How to Create Graphic Novels and Anime Art Using Poser Pro



welcome to pose a graphic novels presented by Tasos and this webinar I'd 2017 digital art live and Smith micro so please give a warm welcome to Telos today who has a very good background in graphic novels and comic artwork he's going to give a very sort of densely packed presentation today and you can see there in the bullet points how many things we're going to cover so let's go and share tassels desktops if you can share that your desktop please tassels let's make sure we can see exactly okay thank you very much for this opportunity also big thanks to Swift micro for sponsoring the the webinar hello everyone thank you for spending your Sunday evening with me or morning depending where you are right so I'm going to begin from the very beginning I started creating comics which was quite by accident actually I was one night at a friend's house and we were chatting and he confided in me how he he fell in love with this Russian girl named Svetlana she was working at exotic bar and apparently he had spent quite a lot of money on trying to make her fall in love with him of course she was after him for his money and for some reason I got intrigued and I asked him to tell me more he took me to the bar and I saw the whole atmosphere there and I got inspired so the same night I when I got home I started sketching and I produced a lot of series of sketches without really considering II linear storytelling aspect of the drawings I select a while I woke up and I colored them in Photoshop and then I said why don't I just make like a story for me something personal and I compiled my first 16 page comic book story and I showed it to my friend and he was really excited about it then he calls me and he told me why don't you just send publishing houses and let's the reaction you get I was skeptical at first I got excited about it and I tried to email it to different public of disposing in Greece and in Cyril and I guess it was fate to publishing houses one in Cyprus and one in Greece they responded park and who were really excited about it and they wanted to publish the magazine in Greece they wanted to take an interview of me and the magazine in the publishing house in Cyprus he offered me the opportunity to publish a story so without realizing it but much 2003 almost right now years ago I got my first comic book published without like even knowing exactly which ground I was going to explore sure I was reading comics and I was like really into comics but I never dreamed that I would one day have a comic book of mine published in a magazine the story was very the very busy he had a lot of mistakes and the drawings they were like in a very primitive rough form the idea was like this Russian girl she had fell in love with green superhero who she then betray and she and then the green superhero he tried to take revenge obviously they were like a lot of mistakes in terms of course creep and in terms of composition and in terms of layout but having my first comic book published in a magazine it woke up something inside of me and I said well this looks exciting this looks very exhilarating I want to keep on doing that and I was the first person in Cyprus to publish a comic book so it caused quite a stir in the community and then soon enough I was conducted by an editor in bring penthouse the quick penthouse and president heard about me and they offered me the opportunity to create a story for them a semi erotic story and I came up with super heroine called nasya which was inspired by NASA and ASEA she was traveling through space and she had this super ability to travel through time so as soon as I compiled enough stories together I published the first comic book in the history let's say of Cyprus so that was the motif I would follow there are a few years that would come basically I would create stories I would sell them in different publishing houses mainly in Cyprus and in Greece and then I just had enough material I would then compile them and I will create my own limited edition shall we say comics because each issue was like I can't be comics that I would then go and sell in different comic book conventions so this is sun-ho of year pages of the of NASA so I was influenced a bit with from manga comics from Marvel Comics and then I was I sent some of my comics in 2006 and 2009 in some Greek annual competitions and I won distinctions in 2006 and 2009 so I threw out that and I try to experiment with different types of techniques but the thing was it was very difficult for me to keep up with the car that I have assigned self in the sense that a normal professional comic book artist has to spend at least 8 to 12 hours a day to clear out the comic book projects this is something that I could not afford because my main tration is I am an assistant professor at the University European universities I presume in Cyprus so in the end I had other obligations and other tasks and of course my family comes also in my life so I had to find other ways to keep on creating comics but do them in the time span that I have each day so a friend of mine a graphic designer when when I visited her office and we were chatting about distilling my heart she was the first one to say why don't you use poser and I was like what is powder and she had a copy which she bought for her agency but she never really got around to using it and so she gave me the copy I installed it in my computer I depended a couple of times but I said oh this is too difficult I mean you know I mean I'm going to lose the whole thing of drawing is sort of like cheating and I wasn't too sure about it but the more I thought about it the more the idea became more appealing to me so I gave you the first shot I one summer I printed like 500 pages of the poser manual and slowly slowly I tried to teach myself how to operate this three-dimensional world and it wasn't long that I found out myself be in love with this I realized that this software has a lot of potential so I keep patched more or less the suit of nausea and I created a story with nausea using full 3d and I processed it bidding in Photoshop and I went about like experimenting with this realm of 3d now the issue I had although I thought I'm happy with some of the experimentations I was getting from the traveler and from this experience was that the results I was getting they were to 3d