9 layer tips that make it easier to draw



There are no tricks or ideas in this TIPS, but I will introduce 9 basic operations that even veterans do not know unexpectedly, and 9 tips around layers.
The first half is about the operation and selection of the layer palette, and the second half is about the color correction layer.
Although it is a simple content, it is important knowledge regardless of level, from beginners to veterans, so please have a look.

I have added subtitles for each language of the video, so please have a look if you like. ..
However, I think that this TIPS is easy to understand just by this TIPS without watching the video.

1. Operation of layer palette [Hand tool] is convenient

If you have a lot of layers in the layer palette, you have to scroll with the mouse and move the bar with the pen, which is difficult.

Actually, the layer palette can be moved by pressing the [Space] key and using the [Hand Tool] that appears.

All you have to do is drag the wide orange part of the layer palette with the Hand Tool, so you no longer have to switch the pen to the mouse and scroll with the wheel, or carefully pinch and move the thin bar with the pen.

2. Find the layer on the canvas.

If you want to find out where the layer is on the screen, press [Ctrl] and [Shift] together and use the [Layer Selection Tool] to enclose the part you are looking for on the campus and you will find it immediately like this. You can.

This tool is also useful for finding garbage on campus.

3. Display only one layer

When you want to display only one layer or folder, you can display only that layer like this by clicking the eye mark on the layer palette while holding down [Alt].

To return it, click [Alt] the eye mark again in the same way.

4. Switching to tools related to screen display

It's not directly related to the layer palette, but here are some other tools you should know about viewing.

While holding down the Spacebar, you can temporarily switch to Hand Tools and drag the screen.

If you hold down [Ctrl] and drag with [Space], it will temporarily switch to the [Rotate Tool] and you can rotate the screen.

If you hold down [Shift] and drag with [Space], it will temporarily switch to [Zoom Tool] and you can zoom the screen.

It is convenient to register [Reset Rotation / Flip] in [Rotate / Flip] in the [View] menu as a shortcut.

It is also convenient to register [Left / Right Flip] of [Rotate / Flip] in the [View] menu as a shortcut.
It is often used to check the balance between left and right.

Temporary switching of these tools is recommended because you don't have to move the pen or viewpoint from where you are drawing, so you don't get distracted every time you operate the screen.

Supplement ・ Difference in display area depending on monitor resolution

This is a supplement about the layer palette. About the layer palette and monitor resolution.
The upper image is the screen of the FHD 1920 x 1080 monitor, and the lower image is the screen of the WQHD (2K) 2560 x 1440 monitor. Both campus zooms are comparisons under the same conditions.
Notice the difference in the size of the layer palette and the display area of the campus.

WQHD can display more on the screen, so you don't have to move the layer palette, zoom or move the campus less often.
So, if you can afford it, I recommend WQHD, 4K monitors and LCD tablets.

5-1. Make a selection from a layer

Here are some ways to make a selection from a layer.
In some cases, you can make a selection faster than using the automatic selection tool, so try using it as it will save you time when applying tones or making masks.

You can select the part drawn on the layer by clicking the thumbnail of the layer palette while pressing [Ctrl].

5-2. Add another layer's selection to the selection.

If you hold down [Ctrl] and [Shift] and click the thumbnail of another layer,
You can add another layer's selection to the original layer's selection.

Remember that [Ctrl] [Shift] thumbnail clicks are the addition of selections. Here, the selection of the black layer is added to the selection of the red layer.

5-2. Remove another layer's selection from the selection

Also, if you hold down [Ctrl] and [Alt] and click the thumbnail of another layer,
You can remove the selection of another layer from the selection of the original layer.

Remember that [Ctrl] [Alt] thumbnail clicks are subtractions of the selection. Here we are erasing the purple layer selection from the original selection.

5-3. Select the shared part between the selection and another layer

It's a bit confusing, but holding down Ctrl, Shift, and Alt and clicking on a layer's thumbnail will select the original selection and what you want to share with that layer.

Supplementally, this is like a die-cut cookie dough,
It is a function to cut out the shape of the clicked layer from the original selection range.

It can also be said to be a function that erases the selection range other than the clicked layer.
Here, the selection range other than the common part with the black layer is deleted from the original selection range.

If you click [Ctrl] + [Shift] + [Alt] in the same way for another layer,
Furthermore, you can select only the shared part.

Here, the selection range other than the common part with the red layer is deleted from the original selection range.

5-4. Create a selection from a solid fill layer and a gradient layer

When selecting from a solid layer or a gradation layer,
Note that you click the thumbnail of the layer mask, not the layer.

6. Solid color / change the color of the gradation layer

You can change the color of the solid fill layer and the one or two gradation layer by playing with the color slider with the object tool while selecting the layer.

This is convenient because you don't have to make color corrections by editing each time.

7. Copy of mask / ruler

You can copy the same mask like this by dragging and dropping the mask to another layer while holding down [Alt].
It is convenient because you do not have to make a selection many times.

Clipping will give similar results if the layers are close together.

You can get the same result by putting the layers in the same folder and masking the folders.

Not only the mask but also the ruler can be copied in the same way by dragging [Alt].

Also, if you put the layers in the same folder and attach a ruler to the folder, the ruler will be applied to all the layers in the folder.
This is useful when drawing a cartoon background.

