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If I may, I think this thread on Drunk Duck may be very useful to some people: the Ultimate Digital Artist's resource on a shoe string (or no string) budget (which has a few links to writing resources as well). It's got summaries of various free/cheap programs with some pros and cons as contributed by DD forum goers.
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| # ¿ Feb 2, 2011 20:52 |
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| # ¿ May 25, 2013 01:51 |
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Pick posted:By the way, this is a massively stupid question, but what is your official role, DD-wise? I know you're one half of the podcasts, but I forget what your precise role is there. It's not stupid really, because there's nowhere on the DD site that really says. Myself and ozoneocean are the site admins. We manage the comics and users, follow up reports of harrassment, moderate the forums and so forth. We also liase with Wowio (DD's owner) when it comes to bug reports, malicious ads on the network, desired new features and so on.
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| # ¿ Feb 2, 2011 21:41 |
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Kismet posted:Oh yeah? Well I work exclusively in landscape format. I just have to tell you that I laughed really hard at this.
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| # ¿ Feb 4, 2011 17:18 |
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The wheel or circular fomat might work, but isn't that still sequential? It just doesn't have a start or end point. What about something which would prevent the panels from STAYING in a sequential format? Say 6 panels load in a standard format, but every 2 seconds they switch places or something, so as you try to read it normally you're going through randomized (and sometimes repeat) panels, or if you try to follow one panel around its placement in the sequence is constantly changing. Or the low-tech version might be having different panels are glued onto balls which are agitated somehow. Trying to think up a synchronous presentation might be interesting, to remove the sequential nature of it. I'm not sure how you might present things to be consumed all at once though. You could do a visual coupled with sound but I don't think any other senses would work. Or maybe a big drawing with all the stuff that would be in a comic just presented as one piece, all out of order or taking different spaces in the landscape or something. Like take all the 'pieces' apart and sort them out, all the dialogue in the upper-left and the character drawings in the upper-right, foreground elements in the lower-left and backgrounds in the lower-right, I dunno. I think that sounds kind of inscrutable actually...
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| # ¿ Feb 5, 2011 23:01 |
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Half shop talk, half confessional.
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| # ¿ Feb 6, 2011 02:17 |
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My only observation would be that the backgrounds are very 'regular' and carefully done, and they contrast a bit awkwardly with the cartoonier character art. The first page especially, after all that precise drawing of squarish things you get a big round white guy. It's a stark contrast (and maybe intentional) but I kind of get the feeling that he doesn't belong in that setting, he's just too different. The second guy doesn't give me that feeling. The end of the first page also leaves an impression like "haha, fooled you with those detailed panels, the comic is really going to be like this cartoony guy" but then you go back to being pretty detailed on the second page.
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| # ¿ Feb 6, 2011 15:15 |
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Also, "flag up" means "outgoing mail" so that doesn't really match with the magazine being in there.
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| # ¿ Feb 6, 2011 20:38 |
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I was unhappy with Photoshop inking (though I hear it can be improved with custom brushes) so I went with Paint Tool SAI which has a more comfortable brush and some neat features like the ability to rotate the canvas. Inking in Flash means your linework is vectorized, so you can scale it up or down as much as you like and it will always be crisp.
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| # ¿ Feb 6, 2011 21:34 |
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Yeah, with the mailbox flags you put it up to tell the mailman there's mail there to pick up. Otherwise if he doesn't have mail for you, he'd just drive by and miss picking up your mail. And putting the flag up to mean that you have received mail just makes the whole idea of mailboxes a little more unsafe. Hey mail thieves, look in this box, there's something in it!Neeksy posted:I seem to have difficulty balancing things, and things I'm doing intentionally are being read as errors, so I need to commit to concepts/ideas in a more convincing way. Well, if you mean the 'cartoonish clash' character, then I'd say you achieved your goal. As I said, the other guy didn't give me that feeling. So if the first guy was supposed to stand out then you succeeded. I did wonder if it was intentional, since you'd set him up as pretty unpleasant in the first place.