they were to static and to plastic for what I really wanted to achieve in my mind so these this was mainly the process I would render the character and then I would compose it mainly in Photoshop so the good thing at that stage was that I didn't have to worry too much about illustrating so I concentrated more on right in the story so the first thing that poser did for me was of course to offer me a visual aid but at the same time because I was working faster I could explore more discreet writing the story setting the layout and of course I read more about how to write a comic book story because those of you who are involved in creating comics must know that 50 or 60 or even 70 percent of a comic book success I mean real success is the story so these are some layout experimentations and then I wanted to take that into a more of a comic book effect and to comical results so I started experimenting with cell shading in poser which got me some pretty interesting results and I gained those stories I was selling them in Greece so I was making enough money to buy more models and to invest more on this on this medium so again these are some examples this was getting me this cell shading was getting the result that you know I was happy at that time and I got the stories published in human Greek magazine in Greece and then I reverted a bit and I went back to sketching and because I missed the whole medium of it and I wish I could find a way to actually Murray Murray that to come home you know combine that to I took a brief break and I collaborated with mica light he's an American he's a writer he's a writer among other things and we created the graphic novel fascist another fascista it was inspired by the riots in the USA and in 2013 in Cyprus there was a big crash and the banks closed and they took a lot of money from the people because of the economic crisis and because there was there was a lot of riots going around the globe we decided to write a graphic novel based on the idea of fascism and how that destroys the lives of people so it was against fascism and I really wanted to come up with a style that reflected that idea and a torment that me a beaut until I started watching like second world war documentaries and it really struck a vein when I saw an image of a woman naked woman carrying her child she was going to be executed and I posed and I thought oh my god if it was me carrying my daughter how would that make me feel and I really felt very bad so I decided that the graphic novel will not have a finish refined result but it would more reflect my emotion of depression so the graphic novel fascist that really took me to the realm of a very German Expressionism style so I thought I said okay I really do miss the style I mean is there a way to combine these with the 3d so I can merge the two together so through my quest I also contemplated on using different actions that would bring photographs to a result where then I could sketch on them so I so I experimented with traditional sketching and I experiment that with 3e and then what will happen if I use these options that Photoshop can give you to transform four doors into more of a sketchy result my overall sort of like conclusion up to that point was that you know you can never get at least from my perspective you can never get a hundred percent of what you need from my point from my ability December for my I can do like either from sketching or from 3d or from 3d actions based on the fact that I wanted to make them as good as possible in a short time of period like I didn't want to take that long today because I couldn't afford it as I said before so the the journey of throw action see Photoshop took me to more like utilizing also the ability to work with actions so my major implementation with this thought was when I created a seven page comic book without words which I decided to do by using photographs so I set up the camera outside my house inside my house my wife I had my daughter help me so I composed the whole thing and then I used the set of actions to take those photos to a point where then I could actually go about and sketch on them I'm going to I'm going to show these techniques I'm going to deconstruct them later on and in Photoshop for those of you who are interested so you can see them a bit more in detail right now I'm just trying to build the general picture of it so this is a spread of the comic book which actually helped me like I finished this comic book like seven page in one week more or less and the story was quite simple actually busts without words and it was inspired by my everyday life and it was sort of like a story which actually happened in my life I was one day going to kill II because it was on the shoulder of my daughter and my daughter she sort of told me don't kill it I mean it has it it life of its own and we're sort of like reminding me like children they can remind us sometimes of life's real values because as grown-ups we tend to forget it then I experimented a bit with the idea of actions but with more of a painterly like the effect as you can see over here a lot of cut out and other filters and then said okay have all that knowledge together how can I put it together and of course over here I have to give credit again to in my opinion but I don't think it not only my opinion a major giant in the comic book industry who does use poser I mean he was sort of like a digital online mentor of mine by watching his work Brian Harbor Lane I'm sure most of you must know he maybe don't know him look him up he's an amazing guy he did graphic novel anomaly and he uses poser a lot and I started watching you know that guy and I said oh this guy is amazing and by watching what he did I got inspired to use all that into what I wanted to do so basically the whole idea if I'm going to deconstruct it is I composed everything and although this are sort of like Genesis models I export them I use them in father in sorry not Photoshop by poser because I really I really do love poser and I find the interface to be very very user friendly so then I would render that I would take it to Photoshop made some custom actions that would take me to this result and then I would actually paint on the visual to get it to the level that I want these are some examples of the things I have done so basically what I'm doing is as yes as opposed to a lot of other people is I'm not