After various groping and experimentation, I found that mixing different brushes can simulate the traditional watercolor and ink texture to a certain extent. The following describes the brush characteristics and production methods, and then the process explanation.

 

(In order to make the description easier to understand, I numbered the brush and the original name is not numbered.)

 

 

Brush introduction

No.1 [rough]

 

It can draw delicate lines and make a brush-like rough texture.

This is the built-in brush of the CSP. The area of [Ink] can be found.

(But my layout is different from the initial settings. The image section is for reference only.)

 

 

No.2 [light ink]

 

With a rendering effect, it can smudge high-density colors.

 

It is also built in CSP, and the area of [Ink] can be found.

 

No.3 [オイルパステル] (official)

(Load point > https://assets.clip-studio.com/zh-tw/detail?id=1702961 )

 

With a different brush size and pen pressure change, you can draw fine lines and mix colors. It is a very versatile brush.

Set the brush effect

In order to simulate the hand-drawn mottled effect more effectively, you need to make two brushes with watercolor textures.

Named no.4 [オイルパステル] and no.5 [dense watercolor]

 

 

No.4 [オイルパステル]

 

It can simultaneously express the texture and transparency of the edge of the watercolor, and also increase the color saturation when superimposed.

Adjusted by no.3[オイルパステル] described above, please go to [Accessibility Detail Panel] to change the value.

 

The values of the detailed adjustments are as follows.

 

Ink: (pigment concentration > 80 color extension > 75)

Brush front: (thickness > 120 concentration > 50)

Scattering effect: (particle size > 87 particle density > 3 scattering bias > 3)

Paper: (paper density > reverse density magnification > 68)

Watercolor borders (watercolor borders > 1.7 transparency effects > 5 brightness effects > 5)

 

There are a lot of changes, I am sorry.

 

In order to increase the color saturation and the convenience of color mixing, I have increased the pigment concentration and color extension, and the concentration of the front end of the brush can reduce the transparency, and at the same time, the spreading effect and the watercolor boundary are opened, and after the paper is strengthened, the hand drawing can be increased. Watercolor texture.

 

(This is the one side of the test function, and it is just a good result, so the value is very trivial, sorry for your eyes ( ́Д`))

 

 

No.5 [Dark watercolor]

 

Enhances the scatter effect and the watercolor border, simulating the watercolor to dry off the outlines left on the paper.

With the pen pressure strength, brush size, stamp, hold, etc., you will get different effects.

Made by CSP's built-in [Dark Watercolor], the area of [Watercolor] can be found.

The settings for adjustment are as follows.

 

Scattering effect: (particle size > 15.2 particle density > 4 scattering bias > 3)

Watercolor border: (watercolor border > 5.5 transparency effect > 4 brightness effect > 1)

 

After the brush is set (finally! ( ́Д⊂ヽ), enter the drawing phase.

 

Drawing process

The following canvas sizes are A4, 210mmX297mm, 350dpi.

 

(The relative sizes of the brushes will be different if the canvas size is different. This should be noted before drawing.)

(1) Line draft

I drew a muffin because I don’t think anyone would hate the muffin, and the structure is simple and easy to explain.

 

In order to present the feeling of a pencil, you can use a brush with a little rough particles, pay attention to the light and heavy changes when drawing, the line drawing does not look too stiff, and the individual likes the way of leaving a gap between the line and the line.

 

(The 使用 used here is very good, I recommend it to everyone, thank you Hmm... greatly)

Loading point>https://assets.clip-studio.com/zh-tw/detail?id=1695797

(2) draw the background color

 

Use the brush number no.5 to whiten the surface of the muffin with a light yellow color.

Pay attention to the power when controlling the drawing, adding different shades and textures to the picture.

Properly retaining the hard-edged reflections and soft reflections will be closer to the hand-painted watercolor irregularities.

 

(You can adjust the brush to different sizes as needed during drawing, just fine)

(3) coloring

Create a new layer and apply a darker yellow color to the toasted portion of the muffin. Be careful not to cover the white space when you paint.

(Colors are not mixed when a new layer is created above.)

 

 

(4) blooming

Combine the layers, use no.2 [light ink] to smudge, pay attention to while retaining the sharper reflection, while mixing the parts you want to blend, this step can create the effect of watercolor rendering.

(5) increase the shadow

Create a new layer, use no.3 [オイルパステル] to add shadow and detail to the darker brown, then use no.2 [light ink] to smudge it.

 

(Change the pen pressure, lightly poke or smudge, you can add more texture to the picture.)

(6) Add color and texture

Create a new layer, use a deeper red with no.4 [オイルパステル], gently add a mottled texture, and a little deeper to the gravity.

