my manga appleblack is published in stores worldwide and I used clip Studio paint to create pretty much everything you see so shout out to Celsius the creators of clips of European who are sponsors of this video for me to bring you a full breakdown on how I make manga and how you can too we'll do one colored page one with screen tones and a double spread note that I've been using clip Studio paint for many years now and it's definitely my favorite tool to use especially when it comes to making manga or any form of sequential art there's been a new version of clip Studio paint version 2 with a whole bunch of features some of which we touch on in this video so keep watching shout outs to Celsius the creators of clip Studio paint for partnering with me to bring these videos to you guys they're big supporters of the channel and what we do here big love to them you can currently get a free trial of clips of your paint yourself so you can follow along in this video there's a pro version and a more in-depth EX version in this video I'm using the version here assuming you have some storytelling techniques you take your story narrative plot treatment synopsis whatever you want to call it and we convert that into a script get all the key things that happen in your story in the best way possible and convert that into narration and dialogue or monologue usually my synopsis treatment thing before it's converted into script is a mess usually I'm the only person that can read it since I'm a one-man Army when writing this I'm the only one that gets to see it it's very chaotic but I make sure to write everything that happens so I don't forget and then I just convert it to script how your scripts can look could be in the traditional sense of how a Hollywood script will look or screenplay but you write what works best for you I tend to split it into Pages some people tend to split it into pages and panels which I also recommend for starting out I split mine in odd numbers because I know where the page is going to start even though I may add the even numbers too if I already know exactly what goes where or I want to be extra organized off rep so I leave room for Freedom when storyboarding between into ones and the threes page one starting on the left so that means page one and two would occupy the whole spot giving me that much freedom to Freestyle when store boarding and then three just means a page flip and you're building tension up until the page flips you want to keep your reader engaged and the tension is there to make them keep flipping the pages before they know it the book is done there are all kinds of techniques that come into play when store boarding and have several videos that go into detail of all that you can find links to my gum roadway you have templates for everything that I use in this video Pages storyboards script and Sample Pages they can also look through as you're watching this video because of the script I know how many pages the story is going to take where there's a chapter or a full story whatever it is I know how many pages I know where the double spreads are so I can take my storeboard template and then rearrange it to fit again the store bro template will be available in the Gum Road along with all the other templates I use for the manga Pages the script and Sample pages and then some all in my gum Road the templates help me stay organized especially during the storyboarding phase go up to edit and then change canvas size to play with the settings here to reorganize things where you can do this for any canvases you have when it comes to how to lay out the pages professionally there's a lot that goes into it knowing where the text should be knowing not to have Arts too close to the edges knowing what the gutter is and how to stay away from it and how to use it to your advantage for double spread pages and so on that can be its own thing I have older videos that break this down but there's a newer one on the channel you do not need all of that to go on in this video but it's something to keep in mind we will proceed and kind of move the canvas to the side and I have the window with my script behind however you have your script and it kind of go hand in hand as I'm working on the store board it is influenced by the decisions made from the script but sometimes while storyboarding I might get some ideas that make me go back to the script and change things like dialogue certain actions certain scenes so they work hand in hand but it always starts with a script at least for me and I think that's the best way to move forward on this first page knowing when to use the establishing shot to let us know where the characters are introducing characters for the first time so the first time you see these characters I make sure there's at least a panel big enough to give us a good shot of the character so we're really introduced to the character for the first time or in some cases we've been introduced to the character but we're seeing them again it's good to see them fully or at least from head to torso and in this case from the script we're jumping in mid battle with a character dodging an attack and then revealing the other character who attacked who are also going to introduce in similar fashion which is cool because then they have another character on their back it's also kind of getting introduced it's a little tricky but stay with me I figure out the speed lines where panels are gonna go how they're going to cut which panels are more important than others the more important panels get more room if it's action oriented we do the Slants for the panel gutters some panels bleed some panels don't and when store boarding I also have notes on the side that remind me of things to watch out for while doing the actual Pages if I don't make the changes already right there and then like all the cameras should be tilted or flip this panel stuff like that again things happen where you go back and forth so I'm making changes on the script because I got an idea on the store board this fluid workflow is highly recommended cool thing about clip Studio paint is