seeking a photorealistic renders but quite the opposite so I'm taking a model which is more realistic and I'm trying to break it down into something rougher into something simpler so for example I am going over the sketch our here to create some imperfections which could actually be the result of having painted this image from scratch and the funny thing is that people they didn't realize it at first and when I was telling them I use poser and it is technique they were like pretty amazed and surprised that someone could actually perform such a thing again another example Conan the Barbarian of course and because I'm so much in love with these 1950s 1960s 1970s Ray Harryhausen movies I definitely wanted to create visuals that they reminded of those type of of movies of course Boba Fett and another alien which was created by one of my favorite went was Oscar Swan if I if I pronounce his name correctly here are some more examples and I always want I always but not always but a lot of times I like to show this worn torn poster type of effect so the other thing I love about poser and about this technique is that I can experiment and very fast with different types of different style options and I really do like that and sometimes I love them all I don't know which one I want to choose again I'm deconstructing some of my process I use like the preview render and then I use the comic-book render and I put them together of course I mean it doesn't have to be just like that I mean I can use a poser model and then I can completely reach sketch on it using my Wacom tablet and it's like again even if it's like I'm sketching the whole thing the thing that poser does for me is like I'm skipping the time that I would use with rough sketches and then scan my ink inks I can do them very fast of course the point is not to do things fast the point is like to be able to improve your artwork and of course time for me it's very important again another example using the cartoon shader in in poser to create more of an anime style just as this one and another style and the other thing the other thing is like I experimented with different styles and even this was a result from a 3d model which then I completely catch on top so this is again one method I'm rendering on a preview comic book cartoon mode and then I'm redoing the whole thing using Photoshop so what what has all this helped me well one of the good things was that I threw this work through the visuals I've created I was fortunate enough Monta Comic Con in 2013 if I remember correctly to mean Neil Gibson not Mel Gibson Neil he is the creator and publisher of the number one selling graphic novel in Amazon called twisted dark and I offered him the the you know I asked him if he wanted to collaborate this and we we created a seven short story comic book story but it was sort of like a pilot idea to see whether we can collaborate together on good terms and I used I gained Hauser models although at first I didn't tell him that I use 3d models I just sent him the final result and he was like pretty excited and I then I deconstructed the whole idea to you and he got like pretty excited and after a few trials we said okay let's collaborate on something in a bigger scale so right now we were we are working on a graphic novel titled the traveler and you guys you're going to receive a link from all and you're going to receive the first seven pages just to see the the whole idea of the graphic novel called do we have any questions up to this level yeah we got we got some and just consider if we might cover these later so lizard us curious to know the share in time between the whole process in three in the three steps of rendering sketching and painting yeah okay the thing is it took me some time to learn 3d so it took me a couple of years to be able to master how to post things how to render things how to light things but as soon as I got that and I understood the whole thing and I really adopt a poser to my needs I can work pretty fast like pretty fast in what sense I can create one of one of those visuals that I have shown you if I concentrate like fully I can finish it in one hour I can if I was a comic book artist I have it estimated more or less if I was a professional comic book artist working on a comic book it would take me half the time if not less using this technique rather than just going through the conventional way so I mean for example I can finish like a 24 22 24 comic book in like two weeks if I have the time to just do just that but as I have said before I have to go to the University I have all sorts of tasks I have to prepare for my classes I have to grade all the responsibilities of a professor at the University and then if I have some time I'm going to sit in front of the screen and work with poser and poser for me what does what poser does for me is it helps me relax I mean I don't consider working with poser either a task or something that I have to do but I feel what I mean it really helps me it's very therapeutic for me because every time I open poser it's sort of like a it's like a digital start gate I don't know exactly what I'm going to do that really excites me and it makes me feel like it's like something I said the other time it's like for me propose it's like a digital to a box of chocolates I mean I don't know exactly what I'm going to produce and that is really really like exhilarating for me so it really does help me really relax even though I'm stressed when I sit down I forget everything and I travel who other dimensions I don't know if that answers the question I took it a bit too long but I really do tend to speak from emotion yeah thing is to do with like the ratio of time between the the activities so lizard Sun of further says I was also also also asking about about how much of say a one-hour scene is split in rendering sketching coloring okay okay okay um well basically I think 50% of my time would be composition and lighting then I would render like just like I don't know five minutes renders and then the other like 40% will be just like you know composing things in Photoshop and sketching sometimes depending on the model and depending on the texture you have it thinks may come like faster and sometimes it may be sort of like harder than I had expected I will anticipate it at first but usually I mean the most important thing for me is composition and lighting