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| # ¿ Feb 6, 2011 23:25 |
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Kave posted:Wow this thread reminded me I've been sitting on Mangastudio for over a year. I really need to start learning it. I know I don't use SAI like I should. I ink my psd files in it and then toss them back into CS3 to color and everything. I didn't even know there was a vector inking option. There seem to be a lot of tutorials around for SAI though so I suppose that's a project I should take upon myself soon. I'm constantly annoyed that SAI doesn't seem to have a basic "draw a straight line" tool like photoshop does (U) but perhaps there is something there which will do it. I recently bought a Bamboo Fun because my old Intuos 2 wouldn't work right on Vista. However the Bamboo doesn't have a surface protection layer. Any ideas for something I could rig up? Also the nib seems to wear down really fast, do they make the nibs softer now or something? Maybe because there's no protection layer?
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| # ¿ Feb 7, 2011 15:38 |
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Just for reference, this is my tablet: The drawing surface feels very smooth actually, I can't discern a texture to it by touch, which is why the nib wear puzzles me. I've considered just taping some paper over it, but that definitely feels more toothy and seems like it would wear the nib down even more. Maybe I'm wrong? skoolmunkee fucked around with this message at Feb 7, 2011 around 17:41 |
| # ¿ Feb 7, 2011 17:38 |
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I can just buy replacement nibs, but it's annoying when my Intuos went years without needing any. I've drawn like twenty relatively simple pictures with this one and it's developed a huge angle. Modern products 
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| # ¿ Feb 7, 2011 18:15 |
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The creator of Manly Guys Doing Manly Things has posted a long blog entry with various "how to improve your art" advice: http://thepunchlineismachismo.com/archives/657 There's nothing very new there, but she has some fairly realistic messages and uses a couple of entertaining examples (her own improvement, Dominic Deegan's lack of improvement, and a "horrible" version of one of her comic pages with boring art). She also mentions some books and references she thinks are worthwhile.
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| # ¿ Feb 18, 2011 17:55 |
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Yeah, one of my favorite points was that instant gratification bit. Drawing things you enjoy and getting some kind of positive feeling from it is important if you're going to keep doing it. If it's not fun to do a lot of people won't see the point, or if they do they won't be dedicated enough to get there. "Stop everything that you're doing and go take life drawing" may be good advice, but "do stuff you enjoy, but also take life drawing" is better. As long as people don't go the other direction and only draw what they're comfortable with because it's what they enjoy. I didn't check out that symbols and patterns article (part 1 and part 2 for the curious) but now that I have I can say it's really interesting and makes some good points too. When it started I was wondering if it was going to go down some Scott McCloud route but it didn't at all. It was kind of inspiring actually.
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| # ¿ Feb 19, 2011 15:28 |
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badthing posted:I didn't mean for that to sound like "no, don't use Webcomic/Inkblot" if that's what it sounded like. Just, yeah, if one doesn't work for you the other might? Actually his "Making Comics" spends 7 or 8 pages on "Choice of Frame" so if you're near a bookstore you might check the book out to see if it's worth buying. IIRC it's in the first chapter, the early pages. Around page 20 maybe. I don't think he gave much specific advice, other than to consider the panels as "camera angles" or pictureframes, so you can use distance, height, empty space, etc. the same way you would in a photograph or film shots. So a view from below looking up emphasises size and grandeur, and views from above/away indicate emotional detachment, etc. He doesn't spend very long on it. (It's a useful book though.) Edit: Yup, it's right around page 20. However some of his advice is dispersed through the book as many topics interconnect. His sections about intensity and mood, flow, setting, etc. all have some relation to panel composition too. skoolmunkee fucked around with this message at Feb 20, 2011 around 21:20 |
| # ¿ Feb 20, 2011 20:58 |
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The two main benefits to using a webcomic host are 1. Ease of getting started, and 2. Built-in network of people who are more prepared to check out your comic (if you socialize a bit on the site). If you're just starting out it can be very hard to get anyone to find or look at your comic, so 2 can be pretty valuable to some people. You can always set up your own site but keep a mirror on a comic host. It does split the location of your audience, but they're readers you probably wouldn't have had otherwise. The other admin and I have been doing some podcasts for Drunkduck (a comic hosting site), and in one of the episodes we talked for a bit about comic hosting vs. own websites. It starts about 20 minutes in I think, and goes for 20-30 minutes. And, as mentioned, the Webcomics Weekly has a lot of good information from knowledgable experts. Heresiarch and Crisco Kid, those are really useful, thanks!
