Techniques For Creating Intricate Illustrations In Photoshop For Comics – Here is my image with spot colors, halftone filter colors, and the comic page I’m trying to reproduce. I’m missing something. My color is not the same. I use the same 64 color palette. I think the file is set up correctly if I plan to print the comic. However, I am looking at putting individual pages into a webcomic. The halftone effect doesn’t have the same feel. I don’t know if it’s because the permission slip is bleeding/disappearing or what. I tried the newspaper texture. My colors still look very digital. How can I do this without printing and scanning each page? Ideally, I would like to create an action to execute. Any help would be great.
First, you may be using the same color palette but not in the same proportion. Here is your paint can at the end of the day:
Techniques For Creating Intricate Illustrations In Photoshop For Comics
Monday. You can’t simulate the printing effect if you don’t know what the printing technique is.
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The style of printing depends on the amount of ink the paper can hold. So you don’t want too much ink on the paper.
1. I “moved” the overall look of the image using only curves to a lighter version, but still kept it black as black.
2. Convert your file to CMYK using a specific color profile, possibly uncoated (I’m lazy and just use standard coated paper)
3. Black adjustment is required to remove light gray. Black should be Line Art (see point B above)
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4. 4 panels are separated. Now you can see that where you have black, you also have cyan, magenta, and yellow. This is too much ink and will smear the print. (See point A above)
5. The cleaning method is to invert the black plate and add cyan dye. This way, where there is black ink, there is no cyan.
7. Now you can apply a halftone effect to this file. I removed the black channel because remember, you don’t want to screen the black channel.
The problem here is that the image not only “looks” on the screen color-separated, but also happens to be in CMYK mode. (The colors may look crazy in the browser, but you can download and preview them in Photoshop.)
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If you don’t want to print the file and want to keep the RGB color mode, blend the black channel (in the RGB-converted CMY file) in Multiply blending mode. This way the black will not look gray.
A few comments. I’m not using Photoshop here. I used Corel PhotoPaint, which provides very good separation of individual file channels, so I could illustrate this effectively.
It also has an adjustable halftone filter that allows you to have different dot sizes, so you should experiment with the dot scale.
Notice the circle in the image below. It may be difficult to see in some areas, but it is most noticeable in the upper right quadrant. The circle represents the original image. Outside the circle there is only “automatic” level adjustment.
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Also… even the colors of the newspapers are adjusted to increase the rating. Dot gain is the amount of ink the material absorbs and essentially “spreads” the dots on the screen closer together. Regular newspapers are screen printed with a lower line than other items such as magazines. This is to keep the “spots” away and allow them to “spread” a bit more. To simulate this you really need to experiment digitally with saturation/levels rather than any filter. Filters do not reproduce scoring effectively. Learn how to faithfully recreate the warm, nostalgic beauty of classic comic book printing with the KraftTone Comic Book Coloring System.
Your KraftTone texture templates come preloaded with easy-to-use texture effects and all the layers you need to start creating and coloring your artwork.
Your paper textures use effects that only work in RGB mode. We recommend that you do the work before flattening (Image > Flatten) and converting it to CMYK (Image > Mode > CMYK). This will prevent unwanted changes in the color and texture of the paper.
You can easily control the intensity of the paper texture by adjusting the layer opacity of the texture and marker layers as shown below.
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Your KraftTone brushes are designed to faithfully replicate the hand-crafted processes used by early digital comic book artists from the early 1900s through the 1990s.
All brushes are preset to automatically select the brush tool and the appropriate CMYK (CC2019+) color scheme, so you won’t have to mess around with tool and color choices every time you switch brushes.
Brushes are preset to a texture scale of 100%, but you can easily adjust the scale in the Texture tab of the Brush Options panel (Window > Brush Options).
Inappropriate brush ratios will cause unexpected results, so always check that the texture ratio is the same in all brushes used to create the paint formula.
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When you select the brush again, the texture scale will return to default. If you’re painting a large piece of art and using a variety of brushes, you can save time by creating a copy of the brush with the texture previously scaled down to the desired size.
To save a copy of the brush, adjust the texture scale in the Brush Options panel, then click the Create New Brush [+] button at the bottom of the Brushes panel and save the brush with a new name.
There are tons of colors, so before you get started, be sure to watch the video below to learn how to translate the formulas into brush combinations when painting your artwork.
Now that we know how to use the formula guide, let’s start adding more color using the pinch, line, and pressure tone brushes.
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The KraftTone Solid Swatches range includes solid versions of all KraftTone formulas with matching color codes, so you can quickly simulate and test your final work before finishing it with brushes and strokes.
Looking for a little color inspiration? Check out our comic book closing board. Part 05 Adding texture and dirty effects.
As if coloring wasn’t enough, now we get to the really fun part… creating custom textures and effects that are so good, you’ll swear you’re looking at a scan.
Working with a layer mask, we’ll create Non-Destructive Destruction™ (you read that right) to masterfully preserve your original paint layers. Plus, you’ll learn how to add dots, create registration errors, and ink-sucking effects for these little plugins.
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The top of the layer mask. If you’re new to using layer masks, there are a few helpful rules to keep in mind.
After you drag cyan, magenta, yellow, or black layers to simulate a registration error, your brush texture no longer matches the color you set. If there’s a chance you’ll need to make changes or add colors later, consider duplicating the color layer group before creating a registration error. You will thank yourself in the future!
Don’t you just love the instant touch of real ink printed on paper IRL? You’re in luck, because KraftTone was designed with screen printing in mind, making it easy to export your screen capture-ready separations and bring your artwork into the real world.
KraftTone Screen Printing Tip: For simplicity, we exported separations without dull textures in part 5 to avoid darkening in complex prepress techniques.
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CMYK prints work best when using matte inks. This usually involves adding an extended base to your standard plastisol ink, but as always, ask your friendly local printer for advice and their expertise.
If you’re trying to recreate the classic aesthetic created by KraftTone paper textures, be sure to take the time to get a good white paper with a visible grain for maximum effect.
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