4. Inking the Background



[1] Inking small objects in the foreground

For objects with round parts like the buckets, I create an [Ellipse ruler] to draw the lines.

I draw the top of the table while snapping to the perspective ruler I made at the rough draft stage, then draw the drawers and legs freehand.

[2] Inking the distant background

Like when drawing the line art for the character, I first draw the shapes of objects in the background, then add decorative details at the end.

I draw the shapes of the walls and bookcases in the background while snapping to the perspective ruler I made at the rough draft stage.

Note: The rough draft layer is hidden to make the line art clearer.

When drawing complicated decorations such as windows, it is easier to draw the shape from the front and then transform it to match the perspective using the [Free Transform] tool.

I often use the [Free Transform] and [Mesh Deformation] tools, so I have them registered to my command bar.

▼ You can customize the tools displayed on the command bar from the [File] menu > [Command Bar Settings].

Note: [Free Transform] and [Mesh Deformation] are not displayed on the command bar in the default settings.

■ Drawing the portrait frames

(1) I create a new layer and draw the shape of a window frame. Since there are three windows in the rough draft, I duplicate the layer so that there are three window frame layers.

(2) For the central window, I use the [Free Transform] on a duplicated layer to adjust the shape of the window frame. I do the same thing for the windows on the left and right.

Note: Use the [Free Transform] tool to adjust the shape using the control points at each of the four corners.

(3) I draw the more detailed parts and then adjust them using the [Free Transform] tool in the same way.

This is how it looks with just the characters, object, and background layers all visible.

I use layer masks to hide any overlapping parts, such as where the window overlaps with the character.

Note: Read the following TIPS article to learn how to use layer masks.

[3] Inking other small objects

I draw in lines for the water and any other remaining objects.

As the background becomes more complicated, there is more information to handle and more lines on the canvas, which makes it hard to see. Therefore, I draw the silhouette of the new objects using the “Fill Pen_QM” before I draw the line art.

Although this is the line art stage now, I do the same for coloring as well. It is easier to draw these elements after deciding a rough shape with a silhouette, because the information is easy to see at once.

I create the portraits in the same way as the window frames. I first draw the line art from the front, then transform the lines to match the perspective.

Finally, I add a fish-eye effect to all the layers except the character.

I select [Edit] menu > [Transform] > [Mesh Transformation], then drag the handles at the intersections of the mesh.

When it would take time to transform each layer one by one, it is easier to first merge the layers and then transform them together.

Now I’ve finished all of the line art.

I create a layer folder for all of the line art and move all the layers into here.



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