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| # ¿ Mar 29, 2011 07:06 |
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The Worst Unicorn posted:I'll mock up some text. :S In the meanwhile, I was worried about the top panel not being clear enough. Although there's a panel breaking it up, it's really one 3-point picture of the area behind a building addition. I should probably go traditional and have the location name in that top panel. Thanks! I was wondering about that when I saw it. There's nothing 'joining' those two panels. Now that I look at it I can see they're using the same perspective and you're looking at a roof, but there's nothing visually to connect them on the page. The siding confuses things because in the top panel it's going one direction and in the bottom one, what you want to assume is the same siding is going a different direction. It sort of looks like you've just done a pov-change. What would it look like if you extended the bottom and top of those panels to create what looks like a big picture, which that middle panel would 'sit on top of'? Then that white joint (if extended) might provide a bit more connection. Edit: Here I did a mock up 
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| # ¿ Apr 5, 2011 06:57 |
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I'm really interested to check that book out, thanks. :] I'll just drop this here, this was reposted in our forums and having a look at it, it covers the basic steps of setting up your own webcomic hosting site (and specifically suggests using ComicPress). Maybe useful, since people occasionally come into this thread and ask what they need. http://www.djcoffman.com/how-to-host-your-own-webcomic/
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| # ¿ Apr 17, 2011 19:25 |
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Dabbo posted:The first thing that struck me when you posted this is that you're making a lot of work for yourself by using a painted style, presuming this is more representative of the type of art you want to use. I know it looks nicer, but if you're dissatisfied with the situation (once it's been settled) you're not going to enjoy spending more time on it than you have to. If I were in your situation I would be planning ways to minimise the time/work without compromising the art TOO much. Cel shading instead of painterly, strategic use of backgrounds with background-fill, determining how often you're going to do more time consuming things like difficult angles and crowd scenes, or even pre-building common settings in sketchup and exporting traceable shots, and overall using a less detailed style so your total drawing time is less. Do your art in a way which lets you use timesaving plugins/processes like Bpelt for photoshop. Stuff like that.
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| # ¿ Jun 17, 2011 09:30 |
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Hey guys, I'm putting together a podcast episode about working collaboratively on comics, and I could use some tips and advice and whatnot to pass along since I've done very little collaborating myself. Anything you think would be useful for others to know or do? Efficient ways to work together, what kinds of things to agree upon first, what to do if things start to fall apart, how to find or attract an artist or writer, etc? Thanks. :]
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| # ¿ Jul 4, 2011 15:07 |
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It's Drunk Duck's podcast: http://podcast.drunkduck.com
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| # ¿ Jul 4, 2011 16:13 |
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Dabbo posted:Also would it be considered wrong at all to trace over Google Sketchup renders for backgrounds? I don't see a huge problem, but I also don't want to do anything that'd make me get looked down on as an artist. Of course not. Using 3D constructions as a base for reference/tracing/perspective can be a great way to work more efficiently and possibly even save yourself some frustration. I've even talked to people who would draw gridlines on boxes, pose them around and take photos to do the same thing, before cheap 3D programs were available. The example posted above is a good example of what you can do, I'd never have been able to tell whether it had been based on a render or not. If you're good at perspective you're doing the same thing that a 3D environment screengrab is doing anyway. Perspective is just a bunch of lines and points. The only caution I'd give is to use the word "trace" liberally. Again, the example posted above is good. Frame it up, put in some guidelines, then fill in the details yourself. (You don't want to spend a bunch of time building something elaborate in 3D anyway.) Make sure the background fits your style- be a bit loose, don't use the straight-line tools, choose your angles carefully to avoid looking too deliberately constructed. Don't be afraid to deviate from your reference to achieve some effect, like warping the perspective to appear more disorienting, etc.