you may have like the best model you may have like the best props uniforms whatever if you don't have like if I don't get the right composition get the right lighting I'm not happy about it I may spend like three hours considering like or I may just sleep over and like you know open the poser file next day so for me the most important thing is composition and lighting then of course textures and the way I I buy purchase models is whether also the textures this they suit me because when I'm going to show you just a while actually let me just do it right now like for example one of the techniques I'm using with a poser and use this with a traveler in collaboration with Mel Gibson because later on we're going to have the whole pages colored nil Gibson he doesn't want a lot of shadows he just wants more of an outline so basically to save me some time I'm renew moving the textures most of the time so you're going to see that I don't have any teachers other than the ones that are completely necessary and I'm trying to get us many lines as possible in what sense now notice that I have my model in tones of gray so the the pants is a bit wider and the shirt is a bit grayer so when I go back to the comic book I mean all of it appears to be white but when I go to the material room you're going to see that thesis of a great whole knife I put it white the line the outline that separates the shirt with the pant with a pair of hands disappears so by having like different tones it actually helps me to get more detail and more outline so as soon as I have that the other thing I disabled the shadows no shadows I don't have any shadows on my model unless I want to create something dramatic like Frank Miller that's a graphic novel which again Mel Gibson he doesn't want I'm disabling the shadows so it helps me more with the outline rather than just here the shades so yeah so for me too much detailing textures may not necessarily be good because I want to have a simple textures as possible do we have any other questions relevant to this whole he mentioned about composition just now as that might've turned into George's question and he asked can you explain how you decided to compose a scene does do use the golden rule a lot okay I don't know the golden rules by heart to be honest with you I it's a matter of experience against I mean I actually I bought a webinar what 3d direct it which was like an amazing webinar and I really did realize a lot of things which I was doing them I guess by instinct rather than just okay now I'm going to follow the ninth rule like when you are when you break the D frame in tonight and to nine boxes I'm just working like you know if it looks good – yeah I if I like it and I do play a lot with the camera and with the perspective and it really comes down to what's the story I want to say I mean what is it about and that really directs me so I'm not considering only the visual and to make it look beautiful but I have to explain to myself what is it about and that really helps me know or feel my way through what it is I want to do and because poser it's giving me a all these 3d options you know I met I met spend as I have said like half the time considering what is this unknown good or is this unlawful and I mean which which works best and then as soon as I see I know by instinct I got feeling okay this is what I want to do the other thing I wanted to say is like because I'm not working too much with Firefly or Super Fly although I do use them in certain cases that I want to achieve different type of renders which later on I'm going to use them in Photoshop lights for me are very important in the sense what I see is what I really want to get like if you if you notice the values I'm using sometimes they go a lot too extreme I mean I may turn the value above 1000 because I studied the posters of the 1930s 1929 ITA forties fifties sixties I mean and they were using a lot of intense outline and this is what I'm trying to achieve like if you if you observe her fingers over here this is what I'm trying to achieve because this lighting in poser is going to help me later on in Photoshop to find the file okay to paint to sketch on it like if I will tease construct it for you so I have my composition here and then I'm will go about like applying a set of filters and then I will actually draw and sketch the things that they were missing in hauser because I knew that I would actually post work it in in Photoshop and with different Lighting's and then I would I would take it to the result that I would like of course I mean dealing with 3d has the advantage in the sense like for example I've been meaning to correct these faults over here which here to be a bit fake but as an overall I mean when I look up the image I'm pretty pretty pleased and sometimes I may produce a visual and then revisit it and correct it in a period of like a couple of months you know when I'm really over it and then when I go back to the image I see a few mistakes which I correct so this is the whole idea with composition I mean composition for me it's it's very important but no I don't follow any specific I don't have in mind specific composition rules that you know I'm going to use the 3/3 and whatever I know of them but when I'm working I'm working using experience and because I have done composed things like so many times most of the times even before I begin I know more or less the angle okay thank you okay Tessa so I'm gonna give you one more question and I think your questions that are stacking up or to do with the techniques that you're gonna be showing anyway so I'll keep them stacked up against it though so this one's also in relation to composition so it makes sense to talk about it now George asks do you ever mix elements that have different perspectives it seems like traditional comics work in the same manner so he says I'm not sure I understand the question you know mixing elements that have different perspectives do you have an example George yeah if he has an example to send us perhaps I could be able to and okay so let me just show one use of hoser and that I'm doing of course is tracing so this is a model I bought from for render and then I'm sketching on top of it until I take it to the result that I am happy see like for example the good thing with combining this is like in the 3d render Batman he does as a hyper Road then I can go and add it