Use 3D objects to draw webtoon backgrounds faster

Welcome to this new CLIP STUDIO PAINT tutorial. In this guide, you will learn how to use 3D objects to create backgrounds for comics and webtoons much faster.

The goal isn't for you to stop drawing your backgrounds, but to use 3D models as a base to save time during production. This will allow you to dedicate more effort to the characters, the narrative, and the details that truly add value to each panel.

Before starting, there is something important to clarify. This method doesn't work for every project. If your story takes place in very specific or completely original settings, you will probably have to build a large part of the background from scratch. However, if your comic takes place in everyday locations like rooms, schools, offices, streets, or cafes, 3D objects can greatly speed up your workflow and help you meet deadlines without sacrificing quality.

What are CLIP STUDIO PAINT 3D objects?

If you use CLIP STUDIO PAINT frequently, you are probably already familiar with its material library (Clip Studio Assets). In addition to brushes, patterns, poses, and templates, it also includes a large collection of 3D objects that can be used as a reference to illustrate backgrounds.

3D models can be downloaded directly to your program and dragged directly onto the canvas to be manipulated like any other material, making them an excellent base for building the perspective of a scene.

You can access them from the Material > Material (Download) window. If this window does not appear in your workspace, activate it from Window > Material > Material (Download).

Finding a setting

For this example, I will use a panel from a webtoon I'm working on. The scene takes place in a school's sports locker room, so the first step is to find a model that can serve as a base.

I opened CLIP STUDIO ASSETS and typed "Room" in the search bar. You might wonder why I didn't search directly for Locker Room or Vestidor. The reason is very simple: more general terms usually offer a greater number of results. Although the model might not be exactly what you need, you will often find one that you can easily adapt.

I also recommend using the 3D Objects and Free filters, especially if you don't want to spend CLIPPY or GOLD on paid materials.

After searching for a bit, I found a model of a locker room that fit the scene I had in mind quite well. It wasn't perfect, but it offered an excellent base to work on.

Placing the model on the canvas

Once the model is downloaded, simply drag it onto the canvas.

When you do, several controls will appear above the 3D object. Of all of them, the first three are the ones we will use most during this process.

1. Rotate the camera: changes the viewpoint from which we observe the setting.

2. Move the model: shifts the object within the scene.

3. Scale the model: modifies its size.

These three tools are usually enough to prepare the composition for most panels. There are many more options for making advanced adjustments, but they are not essential for this workflow.

Hiding parts of the model

In my case, the model included walls and a ceiling. Since the setting was completely enclosed, it was impossible to see the interior from the angle I needed.

To fix this, I opened the Sub Tool Detail window. You can access it by clicking the wrench icon that appears in the bottom bar of the 3D object.

Inside this window, you will find the Object list section, where you can see all the elements that make up the model.

From here you can:

• hide objects,

• show them again,

• delete them if you don't need them.

I simply hid the ceiling to make only the part of the setting I would use for the panel visible.

Editing individual objects

Although it wasn't necessary in this example, it's worth knowing that you can also modify each object of the model separately.

Using the Operation tool, click several times on an element until it is highlighted in red.

Each axis has a different color:

• Red (X): moves the object from left to right.

• Green (Y): shifts it forward or backward.

• Blue (Z): moves it up or down.

You can also use the rings surrounding the manipulator to rotate the object on any of its axes.

This is very useful when you want to rearrange furniture, move a chair, change the position of a locker, or adapt the setting to the needs of your story without having to look for a different model.

Converting the model into lines

When the setting is ready, I recommend making a copy of the 3D object layer before continuing. This way you'll preserve the original model in case you need to modify the angle later.

On the layer copy, right-click and select LT conversion of layer.

A window will open with numerous configuration options. Although you can experiment with all of them, I will show you the configuration I normally use.

Personally, I prefer to extract the line to a raster layer, but if you prefer, you can select the vector layer.

The first thing I recommend activating is Preview. It might take CLIP STUDIO PAINT a few seconds to process the model, but afterward, you'll be able to see the changes in real time while adjusting the parameters.

 

I uncheck the Tone and Fill boxes and leave only Extract texture line and Posterize checked, as my goal is to obtain only the line drawing of the model.

Configuring line extraction

Under posterize you will find three values; by default, they are usually set to 70 - 50 - 30, a balance that works quite well for most models.

However, these values can be modified depending on the result you're looking for.

• If the model is very dark, you can try values like 100 - 80 - 60 to recover more detail.

• If the model is light or has little contrast, a setting like 60 - 40 - 20 usually produces cleaner lines.

There is no single correct combination. It's recommended to move the controls while watching the preview until you find a result that keeps only the lines you're actually interested in.

Once you're satisfied with the result, press OK.

Taking advantage of the perspective ruler

After converting the model, CLIP STUDIO PAINT will generate a folder with several layers.

Generally, you will find a layer with the extracted lines and another with additional information, although this can vary depending on the model and the configuration used.

What really interests us is keeping the lineart layer.

Now go back to the original 3D model, the one we duplicated before starting this process.

That model still keeps its perspective ruler, and we can take advantage of it to continue drawing with total precision.

Activate the ruler and drag it over the folder containing the newly generated lineart.

From that moment on, you can draw using the same perspective as the 3D model, even if you decide to erase part of the original lines or add new elements to the setting.

This is one of the most useful advantages of this method: the model stops being a final result and becomes simply a construction guide.

Customizing the background

This is where the real illustration work begins.

The goal isn't to leave the converted model exactly as it came out of the program. That's usually one of the reasons why many backgrounds made with 3D feel artificial.

At this stage, I usually spend a few minutes cleaning up the drawing.

Some of the modifications I perform most frequently are:

• removing unnecessary lines;

• adjusting the thickness of some outlines;

• simplifying details that distract attention;

• reinforcing important elements;

• adding objects that the original model didn't include.

In this case, I also added some specific elements I needed for the story.

These small changes make the background stop looking like an automatically converted model and instead integrate much better with the style of the rest of the comic.

Think of the 3D model as an extremely precise sketch. The final finish still depends on your decisions as an artist.

Adding the characters

Once the background is finished, all that's left is to place the characters on a higher layer and continue the usual inking and coloring process.

Since all the perspective is already resolved from the start, it's much easier to draw the characters within the setting without constantly worrying about the space's construction.

In addition, if you need to change the angle of the scene, you can return to the original model and generate a new base without having to start the background from scratch.

Final result

This was the final result of the panel.

In a scene like this, using 3D objects can save several hours of work, especially when the setting contains many repetitive elements or requires complex perspective.

Beyond the time saved, what I value most about this workflow is the possibility to experiment with the composition before starting to draw. I can try different camera angles, modify the position of objects, and explore several options until I find the one that works best for the scene's narrative.

In the end, the goal isn't to replace drawing, but to reduce the time spent on more mechanical tasks so you can concentrate on what really gives personality to your comic: the characters, the staging, and the narrative.

Conclusion

I hope you found this tutorial useful and that you can incorporate this method into your own workflow.

If you have any questions or know another way to take advantage of 3D objects within CLIP STUDIO PAINT, you can leave a comment. You can also suggest other topics you'd like to see in future tutorials.