you can select some of the illustrations or the sketches reduce the size it's much easier to store board digitally than on paper which is what I used to do so clip Studio paint kind of makes it easier for me there are many ways to select shortcut M for the Marquee tool and then you have a lot of sub tools that you can use to select after a selection Ctrl t or command T and then you'll be able to kind of transform and move things around right now I'm still boarding four pages you also want to make sure that you don't have too many panels on the page I try to keep it clean a good sweet spot is four to six panels per page but you can really do whatever you want but sometimes the danger zone is really once you start to Edge towards like 9 and 10 and 11 panels on a page maybe you want to give the panels room to breed sometimes so you might have a page with just one panel and sometimes there's room for 10 panels but you really need to know what you're doing there should always be a focal point you don't want a case where someone's looking at a page and it's so chaotic that it's overwhelming and you know they might not want to read anything make sure it's consistently pushing the narrative feeling tension each time or at least giving the reader a reason to keep flipping the pages page three and four here is going to be a double spread and again this comes with knowledge of understanding double spreads and how they work I have all the pages numbered everything is organized panel three in this case is what extends from the left side of the page to the right side of the page sometimes on the side I'll give myself little tiny illustrations that are better versions of what's already inside the little sketchy panel it's a good tip to prepare you for the final drawing when the time comes in fact some cases I'll just draw the panel again outside of it and just draw an arrow pointing to where it's going to replace bottom line someone's getting attacked he stops they have a little back and forth he sends an attack they counter and that's what these first four pages are and now it's time for a proper setup for your whole story within Clips to your pane go to file new comic settings the file name right there is Comic I will change it later but you want to give it a chapter name or whatever whatever you want some kind of file name to let you know what it is rather than just leaving a comic these are the page settings and dimensions that I use for Apple black all the volumes follow these but under presets you can see other dimensions used in Japan from shoe Asia Shonen jump and so on go down show the list goes on but to follow the tutorial just stick with mine down at the bottom once you know how many pages it's going to be you put that in there but don't worry you can always add pages later on left binding just means it's going to be read left to right and then you decide whether the story starts on the left Page or the right page make sure it's page to page but if you're working webtoon or manual or just a comic manual manga whatever with a scrolling reading format then you change that since we're shooting for print we'll leave that as page to page and then you see everything all laid out Clips here paint with this makes making Comics so much easier much more organized especially when it comes to exporting as we'll discuss at the end and for the part there's going to be a double spread just right click and combine Pages you can always right click in Split Pages if you made a mistake here I'm just doing it all over again and this time I'm putting the name that I want because this is going to be the first four pages of chapter 33 of Apple black volume 5's first chapter then when you double click on the page it spreads out and make sure the canvas for my store board is out I pretty much use the Marquee tools to select it Ctrl C or command C to copy and then paste on the actual page and then blow it up and do this for all the pages once I have it there I put it at the top I reduce the opacity you hit shortcut U twice to give you the option to create a panel before we actually draw a panel follow the settings on the left it's always nice to have the panel lines be thick anywhere from 15 to 20 at the top where you hit view you want to make sure that it's able to snap to ruler and special ruler that way the panel will snap to the guides when cutting the frame look at the settings again and you want to make sure that the horizontal gutter is at 150 in the vertical gutters at 50. this is an industry standard thing and it helps for better reading of the panels everything looks more organized go look at your favorite manga the more vertical gutters in between panels are always thinner than the more horizontal ones then you want to cut the panels according to the storyboard and that's just cut frame here frame is just a panel Call It Whatever You Like obviously you don't have to follow these rules to a t but it's good to know the rules so you know you're breaking them if you want to also before you cut you choose between the wide frame folder or the Divide frame border the wide frame folder just means that every time you cut a panel it's going to create an another folder that's essentially a mask for that panel and anything you draw within that folder will remain within that folder but if you use the wide frame border then all the frames slash panels will Shear one mask I tend to stick with folder because it's more organized that way so I'm done doing it to the second page the double spreads a little trickier because when you open combine Pages here it creates a mask for each side of the page with the folders that you see but what I do is I just work above both of those and completely ignore them because nah I'm gonna do my own thing same rules apply but this time there's a whole frame that I'm just going to completely delete to give me that room of gutter on the lower end one thing I want you guys to keep track of this whole time after I'm done cutting the panels how I want I'm renaming them in the layer window so everything is organized so layer one two three I know exactly