later on so I don't have to have everything in poser I just need to have enough so I can have the whole setup and then reach to this result let me also show you a page from how I'm working with the traveller so this is from issue 1 this is a how I went about I put things together in poser I use the comic book filter not true a sophisticated extent I just wanted to see the black and white and then I I use digital pencil to take it to that result and then I completely int so this is page 1 so I completely inked on top of it and then as soon as that is finished then I'm sending it to the colorist let me just show the JPEGs so this is like so this is the cover and this is how the page look looks this is the pages you would be receiving when the webinar ends so it doesn't have to feel and look like pose of the whole idea was that Houser helped me a lot to compose things fast but not only fast I mean it really did help me like you know work with angles and compositions and won and then when the coloring comes I think it gives a more complete feel of what the comic book is going to be about so this was issue one now I change things a bit with issue two in the sense that Neil Gibson he got so excited with this he wants to take it a bit further and he wants to collaborate in more let me just save some memory so I'm just closing sometimes so he wants to take that to the next level and collaborate together and use this this technique so instead in issue 2 instead of lycra sketching the whole thing on top I wanted to speed up the process a bit further in the sense that I'm rendering stuff to a point where I mean even if the colors took them up from this point I mean he would able to produce a fairly okay result but of course what inky does is it brings the pages more to light like for example I have the character over here when the inking comes it becomes more of a comic book a live page so you can see where it's a bit stiff but when I add the inks it becomes more more alive and this of course it's even a faster process than issue one and as you understand the more I become experienced with this I think I will come up also with other ways to to improve the artwork and to make things much faster but the good thing is like Neal he wasn't happy with the jargon over here so I went about and I took it to a point that he would also feel happy because although he says that you know he doesn't draw whatever he's like very picky and with expressions and with details and that's a good thing I mean this is how the professional work works do we have any other questions Paul okay is it there's a whole bunch of questions to do is probably one one thing also let me talk you for one second yeah I again I use photographs yeah because if he wasn't happy with the will the whole idea of like you know the jagged Falls I mean this is myself I took photos just to see exactly the reflections and all those things so yeah it never in my opinion and at least in how I approach things there's never just one method it's a combination of level I love how you use yourself as a reference for your it's easier yeah that's right you're always around okay there's a lot of questions to do with do you or do you not use sketch rendering you mean like this sketch designer yeah is that what you mean folks just let me know yes not not really no no I hardly ever do that I hope yeah I don't think if I have an example with me that I actually use that effect let me see here no not really no no okay yes okay no I don't have the example with me I did one render I to be honest with you I'm really no okay yeah um let's see if we can get a few other questions let me look through the list cuz there was a flurry only one go okay they got me really let me just show a couple of more visuals what I did so far so people they can get the idea of like the versatility but poser can give you that sounds like you know working with poser can inspire you like for example this visual was almost completely done in a poser with hardly any post work so I mean I mean if people are so obsessed with poser I mean they can take the comic-book filter as it is and just to like some mind or in a post working in Photoshop I mean I I really do love where is pop where poser is it's taking the the software and I think there is Li I don't I don't I don't know it's with micro has realized like you know the the treasure that they do have I'm sure they have of course because I've never seen a software that can help illustrators the way that poser does and I'm not getting paid to say that I mean you can see that I'm obsessed with it I mean I wouldn't trade poser for anything because it's not only what it does it's also it's very user friendly and I really do love it like for example even like with Batman over here which I really do feel I have to show that as well again it has to do with composition so like like you don't have to get everything poser but just the whole idea and then you know the moon is just like a circle Photoshop and then like you know small details and there you go so again the whole idea like like even this one which most people they're going to think that you know it was completely sketched I mean basically most of it is it's just a comic book render let me see okay there you go so this is it okay yeah let's let's see some more of your raw techniques from start to finish because I think they'll answer some of the questions I've got so for example this is the comic book render yeah and then I apply set the filters which basically what type of filters they are basically it's like I'm using pasta Rogers so what I mean the thing with 2d is like it doesn't have this z-axis in Photoshop I mean it does in in its 3d function but once you render it it disappears so basically what poster edges will do for you it's going to refine it's going to define the edges even more and then the cutout simplifies things because comics no matter how much detail they have they are more simplified than the 3d renders so taking away D taking away texture I think now I'm certain that you know it's the proper way to more from the 3d to the 2d and then I add torn edges which tones up things and so you get a result like this of course nothing in life it's so easy in the sense I mean you can reach them to that result but then you take your tablet and then you add the details that you know unnecessary and important to take it to the