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| # ¿ Jul 5, 2011 11:04 |
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Most people who don't use DD use ComicGenesis or Comic Fury. There's several options though, http://www.webcomichosting.com/ I'd apologize about the downtime but I'm hardly pleased about it myself.
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| # ¿ Jul 13, 2011 08:39 |
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That's awful, he seemed like a decent guy. :[ I was looking forward to seeing what he was working on. Thanks for telling us about him.
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| # ¿ Jul 15, 2011 19:16 |
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I keep forgetting to say this, but it's kind of cool to watch various webcomics people sign up to Google+ and follow them and have them post unique content and small shop talk things and circles for their readers. I know it's not too different (yet) from twitter or facebook, but it feels different somehow and it's neat to watch it shaping up. I hope many of those people continue using it. It's also interesting to see what different things people are trying in regards to incorporating their webcomic. You can upload things and rearrange them in a picasa album and I've seen several minicomics come up as galleries. I've also seen a few people saying "comment here if you want to be in my readers circle" which they'll post content into. Any other things anyone's seen?
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| # ¿ Jul 15, 2011 21:43 |
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Charles Dickings posted:I'm on Google+, and I actually haven't seen any of the things you're talking about. It sounds really cool, though. What cartoonists are doing this? And would they be opposed to adding some random douche (i.e. me) to see their comics, or is more insular than that? I don't think they'd be opposed to it, it seems like not letting your fans see your stuff is kind of defeating the purpose. The way I've seen it done is the cartoonist makes a post saying "anyone who wants in the fan circle, reply to this post" and then they put those people in a circle. Unfortunately that means you have to find that post if you want to sign up, unless the creator makes that type of post periodically to catch new people. It would be cool if Google+ started incorporating some kind of... selective signup or something to facilitate subscription groups. I think the number of people you can have in a circle on Google+ is currently limited though, so maybe that's been an influence? Mostly people are posting comics and side content publicly, the Picasa gallery thing is good for that. I haven't seen the subscriptions happening as much recently, I don't know if that's because signups were problematic, or I'm not seeing the original posts, or people are still just experimenting with how they want to use the service. Off the top of my head, Meredith Gran was posting lots of public side-content when she first signed on, and I think moved that to a 'subscription' group. IronSpike proposed one but I don't think she's made one yet. DJ Coffman I think has some subscription circles. Ryan Estrada (who has been doing LOTS of interesting comic stuff on Google+) has a "secret stuff" group you can get into by doing various things. I know there are more but I didn't 'sign up' for a lot of them and now the signup posts are so far back in my streams I can't find them. I think Ryan Estrada actually posted something interesting a couple weeks ago: "I just checked, and since joining +goog, the readership on my actual site has tripled. Please note that in this time, I have posted nothing new to my site. And a week prior, I had posted an entire 200 page free graphic novel, a 25 minute adventure show, and a free download of 10 ebooks. +goog brought me 3x the traffic of any of that." I think some of that is the whole "sharing" nature of the site, but I think it's more likely that a lot of that is because he's gotten in early, he's enthusiastic, he's reposting "bite size" content there like his short comics, creating new content (things like "how comic creators can use google+"), etc. I think it's still early enough in the service that people could probably easily capitalize on that for exposure if they wanted to. People are still adding everybody who adds them and paying attention to anything that's a little bit unique or interesting. I think someone who wants more readers (especially outside the normal 'webcomic readers' audience) could probably really get something done with a little motivation, before the service gets too routine. skoolmunkee fucked around with this message at Jul 26, 2011 around 08:51 |
| # ¿ Jul 26, 2011 08:49 |
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Speedball posted:The young shaman (just a kid at the time, whose spiritual vision is out of control) has white hair for the rest of his life, and looking directly into the face of ultimate death is the reason why. Just don't make him all... Raistlin-y. That character, admittedly cool up until you're about 15, has forever claimed the white-haired "I can see time" thing. Sorry that sounded glib, but just a genuine warning in case you haven't heard of that guy.