where each thing goes and they're ordered according to the panel that you read so panel one is the first panel you're supposed to read and the whole spread or the page also while you're on a frame folder if you hit on shortcut oh it'll give you all these anchor points if you want a panel to bleed to the edge you just hit the arrow and it'll automatically bleed to the edge you can actually play around with panels even after you've cut them but if you're following along kind of like an observational tutorial you'll either already know this stuff or you can just see me do it how to know what panel bleeds to the edge and all that that comes with experience of knowing how to pan I usually use that for the more Dynamic panels where action is happening how when do I cut panels with the Slants usually for similar reasons and I usually keep things a whole lot more organized and clean cut and non-slant panels for the calmer scenes but if everything is more chaotic I want that to be reflected in the way the panels are cut as well this is something very common in Shonen manga that's a very huge influence of mine and my manga Apple black and sometimes for some panels remember when I'll draw a different panel on the side and the store boards in some cases I'll go to the direct panel and just copy and paste just that cut out replace it where need be because trust me it's very easy to forget it always look back and forth on your storyboard to read all your notes and make sure you're not forgetting anything so first want to have everything laid out and the panels cut I take the text from the script for Comics never use Comic Sans I know has the word comics in it but take it from me it's ugly which of your favorite Manga comic whatever you want to call it the users Comic Sans none why because we all agree it's ugly there may be some purposes for it and maybe places where it's suitable or maybe you just want to break the rules for whatever reason but generally speaking don't use Comic Sans if you're curious to what I use I use wild words anime Ace is another good one but I have several videos that go into deeper detail on lettering with fonts to use how to letter all of that within clip Studio paint then you can also check out on the channel but for now I'm just putting in the text in the places I know they're going to be this also lets me know how big I want the text balloon or text bubble speech balloon whatever you want to call it how big I want that to be in some cases there isn't going to be a balloon sometimes I want the character to be saying these words in their mind and you can either have a thought balloon where it looks like a cloud or you can have nothing and then give it maybe a white stroke and in order to give text or literally anything on any layer of stroke you go up here to effects hit that Circle button and play around with the settings for what color you want it to be how thick you want it to be up to you but I usually give a thickness of 20 stroke color white for text that's just a thought and I can also play around with the fonts death rattle is another really good one for a scratchy look maybe because the character is really angry or yelling you have a lot of freedom to do whatever works for you sure could t for text when it comes to the size of the font they could be whatever you want them to be just make sure it's legible I never go below nine point just from my experience anything lower than nine points is treading the lines of being unreadable but you can always go higher maybe to Echo the volume of the character maybe the bigger the point maybe the louder they're saying it or maybe you do that according to the importance of what's being said this is what happened happens if you don't have keep aspect ratio ticked on once you're done laying down all the text if you hit shortcut T again it'll give you the options for the balloon you just click and drag you play around the settings again before you even click and drag you want to make sure the brush size is pretty thick I always don't go below 15 and then once you've picked the shape you want in the sub tool you then use the balloon tail to create a tail you can have it be sharp with straight spline with a bit of a curl or a thought to Echo a thought balloon you see there with a balloon it gives you a whole lot of options again I have a video on how to letter comics with clip Studio paint if you want something that goes into Super detail but the good thing about Eclipse video page UI is that everything is pretty self-explanatory as long as you're trying to experiment it's very easy to learn and pick up I didn't go to clip Studio paint school to learn any of this stuff all that being said I usually just draw my own balloons if you understand layers I have a layer where there's a raster or a vector and I just create the lines for the balloon echoing the natural touch that you would see for the most popular manga out there in the world today where the Creator actually creates their own balloons so I tend to do the same just know if you're going to do it with a vector layer you'd have to create a separate raster layer to fill in with white or whatever color you want the balloon to be filled in with but I just use one raster layer I create the balloon cut it how I want you can hit Ctrl T to select everything on that layer for transformation right click for free transform and then you can alter the balloon however you see fit and then on that same layer I just make sure I fill in the balloon with the color white if I haven't done that already a neat trick to toggle between the colors is to hit shortcut X and then shortcut C is for Claire keep in mind when you hit C with whatever tool you're using brush airbrush pen when you're drawing on the canvas it's almost like you're erasing there are other tools here with the balloon pen that you can use to draw the balloon similar to what I was talking about before with my own raster layer it even makes it easier to add a balloon that's connected balloons like these are great if you want the reader to be able to pause while reading given the dialogue