next level of course I've added some smoke to set up the moon of the the mood but also to make the character composition wise more visible and more interesting more appealing and then the frame frames ago so this is the whole thing I mean it's not like you know like nuclear physics it's like it's pretty straightforward and I work with with instinct as to where I'm going to put the the white and the black inking so there we go so my questions about the inking actually yes I Peggy is asking how do you ink the lines be very cool to see you doing some inking okay well basically I disabled the Wacom tablet because so the problem that we had with the screen I don't know if I if I can perform it with the mouse but basically okay let me just show it with this which is I think it's more straightforward okay the whole idea of inking is visually has to be interesting in what sense 3d is more like a bit of a pouring outline from here to the end so this doesn't look good to the eye because what guy really needs in my in my my opinion it's a bit of a diversity in the sense like what the ink is going to do I'm adding different tones so basically I would have I would take the brush and usually I custom make my brushes so I would paint on areas where I want it to be dark which in my poser renders I'm not I'm not going to be bothered because I know I'm going to sketch them and basically what the inking is going to do it's going to give more texture and it's going to make it look more like you know it was it was hand drawn so I'm just going to go over it here and here and here and also while I am sketching and inking these lines that I'm doing they also add some texture because I know for a fact that the helmet is not a perfect smooth surface it has some dents and it has some paint that extends so I tried to give that feeling and this is leather so leather has some textures which with ink ink I'm trying to simulate that and make it look beautiful so for example I know over here that there's going to be more shadow so I'm giving more of a thick line whereas over here I'm going to make it a bit thinner so it's all about the dance if you ask me tons of thinner lines and figure lines that make it interesting so when we look at it closely I mean when I remove it it looks 20 so again I have to set up the in my mind and this is something that the colorist does need I have to set up the light source which is on top so basically anything below it has to have a certain shadow now depending whether you're going to have the comic book colored or not the shadows will vary I'm going to do a certain amount of thinking but I'm going to leave enough space for the colorist when he comes to take over now this comes with collaborating and speaking with the colorist I don't do the color for this for this issue so let me just show you an example of one page of issue 1 so if I de construct it for you guys again John John he's the he's the colorist of the novel so you see it's going to go over and give tons of gray tones and gradient tones and flats so it's it's it's a big process and with textures and then when you f12 so I have to give enough space for the colorist to be able to come and take over and add the colors like for example the characters I inked them just a bit okay and the background over here it hardly had any sort of like inking from my part so the whole thing is like you know I wanted to blend I want everything to blend together so the the main character is mostly drawn by me then the media characters they have some ink outlines for myself and that anything like you know from the building to the backdrops I'm not touching it that much I'm just adding some tones just to make things look homogeneous I'm giving you a lot of secrets here can you just come up with the bits okay Peggy's asking about so if I understand you correctly you need to render the base with a basic outline in poser you know to get that blank yeah and she wants to just be shown where that render setting you know how that's okay yeah yeah okay okay actually that's that's a good question so okay another thing you need to have in mind in order for these techniques to work you have to have like I don't want a cup you have to have like a very high-resolution image because any low resolution image will just appear to be distorted so let's wait for one second for his face to upload so yeah that that's another question actually that my cast doesn't matter if you use high-resolution models or low resolution models so you've set a low resolutions working work best okay in terms of polygons it depends on the style you want to achieve I guess I mean if you want to have all of it like a cutout result I guess it could work but usually it's it's high polygon models I use but not that high as Genesis let me let me show you now that since I mentioned it these are gainer some example of visuals that are used to get the overflow things so like for example this one this is a jacket that I bought from present-day OCD cupboard mom something I it's very becoming to pronounce but it's an amazing jacket which had like very high detail which really really did help me to capture the whole detail of the coat yeah so definitely high this I mean I won the high polygon model with a texture that is not so detailed let's say if if I if I can put it in that way yeah and what I want to show before I proceed is yeah back to Peggy's question I don't know yeah get over it or not so for example before I go into that for example this is a model that was created by sixes one media one of my favorite vent was it the most favorite and it's genesis 3 models so which basically I had to in put them in in imposer and I had to reduce the polygons of it because it was too high for me to using in poser so sometimes it really depends on on the model actually so if I'm going to render this character I'm going to go to render dimensions and if I'm going to render it properly let's say I get let's say it's like 20 20 by centimeter I'm going to render it sometimes 600 or I'm going and I'm never going to render anything you know 400 not 4000 so my safest estimate it's like 500 because I really do need a lot of detail if I show you this page over here when I go to image size you're not going to believe it but it's 1200 PPI as opposed to like 300 because not only I want the details from my renders but when I'm sketching with my ink I want to