The coloring section of this book relies on using digital programs, and in it we will be focusing on the range of possibilities opened to us by Adobe Photoshop, although we also use programs such as Corel PHOTO-PAINT, PaintTool SAI, and IllustStudio.
SCANNING
To begin with, it is essential to have a good scan of the paper image. If we begin with a black and white drawing, we should import it using a gray-scale, which will digitalize it quicker.
The image resolution must be at least 300 dpi, although in this book all the drawings have been set to 600 dpi in order to have better quality and definition.
If we scan it in as a bitmap, in pure black and white, then the resolution should be 1200 dpi.
Once we have the line drawing on our computer, we can then clean it up so that the black and white areas have enough contrast.
In the Image menu, in the Adjustments section, we can calibrate the drawing using the levels and curves until our lines are as black as possible and the background is all white and no spots.
Once the line drawing is ready, we can return to the Image menu and change to CMYK Mode, as now we will be working toward the final printing, which means we need the four types of ink. If you prefer to start with RGB and in the end change to CMYK, the colors may vary.
It is also essential, naturally, to have our computer screens properly adjusted and calibrated.
Once the drawing has been edited, we can then color it in using Adobe Photoshop or save it as a .psd or .tiff and continue in another program.
DIGITAL COLORING
Our line drawing will appear as a locked background layer in the Layer panel. We can unlock it by double-clicking on it, converting it into Layer 0. Now we can start adding new layers over it where we will be applying the color.
In standard coloring, these layers use a Multiply or Darken Layer Blend Mode. In this way, the color will be set on top of the black line as if the white were transparent. There are other ways of working, but this is the simplest, fastest, and most efficient.
Several digital coloring tools can be used: selection, brushes, fill, etc. Any method is good as long as we use different layers, keeping in mind the utilities of the different options in the Layer Blend Modes. It is also a good idea to name these layers or groups of layers to keep better track of our work.
The resulting effects of applying the Blending Options in Layer Styles can be extremely useful to create gradient overlays, embossed outlines, shadows, glows, and a long list of other effects. However, it is best not to abuse these types of features, as the finished product could end up looking too stiff or digitalized.
To give the coloring an especially traditional look, it is useful to apply texture overlays and watercolor brushes at different opacities.
Finally, it is good to point out that graphics tablets are not essential in digital coloring, but it is true that once you get used to them, they can speed up the process and let you work with brushes more fully and efficiently.
The authors of this book recommend any tablet made by Wacom. In comparison to other brands, they are the most affordable and get the most out of the graphics features of digital coloring programs without encountering problems.