a little bit more character and also room for the reader to breathe rather than having one giant balloon with a bunch of text shoved into it there are also balloons that you can pull from the material you hit this icon you go to material experiment with everything this there but under under balloons you can click and drag it'll give you this option with Vector lines and Within These Vector lines you can actually play around with the tool properties like so and then if you're on thicker and you identify how much thicker you want it to be you can go over those lines to make it thicker giving it a more natural look that you would get from a traditional G Pen which is a more industry standard tool used for inking in Japan if you want to make it thinner you just hit narrow the list goes on everything's pretty much self-explanatory the vector lines essentially just create a path if you create stuff with a vector line you can always go back and make the lines thicker and thinner in this case when you pull from the material folder the lines are coming in vectored but this technique actually works for any Vector lines but again I create my own balloons manually because that's what works for me key thing to remember is knowing what works for you you don't actually have to use every single thing just because it's there but it's cool to know for some people I know for a fact it probably speeds up the workflow okay I'm going to throw in a Little Chibi head because there is no balloon tail and I want it to be very clear who's talking and I'll try to make the little head be expressive to also help sell what's being said watch out throughout the whole video you can see me change a lot of the dialogue here and there because again nothing is set in stone until publication boom same rules apply for the sound effects I create them manually but they're materials that have sound effects there as well you pull then it creates its own layer you can right click on the layer convert layer and then change it from colored to monochrome or grayscale if you don't want it in color but again none of this matters to me because I create my own sound effects manually if you want to dry brush effect you can get that brush or a brush that's like it for clip Studio paint or you can use a literal dry brush on paper scan it in get the PNG of just the sound effect import it into clip Studio paint and use that when I keep it simple and do my stuff manually maybe I'll give it a stroke here and there and make sure to label it sfx keep things organized and I go from there if you notice I'm going step by step the first things I'm worried about right now script storyboard put on page after all that set up create the panels cut them put the text the speech balloons sound effects and once I've done all of this for say a whole chapter I feel so much more prepped to finish this chapter and this is also taken into consideration that you already know what the characters in these store boards look like in some cases when I don't or haven't set it on one yet I might have like a finalized sketch even on the store board on the side or you can have a character design sheet ready to go you just do whatever works best for you but ideally before you start working on the actual Pages you want to know exactly what the character looks like and you want to make sure you're done with all the assets and concept art so you also want to know what the place and environment looks like it helps you store board even character design concept art all this stuff it's something I'll make sure I have done right after the script actually because it helps you while you're thinking about how you want the pages to be laid out how you want the camera angles for the panels to be and all of that it's much easier to scoreboard is seeing if you truly understand the environment where the scene is taking place and if you know what the characters look like and now it's time for the inking now normally you can have a layer for a sketch where you have a detailed sketch based off of the rough lines from the storyboard and then you have a new layer for the inking one of my secret tips to save time is you have your rough you're less rough and you're fine if we remove the less rough you save time now this is not easy to pull off you actually have to have some experience and a decent understanding of anatomy and just drawing in general but I do tend to save a lot of time using this method I have a separate video on working on 150 Pages knocking them all out in about a hundred days even though I did have some help with my amazing manga assistance this is a little neat trick that I have you still have clean lines making it work if you look at traditional very popular mainstream Shonen manga that's out right now especially little ones that have to be out on a weekly schedule just know that depending on your style and depending on how confident you are and how purposeful they are you can really get away with life look at a lot of Jujutsu cousin or chainsaw man you can see that and obviously they have manga assistance you can see that difference in art style with the way they work on their backgrounds because the backgrounds are usually handled by manga assistance now you can have backgrounds handled by somebody else and since everything within Clips your opinion is All Digital somebody could be working in a background elsewhere and once they're done you can just import it there are other neat tricks you can do when it comes to backgrounds that we can put into clip Studio paint or create some from 3D stuff but I can have future videos that go into more detail about all of those for my manga I actually had a more detailed sketch sent to manga assistants they would then work on the backgrounds and send it back to me but in this video I'm going to be doing it all myself both for the colored page and the more traditional look this first page since it's going to be in color there's a lot of stuff I'm just leaving to line art and just clean line art it's all in the wrist and you want to make sure you have very clean smooth Strokes don't be afraid of