have as many pixels as possible so I have this character over here and then I'm going to render it of course with preview so okay anything above 4,000 pixels by 4,000 pixels is going to give you a pretty good result anything below that starts to get distorted so I'm going to render it and then of course the person the best format because I was also asked to export or to use in terms of like publishing terms something is stiff for me TIFF is the best format that retains information or the in terms of resolution and also image quality the worst although I use it frequently to exchange files or to show files is JPEG because if you are constantly working with JPEG like for example you open in jpg file in Photoshop and then you create one layer come over it you rework it and then you flatten it and you save it every time you save it JPEG because it's a compressed file the file gets corrupted and distorted and the quality every time you're saving gets worse so I will export it so I'm exported I might export it as JPEG now just to make things it's faster and of course 100 and of course if if I was going to put a background I would export did of course as PNG because PNG retains transparency so it's like up and that okay this is my PNG okay so it because it retains your transparency I can always either a color or or background so you see the quality is quite it's quite good and then one of the things I could do I would convert it into a smart filter and there's a bit of discussion going on about tips and pngs actually yeah so people are asked lizards asking TIFF versus PNG is there any drawbacks between one or the other you know when you're saving well if I'm going to work about right now Photoshop like you know reworked the image I would work with PNG or if I if I was going to imported in Illustrator I will work with PNG but the final result like for example the color page that I would have to send to get printed or the color result that John is telling is sending me a stiff is a fatty performer because it saves in in that in the pie itself all the information you need to retain a good quality image but right now because I want to keep things first then I want to add a background PNG will also quite us nicely so what'd you bring what you render settings again somebody's also okay render it render settings yeah okay anything above anything above 4,000 so I would go to render dimensions like for example I like to work a lot with square settings because it's easier for me to then change them later on but if you want to be on the safe side if you're not strict then render it 600 okay 600 800 sometimes anything to get you above if I go to to render la over here you see anything about 4000 it's going to give you a good quality and good quality is very important to achieve this type of designs if you can't render it 300 or 150 obviously you're going to get a medium quality image and then let me let me demonstrate it freeze but you can see via so you can see the difference so if I go to filter let's say and filter gallery okay I don't need all these filters okay so I'm going to add poster edges and then I'm going to add two on edges and you can adjust the smoothness I don't want any smoothness of the contrast the image pounds it depends on orient the image where I'm happy okay so this gives me a better result than the 3d and as soon as I see that I know that where I'm going to add the sketch because it's sort of like you're getting an inked page and then you just you know go there and you at your star now if if I choose the resolution image size from 500 I mean everybody I guess knows that'll make it 100 it's not going to look that good I mean look at the difference I mean you're going to render an image like hundred and fifty three hundred we're going to take in others and then you're going to see yeah how did he do it it's all about resolution because the highest resolution is going to give you higher detail and then you're going to know what exactly way into sketch and now Mike is asked about the render settings back in poser so he he's interested in seeing the panel that shows the tabs for Firefly and superfly the preview yeah yeah he's interested in those render settings is that a trade secret or can you show those well you mean it's the same thing that I would do with any type whether it's like a comic book or whether it's it's like a Firefly or where it's I'm using like 400 500 600 regardless whether it's going to be a comic book filter or whether it's got to be a colored image it's all it always has to be a high of course perhaps is not his question yeah if you take anything personal wants to see the panel you know where the Firefly settings are etcetera do you mean over here okay hello yes sorry I think I'm gonna open mic on one of the attendees I'll just rock it track it down let me let me open the file that I had before so perhaps you know I have a life scene like this one in this case again I'm not using Firefly I'm using the preview render yes ice all done from them so if I'm going to render it I'm going to render it again with preview and if I go to render dimensions again it's 400 George is also you need to press ctrl Y control Y ok control Y yeah and go and select the preview tab this one over here like this like so and then control I I'm not sure I understand render settings and then preview tab one second so if I'm annoying way render settings yeah okay this one okay okay my render settings are as follow transparency I have either not as actual and I have an April OpenGL and I always push the texture to a high resolution if that's what he's asked and it's not a secret okay I just have to check it yeah yeah yeah yeah yeah and also the lights I mean you have to check out the lights that they also all of the same thing basically this is mostly used so because as a people poser wants you to work things faster but as soon as you finish you have to boost up the the render capability of hauser to get the maximum quality on the preview render as possible so I think yeah yeah I have it on a high preview settings though I need high quality render and I need high quality preview settings yeah anything else you can give us on the light settings that they all curious about those now what okay my ting well basically I mean what I see what you see is what you get in the sense that I know for a fact that you know on the preview mode you're