8. Use the boundary effect "edge" to finish the illustration

Next is the border of the layer boundary effect.
I explained how to use it in manga, line drawings, vector layers and onomatopoeia in the previous video, so please have a look there if you like.

This time, I will introduce an example of how to use it in an illustration.

If you add a border to the illustration in the folder, the outline will be clear and easy to see.

By the way, this time, after attaching the border, I added the lines of the hands, headphones, collar of the jacket, etc. with a pen so that they match the thickness of the border of the outline. The image above is after retouching. It's easy to add a border with the touch of a button, but if you don't add it, the line thickness will be different and it will look bad, so you shouldn't cut corners like this.

If you put the illustration folder in the folder again and add a border to the folder, you can double the border. Here, a white border is attached to the outside of the original black outline.

If you put the illustration folder in the folder again and add a border to the folder, you can make the border triple. This time, I wanted to make it pop and cute overall, so I added a pink border. The border color can be changed from [Border color] on the layer property palette.

When you feel that the character is buried in the background
If you make it clear with a slightly black edge, or make it clear with a white edge,
It's easy to get a good feeling, so please give it a try.
However, pay attention to the difference between the outline and the original line drawing, and make additions and adjustments if necessary.

9-1. How to use the color tone correction layer

[Tone correction layer] is a layer that applies various tonal corrections to the layers below it. Unlike [Tone Correction] in the [Edit] menu, the original layer can be left as it is without being processed, and it can be edited again as many times as you like. You can also check the difference from the original state by hiding the layer.

[Color tone correction layer] can be created from [New color tone correction layer] in the [Layer] menu.
First, let's create [Color Balance] of [Tone Correction Layer].

9-2. Color balance

When you create [Color Balance], the following window will appear.
The [Color Balance] slider is divided into CMY (cyan, magenta, yellow) and RGB (red, green, blue) in this way, and you can select whether to move to cold or warm colors.

In addition, the color balance can be changed separately for shadows, neutral colors, and highlights. Even if it is achromatic, it is possible to add color, which is different from the color tone correction of [Hue / Saturation / Brightness].
Frequently used adjustments are for shadows to be cooler and highlights to be warmer.

Let's start with the shadow.
First, move the cyan / red slider at the top to make it look like this.
The color component of the shadow has changed to be closer to red and closer to cyan.

Next, move the magenta green slider in the second row and it will look like this.
The shadow color component has changed to be closer to magenta and closer to green.

Next, move the yellow / blue slider in the third row and it will look like this.
The color component of the shadow has changed to be closer to yellow and closer to blue.

Now, let's actually adjust the color balance of the illustration.
Shadow made the magenta stronger because I wanted the whole illustration to look pinkish.
For the neutral color, I want the highlight to be closer to yellow, so I strengthened the complementary color blue to emphasize it.
The highlights are all warmer and slightly stronger red and yellow to emphasize the skin tone.

If you hide the [Tone correction layer] and check the difference from the original state, it will look like this.
You can see that the dull colors are brighter.
Especially when you apply a thick coat of brushes, the color becomes muddy, which is convenient for adjusting.

9-2. Re-editing the tonal correction layer

If you want to redo the color tone correction, double-click the [Tone tone correction layer] thumbnail in the layer palette, and a window will appear again so that you can edit it again.

9-3. Tone correction layer masking

[Tone correction layer] can be masked and opacity can be reduced in the same way as a normal layer.
Next, let's create another color variation by changing the hue in [Hue / Saturation / Brightness] of [Tone correction layer].
However, if this is left as it is, the color of the skin will change, so I will make a mask on the [Tone correction layer] only for the skin part.

Select the skin layer and subtract the layers of parts such as clothes from the selection range of the skin layer by clicking the [Ctrl] [Alt] thumbnail to make the selection range only for the part where the skin is visible. .. As shown in the image below, it feels like erasing the green layer from the blue selection.

Click here to mask the [Tone correction layer] of [Hue / Saturation / Brightness] only for the skin part.
Now you can easily create color variations.

In this way, the color tone correction layer can be partially used by masking it.
With this kind of feeling, you can instantly create differences in dark skin with a single color tone correction layer.

9-4. Adjust the background with the tonal correction layer

The tonal correction layer is also useful for fine-tuning the background.
This time, I will try to utilize it for color aerial perspective.

As a preliminary preparation, divide the selection range into near view, middle view, and distant view.
If the boundaries are ambiguous, the Quick Mask and Selection Layer, which allow opacity, are useful.

In [Hue / Saturation / Brightness] of [Tone Correction Layer], you can reduce the saturation of the distant view and increase the brightness in aerial perspective.

Use [Color Balance] in [Color Tone Correction Layer] to make the distant view cooler.

In [Tone curve] of [Tone correction layer], you can lower the contrast of the middle scene or reduce the red component to make it cooler.

Since you can make adjustments from various points like this, it is convenient for adjusting the final finish and making differences.

At the end

I think that this time it was just a simple technique, but there is a difference in the speed of completion other than drawing like this. You can do it little by little, so please try and remember it.

Also, vector layers have been covered many times in the past tips, so I won't touch them this time. See tips below.


This time, I uploaded a time-lapse video of the illustration production process mentioned in the explanation.
However, it has nothing to do with this TIPS, and there is no explanation or explanation, so I think it will not be helpful, but if you want to see the production process, please have a look.



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