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| # ¿ Aug 1, 2011 10:53 |
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The trouble with photoshop balloons is that they can look really artificial and out of place because they're so 'perfect.' For example, the page you just posted- they don't look too bad, but they don't fit the text and something which looks a little more organic would mesh better with your style. What is it about doing hand-drawn balloons you don't like? If it's just coordination making a circle shape, have you tried just doing the circles in photoshop, but then using those as a guide and redrawing over them yourself? It's an easy way to get a consistent shape but give it a more natural look. It also lets you tweak their shape to fit the text, tone, or whatever. Here's some comics which have hand-done word balloons, some of them more traditional than others. In all cases they're able to adapt them as needed (there should be some examples in recent pages) to convey slightly different things. And because they're all done by hand they all fit with the style overall. Maybe you'll get some ideas? http://www.octopuspie.com/ http://thechipperwhale.com/ http://deadwinter.cc/ http://www.derelictcomic.com/ http://www.abominable.cc Edit: I don't know what OS you're running, but Lazy Nezumi might be useful for you, it smooths mouse movements. I haven't used it but I'm sure I've seen it mentioned in this thread before. skoolmunkee fucked around with this message at Aug 1, 2011 around 13:37 |
| # ¿ Aug 1, 2011 13:30 |
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Ah, okay, I misunderstood you. Sorry! I know there are "make a font from your handwriting" editors out there, but I believe they're all pay products. Tracy Butler from Lackadaisy Cats did describe how she made her own font, a little: http://lackadaisycats.tumblr.com/po...st-one-font-you It looks like a huge pain in the rear end which is probably why most people never bother.
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| # ¿ Aug 1, 2011 14:57 |
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KingKalamari posted:
I actually like the greater line variation in the first one. It's not controlled, which you can just change by inking a little more thoughtfully, but visually it's slightly more interesting than your photoshop example. In the PS example most of the lines have a more uniform width and are all overall closer to the same size. Just saying that it might be worth customizing your PS brush a bit to have more size variation (dependent on pen pressure)... if what you're going for is variable lines, rather than uniform lines. None of that is probably the point of why you posted it, but I thought it was worth mentioning.
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| # ¿ Aug 7, 2011 08:18 |
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Speedball posted:I've gotten a couple of pieces of fan art, and a pretty hefty TV Tropes page, but probably the weirdest thing I've seen drawn in relation to my stuff was one of my characters beheaded by a mad scientist, because it was that character's duty to kill off all the main characters of the "top sites" on Drunk Duck. That was just bizarre. The murderous mad scientist comic is run by a guy who is a self-promotion machine, I always thought it was a little disingenuous of him to use the top 10 comics in that way though. The Worst Unicorn posted:Please post the name of Dragon Kid's comic. I'd say link, but if he checked the referral and all that he may start asking you about angry dragons. I checked Speedball's comic and it looks like it must be this guy: http://mtdw.smackjeeves.com/ I get the impression he's just a big, hopefully innocent fan of dragons Most out of the ordinary fan art? Hmm, the only thing that comes to mind right now is that a friend made me some little fabric dolls of a couple of my characters. I still have them, they are in my office. :] Also I still occasionally get emails or messages about that comic, when I gave it up 5 years ago, which is flattering if puzzling. It does kind of tempt me to think about re-starting it sometimes, but I can barely manage the one I try to do now. Edit: Dug up a picture. They're not artistically fantastic or anything but I was really pleased to get them. 
