How to use the blur filter for black-and-white comics Basics and applications

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Introduction

This TIPS is a course on how to use the blur filter that can be used when drawing manga.

It's easy to think that the blur filter is a function for color illustrations, but there are opportunities to use it unexpectedly even in black-and-white comics.
This time, I will introduce a lot of practical tricks that you can use when drawing manga.
The first half is about the use of the basic tone work, and the second half is about the use of the texture of the advanced version, which is the highlight of this time.


Basically, it is explained in detail in the video.
Subtitles for each language have been added to the video, so please give priority to those if you like.
Please note that the name of the tool may be incorrect because it is an automatic translation.
I tend to omit the explanation in this TIPS, so I plan to add images and explanations later.

How to use the blur filter in black and white comics

Let's try blurring this black circle.

1. 1. First of all, filters cannot be used on monochrome layers,
Change the [Expression color] of the layer property from [Monochrome] to [Gray].

2. 2. Then select "Gaussian Blur" from "Blur" in the "Filter" menu and select "Gaussian Blur".
Adjust the [Blur range] with the slider and OK.

3. 3. Finally, turn on [Tone] in the layer property to complete.
If you announce it on the WEB, you can leave it gray, but
Toning is essential if you plan to print it, such as in a magazine.

Also, on a large canvas such as a cartoon manuscript, the operation of the filters becomes very heavy.
Therefore, if you enclose only the part where you want to use the filter in the selection range in advance, you can work smoothly.

Basic technique 1 Border blur

It is a technique to add a blurred tone border to what you draw.

It is often used to express magic and beams.

Fill the white drawing with another layer in black, add a border with [Border the selection] in the [Edit] menu, and then use [Blur]-[Gaussian blur] in the [Filter] menu to blur or not. If you lower the transparency, turn on the tone effect, and place it under the white layer, you can create an expression like the one below with a faint light.

Also, if you put the border blur on the character, you can describe a sad and melancholy scene like an image.

Such a depiction of superimposing a tone on a tone may cancel one tone.
In such a case, it is better to move the position of the tone net that covers it.
The following tone shift actions are useful.

Basic technique # 2 Motion blur

By facing the movement of an object or body and applying radiation blur or movement blur, you can obtain the effect of shooting a moving object with a camera.
As an example, let's express the muzzle flash of a gun or ammunition with radiant blur, and the recoil of a gun with moving blur.
Muzzle flashes and ammunition may seem difficult, but all you have to do is use [Radiation Blur] instead of [Gaussian Blur] to blur the edge of the basic technique # 1.

For the muzzle flash, draw it in white, copy and paste it, fill it in black, and then add a border to make it one size larger than the original white flash. Create a new draft layer and mark the center of the muzzle flash. With this marker, the flashes of the two layers, white and black, can be blurred from the same center.

After that, apply a little [Gaussian blur] to the whole.
Before applying [Radiation Blur] or [Movement Blur], apply a little [Gaussian Blur] to blur it beautifully. If you don't do this, the boundaries of color growth may be sharp.

When you start [Radiation Blur] from the [Filter] menu, a red cross mark appears in the center of the Radiation Blur. Drag this to the mark you drew earlier to move it.

If you increase the amount of blur and press OK, you can blur as if a muzzle flash is coming out from the muzzle.

Apply Radiant Blur to the white flash as well as the black flash. Set the center of the marker in the same way so that the black flash and the center of [Radiation Blur] match.
[Blur amount] should be slightly less than the previous black flash.

Finally, turn on [Tone] in [Effect] of [Layer Properties] to complete the muzzle flash.
Ammunition can be drawn in the same way. However, the center is not the same as the center of the muzzle flash, but it is placed on the extension line passing through the center of the barrel and the muzzle flash. The trajectory of the ammunition will look better if it is aligned with the direction of movement and perspective.

You can also blur the sparks near the muzzle flash.
You can easily draw a nice effect by scattering sparks in black and white with a splash brush, applying [Gaussian blur], and slightly lowering the opacity to make it a tone.
I was able to improve the quality with little effort.

Next, I will draw the recoil and recoil of the barrel with motion blur.

First copy and paste the gun layer folder to untone all the tones in the gun folder and make it gray, then combine the gun folders into a single layer.

I will erase it because I will not use it except near the muzzle.
You can blur it as it is, but you can set up a parallel line ruler and add lines vertically.
Stretch it with your fingertip tool and add a little movement.

Set [Blur angle] to 90 degrees in [Move blur] of [Filter] to blur the muzzle vertically.
Finally, tone it up and you're done.

Basic technique 3 Lens blur

It is a method to blur the part where the camera is out of focus on the screen. You can get a realistic effect.
I will try to blur the picture of the shrine drawn from the picture I drew before, focusing on the shrine maiden.

First, cancel the background tone effect, and then combine each of the near and distant views into a single layer.
Then, in the [Selection] menu, select [Stock Selection].
Create a [Selection Layer] and paint the area near the focal point so that it is light and the area far from it dark.


If you make a selection with [Selection Layer] and then apply [Gaussian Blur],
The effect is that the focus goes out of focus as you move away from the focus.

If you make a selection in [Selection Layer] and then blur it, you can blur the dark areas strongly and the light areas weakly.

Changing the amount of blur in the near and distant views makes it easier to get a sense of reality.
The trick is to change the amount of blur depending on the distance from the camera.

Applied technique 1 Texture blur

It is a technique to naturally attenuate the texture of the texture with Gaussian blur. By greatly blurring the part you want to attenuate partially, and then changing the expression color of the layer from [Gray] to [Monochrome], the details of the greatly blurred part are skipped.

First, do a small amount of [Gaussian blur] on the whole, then create a [Selection layer], paint the part where you want to erase the texture, and blend it smoothly with the part you want to keep.
Make a selection from [Selection Layer] and use [Gaussian Blur] to blur it strongly this time.

Finally, by changing the expression color of the layer from [Gray] to [Monochrome], the details of the greatly blurred part are skipped.
The skipping condition can be freely adjusted by the threshold value of the expression color in [Layer Property].

Rather than scraping the texture with a Kakeami brush, it can be attenuated while maintaining the texture naturally.
You can use a parsed texture to erase the interior, or a shaded texture to erase the areas exposed to light.

Applied technique 2 Shading blur

Border the texture and then blur it,
By returning the line density that increases toward the back to monochrome, the expression color of the layer is restored.
It is a blurring technique that is used to draw shadows by making them solid all together.

At the end

This time, I introduced each of the useful techniques individually, but in reality, they are often used in combination.
For example, [Lens Blur] and [Motion Blur] are often used together in battle scenes.

However, be aware that if you blur the tone too much, it will be difficult to see the manga.
Also, it may not be printed well, so don't forget that point.

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