making errors Ctrl Z or command Z is your best friend as well as all the other neat tools and tricks that clip Studio paint has at is a disposal that we would explore further if you notice I have the character pop out of the panel all this is is just having the line art on a separate layer above the frame folder layer and then I have another layer in white used to create a silhouette so that it stands out and Pops above the frame folder it's all layer trickery and here for the following Pages I'm inking slightly differently because here it's not just the line art I'm worried about I'm also now filling in blacks and shading more and all of that because these pages are not going to be in color I didn't do all this stuff in the previous page it was going to be in color because I know I was going to knock out some of those rendering with color but here it's just going to be filled in with blacks and a couple of screen tones here and there for Speed lines there are a million ways to do speed lines and clips to your paint one of the quickest neat tricky ways that I'm going to show in this video again if you want to see more let me know in the comments below and I'll make separate videos on these but I'm going to use the perspective guide and for that at the top you go to layer ruler frame and then create perspective ruler you then pick the vanishing point you want to use but for Speed lines I tend to use one point perspective when you have one point perspective you place it where you want it to be once you hit one point perspective hit okay it creates a perspective layer for you and while that perspective layer is visible every anything you draw is going to point to that vanishing point so you want to place it where you need it to be if you want to move it around hit shortcut o while you're on the perspective layer you'll see anchor points that you can move around here I want the speed lines to be pointed not at the character but kind of in the direction where the character is moving especially in the floor area because that's where a lot of the blurry motionness would be if there was a camera following this character the character will be in Focus while everything else will be blurry and that's what the speed lines are trying to mimic especially on the floor so you put it where that blurriness is going to be the most but in the way the lines are all kind of pointing to the character drawing the reader's eye towards this character when doing speed lines you want to again clean Strokes thick on one end thin towards the vanishing point and I try to have the lines pretty thin maybe 15 and then they kind of go in twos where two lines are closer together maybe twos and threes and fours but I give them a little bit of room there are Milling ways to do this I highly recommend you go look at your favorite manga series study their speed lines a little space in between the lines to make them seem natural versus all the lines being evenly spaced those look ugly and very mechanical and then sometimes even though for this colored page you're not going to need to do it as you will see later on but sometimes I would then create a new layer that's just white to go in between the lines of the character and the speed lines so the character and the speed lines don't overlap this way I'm not actually erasing the speed lines they're always there behind this white in case I ever need them again another way for Speed lines where everything is parallel you can use the ruler tool shortcut you and you keep hitting shortcut U until it gives you the create ruler where you see the linear ruler and curve rule or all of that and then you make sure you hit special ruler on the sub tool and then change the special ruler to parallel line here I'm just going to select the spot where I want it and I'm just going to give it the same Vibe where the lines are not equally spaced and they do exactly what I want key tip is to make sure you doing this on a completely new layer if you do this on the same layer you're using the Hank it can make things a little confusing because it will change the layer type you don't want to mess with that I like to do it on a new layer call it speed lines so that if that layer then gets changed to the special ruler type layer that's what it is anyways we don't have to mess with it all of this is behind the text and the text gets to pop that's why there is a white stroke around the text because the character is just thinking that's why those words are not in speech balloon so you want them to pop and not get lost in all the lines I do the same thing for the lines here one point perspective I have all these projectiles popping out of the arrow that the character shot and then I have a separate layer just to make them stand out and make them pop that's in between the line art and the speed lines have the sound effects again with my sound effects I use onomatopoeia which is just made of words with a sound but most of the time I use exclamation marks and the exclamation marks are just a way for the reader to kind of make up the sound in the head whatever they feel is suitable and then maybe the size of the exclamation marks are an indicator of the volume maybe and that's kind of been my style of the ways I've approached things for a long time and then real quick you can also see this beta flash thing sometimes you use it for characters when they realize something really shocking or you can use it here it all depends on you you just need to be able to justify whatever decisions you make remember all the stuff you're not going to learn in one video practice makes perfect or at least almost perfect or just good then I have a little neat trick if I'm trying to save time one of the material for Focus lines I just drag it in and make sure I rasterize it once you drag it in it creates a layer you right click that layer and you hit rasterize that way you can transform it if you need to but right before you do that you rasterize then select it and then you go up to edit transform and then mesh transform that way you can bend it to your wheel and have this really cool curve