 

(If the detail is too thick because the brush is too thick, you can use the eraser tool, or adjust the brush to a transparent color to erase the excess color.)

 

(7) Color value added

Create a new layer with a color increase of >70%

 

Use the red on the picture with no.4 [オイルパステル], then use no.2 [light ink] to smudge it slightly, so that the whole layer is covered with a layered shadow with a textured texture.

(8) plus reflective

Open a new layer and add white to the reflective position that you want to emphasize with the decoration.

If you want to be sharp, use no.1 [rough]. If you want white to smudge it, use no.2 [light ink]

 

Appropriate addition of unevenly distributed white spots will make the picture richer and create a common effect of watercolor.

(But be careful not to add too much, it will grab the viewer's attention.)

 

I used the dust mites here, thanks to the great offer of diceproj.

Loading point>https://assets.clip-studio.com/zh-tw/detail?id=1687371

(9) Detail modification

Finally, the line draft is modified to observe the overall addition and refinement.

(Bold lines in places where heavy shadows are likely to occur, it will make the picture more stereoscopic.)

(10) Final draft

 

Finally, make up the plate and the fork. When drawing, you can use different brushes to express the texture according to the characteristics and color of different objects.

  

 

Different levels of line drafts, wireless drafts, etc. can create different effects and provide you with reference.

Considering that the main color of the muffin is yellow, the effect of different color mixing may be less obvious, so try to draw objects of different colors.

 

(The hydrangea below can be used to reference the color mixing effect.)

 

The color of the bottom layer is mainly composed of blue, purple and yellow, mixed with no.4 [オイルパステル] and no.2 [light ink].

When you want to overlay colors, you can create a new layer above, draw the desired color, and merge the layers for rendering.

Brush Supplement - Ink Style

Since I found that only the muffin can not introduce the ink characteristics of no.1 [rough], the goldfish drawing process is supplemented here.

 

(After reading the muffin drawing process, someone should think that no.1 is useless (ノД`), I have to help it.)

(1) Drafts and line drafts

After drawing the rough outline of the goldfish, use the draft as a reference, create a new layer, and draw fins, scales, tails and other details while maintaining the overall sense.

 

(Because it is an ink style, the focus is on the presentation style, and there is no need to carefully trace the line draft.)

 

(2) Background and color mixing

Use no.1 [rough] to draw the background color. With the brush characteristics, you can draw the lines with the thickness change. Add the gravity part of the tail part to make the line thicker, and the fin part will draw a fine line. Very suitable for simulating the flow of goldfish.

 

(At this stage, pay attention to the white space, do not completely fill the color.)

 

After the background color is good, on the same layer, use no.2 [light ink] to render the color block of the goldfish head, and extend the color along the flow of the fin and tail to get the ink natural smudge. Effect.

(3) superimposed color

Create a new layer, use no.4 [オイルパステル] and no.5 [dense watercolor], control the pen pressure to lightly poke, increase the coarse particles to increase the hand-painted texture.

 

Then merge the layers and use no.2 [light ink] to mix the colors.

(4) draw ink lines

Create a new layer, turn the brush into a deep red color, and then draw a thicker ink line with no.1 [rough], for the contours of the fish, the fins, the details of the goldfish swimming at the turning point, the overall flow It will be better.

 

Then increase the pen pressure, strengthen the color of the scales, and then use no.4 [オイルパステル] to slightly increase the texture of the scales.

 

(5) Retouching the outline

Create a new layer, turn the brush to white, use no.1 [rough] to modify the lines of the tail, and fill in the details of the fish scales.

(Because of the brush characteristics, it is easy to draw sharp edges.)

 

(6) increase the details

Because I feel that the whole is a bit too red, I want to add a golden feeling, so create a new layer and use no.2 [light ink] to gently dye the golden color on the back and tail of the fish. Because of the flow of the tail that I want to increase, I draw a finer line with no.1 [rough].

 

Finally, use a little black embellishment to emphasize the contours of the eyes and the surroundings.

 

to sum up

Finally, the above methods are only for reference. The drawing steps are not necessarily in the correct order. As long as they are suitable for you, you can create the ideal effect in your mind.

 

Since this purpose is mainly to set the brush setting method and color mixing method, there are not many brushes actually used, but the official and many users have provided a lot of materials and brushes, you can try many ways, mix and use different When the brush of the feature is used, there may be new discoveries.

 

If you feel that the brush is not easy to use, you can adjust the settings according to your own habits, or create a new brush that suits you. Of course, you can use the existing brush or all kinds of materials, as long as you can make the picture better. Worth trying to see.

 

Thank you for reading, I hope this content will help (・∀・)