skoolmunkee fucked around with this message at Aug 21, 2011 around 00:11 |
| # ¿ Aug 21, 2011 00:06 |
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Prof. Ann Mary Ann posted:For those of you with fan art galleries on your comic sites: do you only post things you like, or do you feel compelled to post all submissions, even the lovely WTF ones, out of fear the submitters whine that you hurt their feelings? I was the same as Dodgeball and Gally, someone took the time to do it and I was pleased to get it. I also had the sense that putting more of it up encouraged people to send more. However I think once you reach a certain amount you hit a point where maintaining the gallery becomes troublesome, either because your format doesn't work with the numbers or you're spending more time than you'd like with it, or you feel like it might difficult for new viewers to look through. So if you have a moderately popular comic and you're putting everything you get into the gallery, you should have a contingency plan. Speaking of fan art galleries, what are people's opinions on creating "extras" for readers? As a reader I sometimes would like extra content, even just notes about the creation process or whatever, as long as it's kept in a separate area of the site. But as a creator I felt like they had to be special/unique things (not just development notes or sketches but actual contributions to the comic somehow) and eventually did so many I felt like they were overshadowing the comic a bit. skoolmunkee fucked around with this message at Aug 21, 2011 around 08:14 |
| # ¿ Aug 21, 2011 08:11 |
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You could have a go at http://www.identifont.com/ and see if it gives you similar options. (Although many of those will probably not be free.)
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| # ¿ Nov 16, 2011 23:25 |
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I started following Friends With Boys because of this thread, or maybe the webcomics one, and today the author posted a bit of explanation about how she's managed to do comics full-time for the last 4 years. I found it really interesting (even though I have no intention to do something similar). Here's a bit: Faith Erin Hicks posted:First of all, never in a million years did I think I would be able to pay my rent by drawing comics, or even through doing the freelance art thing. Sometime I cringe inwardly when I tell people that I write and draw comics for a living, because sometimes it doesn’t feel like that; it’s more like I’ve taken a vacation from some real job to draw comics, and eventually I will return to the workforce when I run out of money. It's very honest and she has some good practical advice. I'd love to read the same sort of thing from other people, does anyone have any links (or perhaps people here in the thread have this experience)?
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| # ¿ Jan 25, 2012 10:48 |
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weavernaut posted:I've found that the LotR trilogy (extended for bonus fun) works really well, because I'm familiar with the story enough for it to be soothing, but I'm likely in the minority here. I'll often put them in as well, I've got a list of 10 or so dvds which have the right 'familiar and listenable without being distracted' level. (american beauty, gladiator, etc). Some tv series are good as well, Rome, Deadwood, Lost, X-Files, Poirot and Colombo. I'll put in music if I have a 'time limit' but really I'm pretty far behind on my podcasts (the how stuff works ones, the moth, this american life, thrilling adventure hour, a few others) I ought to be listening to those.