effect I do this if I want to save time really quickly and I think it fits the scene with what the character is doing if the lines are too thin you can duplicate the layer and then merge them both just select them both right click and hit merge what's a little neat trick I use to save time or you can actually create curved lines with the fish eye is the same thing with the perspective you just want to make sure you're on three-point perspective just make sure to turn on fisheye before you hit OK you do that and then you get all these anchor points and I think this is one of the best additions to the new version of clip Studio paint I'm definitely going to be finding myself using this more often you can select the word then you just change the color here I'm changing it to White and then giving it a stroke of black you can also see me using the babies font here and I tend to do this for characters maybe they're doing a spell incantation for a move they're about to use in the series it just helps things pop a little more sometimes they're in a speech balloon sometimes they're not maybe they're thinking it because sometimes maybe they say it in their head we as the reader we get to read it but maybe no one else hears it it all depends on what I'm going for for the particular scene but that's all I'm doing here with the text stroke when inking fast in my new technique I don't always nail it sometimes it helps to draw even if it's a loose sketch sometimes that helps if the anatomy is really complicated especially for stuff like this where the character is not just by themselves there's another character hanging on to them and so it just helps me think about things a little easier and maybe it even saves time because there are some times where I'm trying to just nail the anatomy head-on and it's taking more time than it would normally so it makes things a little bit more at ease using this approach and then I fill in the gaps eventually and even then if you don't nail it while on the ink layer you can just select the parts you want Ctrl t or command T to transform right click to free transform or whatever transform you want to use and I just make the adjustments because what I notice is that the other character bending their knees if you imagine them standing fully straight then they'll be much taller than the other character which I didn't want meaning that I had drew them a little shorter than he was so I made those adjustments and filled in the gaps another way to do this inclusio paint is the liquify tool you hit that tool you make sure you're on the appropriate layer the layer you actually want to adjust and then you adjust accordingly now you can actually adjust multiple layers at once you just want to make sure all the layers are highlighted and to highlight those layers is to select the layer hold command or control and then click on the next layer you want to adjust sometimes you can put it all in a folder and then just click on that folder and then use a liquify tool and it'll work it's a stellar Edition I'm going to be taking advantage of for sure if you notice they're tones in here even the tones are going to adjust so I'm just painting the background I usually have reference of what Vibes I'm going for I get it from Pinterest or Google Images to really nail what I'm going for I color in the sound effects how I see fit usually give a nice gradient I use the fill tool to maybe even change the line art of the sound effect you just want to make sure you're on the right sub tool shortcut G for fill if it gives you gradient you just hit shortcut G again it'll give you the fill tool and all the other options to come with again I can have separate videos to go into more detail of those and have a playlist for clip Studio paint and we can continue to add to it y'all just let me know have a separate layer for the skies giving it that nice blue gradient separate layer for the clouds separate layer for the mountains got some atmospheric pressure going on so it's going to be soft might even reduce the opacity a little bit simpler layer for the bushes to mimic the trees The Forest all the all the fun stuff then I have the explosion hands the boom and I'm also going to give that a bit of a motion blur which we'll touch on a little bit but this is just fun painting new layers for different blending modes maybe a linear burn and then an airbrush for a dark blue mimicking the blue of the sky but in the lower parts of the forest and then the upper Parts a little bit opposite maybe a blending mode of add or add glow and then the warmer color to give that sunlight type Vibe or reduce the opacity so it's not too harsh have more painting for the character moving it doesn't have to be detailed because he's moving so it's going to be blurry anyways and even after I'm done doing that I can select it all I can add some filters and effects by selecting it go to filters at the top blur motion blur and then play around with the settings and the intensity make sure it's in step with the speed lines to really help sell that sense of motion I do the same thing for the smoke here I'm going to change the angle a little bit and change the intensity because I still want to sell that sense of motion even if it's subtle for the Statin dust from all the action that's happening for this battle I tend to stay away from completely black speed lines so on that Speedline layer you hit that button and then you can change the color I'm going for something lighter put on the Ross draw hat for a warm color with the color Dodge and we're just having fun painting here we're just adding the flats and I usually have a layer called a flat for each frame folder and I just put in the flats accordingly now you can still do things that you guys maybe have seen in previous videos of mine where I have a separate layer for the mood or tone to make the flats fit the environment so it's basically another layer that might be clipped to the flats with the linear burn reduced opacity and the dark Hue that's in step with the environment but then reduce the opacity it also helps sell that 2D animation so