then I start inking on the new layer. I work with
very fine lines that don't exceed five pixels in size, and use the default brush with Shape Dynamics
turned on.

To create strong areas of contrast I darken areas in shadow that I know won't change much in colour.
I'm not particularly worried about my line work, because I'm just using it as a base that I'll paint over
later on in the painting process.

03. Time for colour

I select the area outside the image using the Magic Wand, then invert the selection and change some
areas to greyscale. Next, I add colour using two skin tones, which introduces a degree of contrast in the
scene.

After this I create a new layer exclusively for colour, and use the Paint Bucket tool to darken the area of
the sketch, which establishes a base and contrast, and will enable me to colour in the character later.

04. Drawing the light

Once I've defined the light direction, I draw the outline of flat areas of light, marking separate volumes
rather than setting them as all luminous. Animators use a similar technique. I'm not trying to be
especially neat at this point, because I'll be blending these areas later on.

05. Introducing mid-tones

I paint with the colour that I use for light on a new layer. It's now a flat area that amalgamates all
separate volumes and unifies my work so far.

This layer acts as a half-tone and gives the image a similar look to 90s anime, which usually has three
colour levels. A separate layer enables me to adjust opacity, which suggest a range of possible
atmospheric moods.

06. Blending with the Smudge tool

Once I decide on the light I merge my layers. I use the Smudge tool to blend, and choose a textured
brush at 90 per cent Strength, with Other Dynamics>Pen Pressure activated.

I apply my usual hatching technique: first in one direction and then another, to soften the character. I
also paint details that help to introduce more volumes, such as the outlines of elements or details on
the wings.

07. Applying gradients and shadows

I use the Magic Wand to make selections in the wings, then use the Gradient tool to create the desired
volume. This tool enables me to depict wings that are softer-looking than the skin, creating contrast
between both textures.

With the Lasso tool I add shadows to different areas, and then with the Gradient tool on a Radial
setting and in Multiply mode I introduce a shadowy effect from the outside to the centre of the image.

08. Selection and colouring

I want to give a reddish hue of varying strength to elements such as the wings, corset and hat. I apply
the Hue/Saturation tool (along with the Colorize option) to the base colour, and I use the Color
Balance tool to modify warmth in the shadows, mid-tones and highlights.

In some cases I duplicate elements and apply different colour variations and opacities, before merging
layers (including the ink layer). However, I keep a copy for future selection purposes.

09. Painting textures

I draw different textures over this final layer. I add some stitching textures on the hat and corset, giving
it the appearance of leather.

I draw the lines first with a dark colour and then I sample the same light-coloured area with the
Eyedropper Tool, but vary it with a lighter tone to create contrast with the surface.

This generates texture and volume. I repeat this technique on the skull's nails, chain and girl's
necklace, which were dark, flat masses, but now have detail and texture.

10. Adding highlights

Placing white lines on a new layer enables me to suggest a secondary light source, and also creates
small highlights. I do this on areas such as the nails on the skull and the skull itself, the necklace and
the hat.

Applying the Smudge tool in a circular motion generates a worn look for surfaces. I also add fine
strands to make the hair look lighter. I reduce this layer's Opacity to 85 per cent, which means it blends
better with the layers below it.

Next page: background, textures and text...

20 steps to colour your manga art like a pro
11. Depicting the chain

On a new layer I place a dark colour over the chain, neck and hands, then apply Bevel and Emboss to
define volume. I add detailing through a new layer and then merge this with the chain's drawing layer.

Then I duplicate this layer and create a shadow with it, which I modify to match the shape of the girl's
body. I draw textures on the wings with the Smudge tool that give greater weight to these large
structures.

12. Background elements

As a nod to a classic Art Nouveau visual device, I add a prow of an old wooden boat. I give the
figurehead more realistic rather than manga proportions, because I want to accentuate the contrast
between the girl and the statue.
I apply some detailed patterns to emphasise the wooden material, and use the Smudge tool to smooth
some of my textures.

13. Duplicate the frame

I only have to complete the left side of the frame because I plan to duplicate the layer and apply
Edit>Transform>Flip Horizontal.

I merge both layers and use the Lasso tool to select different areas such as the wings, which I give a
silver tone, and the rest of the statue's body, which gets a warm gold tone. I then darken the edges
slightly to accentuate the frame effect.

14. Adding texture to the scroll

To create a scroll at the bottom of the image I colour a stone texture, then cut and transform it. I apply
Gaussian Blur to give it a slight blur that removes the hardness, resulting in a texture that's similar to
paper.

I redraw some of the contours using a brush and a sampled white colour. Finally, I create a Multiply
layer, place it under the scroll and darken it, before transforming it into the parchment's shadow.

15. Create the chess board pattern

I use the same stone texture for some background elements. Using Photoshop's Selection tools I put
together a chess board pattern.

I then copy this pattern and place it over the texture, before darkening it and using Bevel and Emboss
to create a wall or a floor. I merge both layers and use the Color Balance tool to create green cast
shadows.

A yellow light source reinforces this effect. Applying Edit>Free Transform makes it possible to shape
the perspective and adapt its form, which creates a sense of distance, depth and scale.

16. Painting the environment

To accentuate the feeling of depth, I create a horizon line. Then on a new layer I draw using selections,
creating volumes that resemble mountains. I then add elements that unify the environment, such as
the sun and stars.

Using a selection, I draw stars on the texture, which I then copy and paste on the same layer applying
Bevel and Emboss. Adding colour to it creates further contrast in the scene.

17. Forming the sun

I make the sun using a round selection that's duplicated several times. I then apply Gaussian Blur with
warm tones and on different layer modes, and then add a reflection line in Screen mode to suggest a
horizon.
Now I create an external glow effect by duplicating the layer and set it to Screen mode. I colour it red
and apply Gaussian Blur to complete the effect. The sun complements the details on the girl's hair and
wings, and helps to integrate the character with the background.

18. The area from the horizon to the base

I bring in details to this area of the background by putting the pattern into perspective and drawing a
few selections on it with the Lasso tool that resemble stalagmites or sharp stones.

I introduce volume and texture, and add some stony debris. I use the Smudge tool to further texture
the skull, and use small strokes to enhance light integration.

19. Introducing text

With my image nearing completion, I tweak it using Color Balance, Levels and Curves. I want to add
the Latin phrase 'et tamen stellae' (and yet there are stars) and the number 100.
I want to give this text a cast-iron appearance, so once it's in place I apply Bevel and Emboss, and
blend it into the scroll with the Smudge tool.

20. Finishing touches

I correct my tones and shadows, giving things a little more detail as well as fixing unpolished elements.
I apply Gaussian Blur to the image and then use Edit/Fade so that only the edges are affected.

I use the Blur tool in some areas where I want to give the impression of distance, and the image is
finished.
Words: Genzoman

Genzoman loves video games, comics and manga, and is achieving his childhood dream of working
as a freelance illustrator for Blizzard's World of Warcraft, Udon, Street Fighter, Marvel and
Wayforward.

This article originally appeared in ImagineFX issue 100.

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