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| # ¿ Feb 20, 2012 22:31 |
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nothings posted:photoshop sucks for creating perspective construction lines. But it gives you some sense of what it might look like in 3-point. But CS3 (and above, presumably) does have a neat filter->vanishing point tool which lets you put perspective grids on an image! You're meant to use it for image editing but it's easy to render the grids onto a new layer so you can use them as drawing guides. It's not perfect (in fact it works pretty poorly for setting up an actual vanishing point, especially an extreme one like for this picture) but it's useful for quick fixing-ups of roughly sketched perspective. I keep thinking your drawing just looks a lot like DC's Union Station. If I were you I'd google up Union Station (you'll get a few, DC's is the one with the arched vault ceilings), find a photo similar to what you want, and base your perspective and angle off that. You'll probably end up tweaking it to change the scale a bit since it seems like you want your room to be bigger, but the core perspective should still be solid. Here's Union Station: http://blog.oyster.com/wp-content/u...v51570-1280.jpg Actually this picture of Seattle's Union Station seems like almost what you'd want: http://pauldorpat.com/wp-content/up...on-interior.jpg Edit: Something like this?    Notice how flat it looks when you remove those lines though, you'll have to make sure the image is 'populated' enough in the final version to help build that image of perspective. This is just a pretty rough example really! I don't think that's quite the angle you wanted (the POV being off to the side is a problem for the dramatic impact of the red carpet), but something like that is what I would do for a tough interior, rather than struggling with drawing up the perspective myself. Spend 5-10 minutes in photoshop working off something similar. (See how it came out pretty close to your revised version.) skoolmunkee fucked around with this message at Apr 12, 2012 around 07:53 |
| # ¿ Apr 12, 2012 07:21 |
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If I just want flat fills achievable with a paint bucket I use BPelt's plugins.
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| # ¿ Apr 14, 2012 15:58 |
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This page explains it pretty well: http://www.bpelt.com/psplugins/example.html It only works with linework which is all connected (which many people use the paint bucket for). The tricky bit is getting the linework to be purely black and white, but that's not the real linework layer anyway, it's just a framework for the flats. (I tend to do the flats in one 'working' file then copy/paste the flats layer into the real file.) You know if you didn't get the pure black and white right if the flats have a bunch of spotty white bits. There's a 'download' link to some free versions. You get a bunch of wonky randomized colors but from that point on it's super easy to start paintbucketing individual sections to what you want. (may or may not be faster than the 'all layers' paintbucketing?)
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| # ¿ Apr 14, 2012 17:54 |
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I'm not exactly sure what you're describing so I'll just list my process. I made a little video too so you can see what it's supposed to look like (when I do it anyway) 1. Have your real photoshop file with the transparent lineart layer or whatever 2. Copy lineart to second file (just to be safe), merge down onto a white layer 3. Tweak levels/contrast/whatever so you end up with pure black and white- no greytones whatsoever This is the point where the video starts http://screencast-o-matic.com/watch/clf237pI6 (Note that because the video got shrunk, the bpelt stuff looks a little aliased- it shouldn't, it should all be crisp) 4. In the second file, on the b/w lines layer, go to filter > bpelt > multifill 5. I find that selecting white in the first box and 'random colors' in the palette area works fine, I think there might be something wrong with some of the other palettes. The size/area settings you can mess with according to your lineart 6. So you should end up with a picture which has black lines but completely filled in middle areas (formerly white) 7. Filter > bpelt > flatten and it will join all the colored areas, leaving no black lines. UNLESS you still had greytones- then you'll see those as ugly little patches (usually almost white or almost black) all over the place. I'm guessing this might be where your problem is? 8. Select all and copy that colorful layer and paste it back into your real file as a color layer 9. Now you can paint bucket or whatever skoolmunkee fucked around with this message at Apr 14, 2012 around 23:02 |
| # ¿ Apr 14, 2012 22:57 |
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| # ¿ May 25, 2013 01:51 |
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I usually just 1. image mode > greyscale 2. image > adjustments > levels and drag the black arrow all the way over to the white (better to have more black for the flatting tools) 3. do that again (because usually there's still one midtone in there somewhere) 4. image mode > RGB and then run the flatting tools. Worst Unicorn's idea about deliberately messing up some of the black and white to keep the plugin from filling those areas is a good one. I probably wouldn't use it because my art doesn't tend to have that level of detail. However that bpelt dialogue menu does have a setting to try and 'catch' related groups of fill areas, like crosshatching, so if that's sufficient for your linework then it's easier than touching up with brushes.
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| # ¿ Apr 15, 2012 08:27 |
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