shady Vibe but again it's really up to you right now I'm just focused on laying down the flats you can see what I'm talking about here playing around with blending modes to really make everything feel a little bit more Dynamic cinematic and it comes with an understanding of blending modes adjustment layers and all of that and how to play with that in clip Studio paint I have several videos that go into more detail on how to color and clip Studio paint so you know exactly what's happening but you can also follow along kind of like observational tutorial if you slow the video down you see what I'm clicking on and I'm treating each frame like its own illustration every frame a painting and now for the other Pages we're just doing it in regular screen tones you can select the spot when you select and clips of your paint it gives you these tools at the bottom you hit new tone but if you don't want to use those you can go to material under monochrome and basic you can click and drag once you click and drag and then play around the layer properties for increasing the lines the frequency density to make it fit what you're going for maybe even change the shape play around all the other materials that are in there or you can select hit new tone play around with the settings there once you hit OK it creates a new layer again and on that same layer you can draw with other tools and it's still going to and it's still going to mimic that same tone notice that if you've already created a tone layer with this method and you have the same settings trying to create another one it's not going to create another one unless you tweak the settings a little bit here I just twist the angle and then it'll create a new one again this is trial and error and then you understand what's happening like I said when you create a new one you can draw on that same layer and it's just going to mimic that same effect so to save time what I did and this is part of the templates that you find on gumroad because I have all these tones in my manga page template with the frame which the tone with these guys and these colors telling you what parts are going to get cut off and print or most likely to every printer is slightly different what the gutter is for a left Page or a right page all that one of the folders has all my tones already created therefore when I'm on a tone layer I can draw whatever I want just turn off the guide because it's in the way now we see it clearly I separate the one the tones that I'm going to use for things that I want to have toned on clothes maybe characters skin for black skin CTS objects or things that don't want to draw attention to or close to the screen hence CTS certain patterns I tend to use often all of it's created here even when you draw and you still have all the material that always comes with Clips to your pain no matter what if you select the spot and pull certain material in it'll create a layer as it comes in you can take a pen tool brush whatever and just kind of continue not every material works the same way but it's fun for you to find out I have a noise kind of tone for trees but there's but that's what I used to do before nowadays like we saw earlier I use a combination of the vegetation brushes in white and black whites for highlights in the black for the Shadows then manually draw the rest of the tree but on the template I have all these tones in a tone folder I just click on the folder Ctrl C or command C and then I paste on the respective Pages pretty much all the pages and make sure it's above all the frame folders that way it's actually going to be seen and not lost or fixed to just one frame it'll be above everything so I can use the same tone layer for the whole page and this saves me a lot of time so here for the character's skin I'm having it filled in but then also I'm going to CTS it because again I want to draw attention to his smile there's no backgrounds here just focus on his smile those little smirk and this is also a common thing you find in other Shonen manga as well sometimes they want CTF the characters teeth or eyes but I tend to CTS the whole thing yeah I'm also deciding to fill in the character's hair black the tone layer called clothes that's for filling in anything that has to do with clothes and I do it this way to stay organized so even though his glove is black the highlights are there and you see this again another manga I'm Gonna Fill that in with tone and the setting already is at 30 for density which I think is appropriate but you guys can always go ahead and increase it to 40 or whatever you want but once we're settled we just go on toning where we see fit what's something to think about is how you're actually going to tone the many series out there that don't have any tone there's some series that tone just a little bit there's some that tone a lot it's really up to you example here is I wasn't sure how I wanted to tone the hair if I wanted to just tone it completely fill it in black or do something a little bit more textured which is what I'm doing where the hair is black or enough contrast to be seen as black in this form but I'm going to leave some highlights to still keep the texture in it and that's what I'm going to fill in with tone probably with the clothes tone layer since they're in the forest is a perfect example of me using the tree brushes for foliage leaves and all of that I already have like the roots and the branches and all that drawn out but in Black I'm just filling it in and I'm doing this on its own layer it keeps things a whole lot more organized and then I'll go in with white not transparent with shortcut C but an actual color white to show some highlights I didn't make any adjustments here and there to make it all fit this is the perfect panel to use some material that help evoke a similar emotion even anime do this obviously but maybe in color but here I'm going to find one of my favorite ones very radiant and I just put it in the back you select it and then you click and drag from the material I do simple gradients you can obviously do things a little bit more elaborate but I just say simple gradients I select the parts I want again shortcut M for a marquee tool you can use the selection pen any way you draw is just going to be selected however you select it it's up to you you can even expand the selection so you don't miss a spot because sometimes people select things and fill and you see little tiny holes where you missed and then you have to go manually fill those in you can just expand the selection by one where necessary but however you select it shortcut G foreground to transparent for the sub tool and then just do the gradient or you can manually do the gradient with an airbrush shortcut B keep hitting shortcut B until you see an airbrush and maybe a soft airbrush with the effects you can actually change it to a tone gradient and then play around with the settings but in my Approach that's not necessary I also use the gradient to create clouds and use the gradient for the sky and then with the combination of shortcut P for the pen shortcut B for one of the brushes you can then create a cloud either on a separate layer with white or on the same gradient layer but then shortcut C for clear so in a way kind of scrape the gradient to get that effect completely up to you how you do it obviously I'm not doing a cloud right here I just wanted to do almost like an abstract thing going on and then using the clear the shortcut B till decoration under hatching to gauze cloud and then clearing out the bottom I have another video that goes into extreme detail about how I tone when I tone how I tone the sky water or fire all of that that I highly recommend you guys watch is a previous version of Clips to your paint but again the same rules apply here I'm doing the gradient thing again but then I'm erasing parts that I don't want I just want like a silhouette of trees in the background left and then everything else can go a little more gradients on the glass on the character's mask the gradient here is one of the characters shoots off all those projectiles because I want the actual to show up when I put a gradient behind everything and then erase the points of impact a newcomer with the new version of clip Studio paint is the shading assist at the top you hit edit and then you go to shading assist I can see this is something they keep improving year after year they'll probably come in very handy for people to do like ongoing webtoon and whatever the case may be using the colorization and the shading assist they can gum in very handy so you go to edit shading assist change the settings for what kind of shading you want day night whatever you just move that cursor around and you see how it's reading the character so freaking cool you can change the light source type you can change the shading type and the blending modes of each of them that bar it actually shows the opacity of each of the layers this is definitely a fun tool to play with but just know when you're done and you hit OK if you look at your layer window you'll see it's created these layers of the clipped to your drawing so in a way it's just kind of shading how you would normally shade for a 2d cell shading and there are many cases where this would make things faster are easier you will still need to do some editing to it to nail it but it's a nice foundation for this drawing though we're going to be doing it ourselves doing it manually and you just create a layer maybe you have it clipped to Flats reduce the opacity changes the blending mode to the one you want for me it's linear burn some people use overlay multiply and so on I'm using linear burn I'm picking a hue that fits the environment and I'm going to do this for all the panels you might actually do the same thing but for highlights but instead of linear burn maybe you do add or add glow reduce the opacity again and maybe a warmer color and then you put it where you want highlights to be and I do this until we are done now lastly it's time to export file export either single or multiple batch you can tick off right to text this way it exports a text file that has all the dialogues and stuff like that can come in handy for maybe a separate person that's lettering your work and maybe has to be littered differently or if you've lost the original script whatever the case may be below that you get to decide what pages get exported exactly you can also decide if you want the combined Pages split or not and in most cases you want them split especially if it's going to be in print because in print the double spread pages are going to be treated like they're separate and at the top you decide where the files get exported to and also what file type you want to make sure a text is ticked on sometimes you want text ticked off so that there's a version of the pages without any text making it easier for translations there's more to it than that but those are the basics that you need to know and after that you're done much easier than going to each individual page and saving and exporting you can export it all at once you can even export it as a PDF so much you can do didn't even touch any of the animation tricks you can pull off in clip Studio paint and now obviously if you want a double spread page together you wanted a version of both Pages combined you can go to that individual page and either save it manually or export it but this time without splitting the pages it's up to you and just like that we've made a comic from start to finish with clip Studio paint you can also see a 3D preview of how your manga is going to look in print form all you have to do is go to file export multiple pages and then 3D preview for binding and then voila I can flip the pages zoom in zoom out turn it around tilt it do whatever you want but it's a great way within clips of your paint to Envision your vision these are all the pages exported for the two and a half people that made to the end of this video I thank you don't forget to like And subscribe hit the Bell so you stay notified each time I upload absolutely anything follow me on all social media check out this next video it's going to help you on your journey to making your own manga