not going to get the exact result either in Firefly or in Super Fly so you have to be so you have to use the array speed you to see things but in my case because I want to achieve more like a pantry like effect and mark a comic book ish like a result I tend to use the preview mode so when I'm working with my lights I tend to push them to a point where I can what I see it's going to get render so basically these lights if I if I was going to remember either Firefly or Super Fly they would burn the image because it's two of a high setting but in preview it really does serve well because this is exactly what I want to get when I take that image in in poser in Photoshop of course there are cases where let's see if I have them here there are cases where I might use Firefly or Super Fly and these cases are like when I'm going to work with J's so this image I rendered it in Hauser may see if I have the Photoshop file with me over here so I can deconstruct this for you guys that's a creature no I don't have it with me now yeah but the whole the whole idea is that because I used to sort of light that they had to be rendered in Firefly because it's a music atmospheric settings and volume in that case then I used the the Firefly setting now another thing I wanted to show in Photoshop it's like it's like this is a model that I purchased and then I completely did it drums because I'm a big fan of Ashley Wood and of course I mean I'm not claiming that I can draw as magnificent as he does but I wanted to create something similar to what Ashley would thus which is like very expressive in his outline and this is something I was really excited this one actually one of my first experimentations with using models in poser and making them more into like 2d drawings and this is something I'm trying to promote also to my students and to different conventions that I go in the sense that there are a lot of people for skeptical in using this type of techniques thinking that is going to rob them of the ability to draw or perhaps it's not going to have that much of an artistic value or it sort of like cheating and I always use the example of like 80 years ago if he wanted to be a graphic designer because this is that's what I have studied you had to be able to draw I mean most of the graphic designers at that time I get he 50 years ago 40 years ago they had to have the ability to do things by hand so exceptional graphic designers today could not have the opportunity to be graphic designers but then but seumas technology introduced us computers and this tool has the computers basically have opened the horizons to other artists graphic designers who didn't necessarily know how to draw that well conventionally but at the end they turn out to be exceptional graphic designers and this is something I come up with in my everyday life I keep on making this type of people so for me poser and the Wacom tablet and this type of techniques is not inhibiting or sort of like destroying the traditional way but rather rather the contrary it's giving the opportunity to more people to express themselves and to be able to create graphic novels who don't necessarily have those drawing on sketching skills to career about the their projects but also for people who like to draw like myself this is like a big thing because I'm still discovering it and I'm still like new to this and I'm pretty sure that as technology expands it's going to give us more opportunities and this is what I really love about this thing I mean technology from Mesa is a tool like the pencil like the paint because at the end of the day technology is not going to do it for you it's what you have in your mind technology and poser what helps me is like make things better I guess you're getting a reaction from pennant Penelope in the audience she says yeah he's talking about me so I think she's identified exactly with what you're saying there so yeah and I'm pretty sure there's a lot of people they feel like because I mean so many people they want to tell a story and they're really heavy that they are frightened of what if they don't like my artwork or what if well I have news for everyone nobody is going to like all the stuff in the globe I mean I got lots of rejection but I got said with a lot of people and this is the same case I mean you read the stories of like John Buscemi let's say who was an amazing illustrator in Marvel Comics he was almost ready at the brink of giving up because he got rejected so basically I mean we mustn't pay attention to the negative comments although I mean it's good to get constructive criticism the thing is to just go about and do what you want I mean if I was afraid the first time to send my first story the publishes your house and I would say well I would never cut to the point that I am today which again I'm at an infant stage I that's how I see it but I'm so excited because every day I have I'm going to wake up and I live in this creative world which I think this is the most important thing for me it's not it's not where I'm going to reach at the end but this whole journey that I am I'm taking myself so keep on creating hey tell us what maybe one of the last things we can show you is that the manga style oh yes yes yes okay so okay so this is a model which looks like me again no here so I'm using this model in in the cartoon mode not the cartoon with lines because I also have activated the geometric edge lines so and just so in terms to deconstruct what this outline does basically it's creating the same model but it's reversing it and it's giving it a black outline so basically it's the same model within the same within the model so when you extend it that much it gets that's why it gets distorted so just to get a bit technical with that so what I discovered by accident to be honest with you was like okay I mean this is something that we are all familiar with I mean you can you can rotate the lights and sometimes you can even have the whole view without the line without the it works completely without lights so it's a very very fast way to render something and to create a nice manga think the thing that I have noticed was that it didn't give me a lot of shiny results so what I did I disabled the opengl which most computers would have because right now we have like nowadays we have like with graphic art and I added the the string D which actually is the previous mode of poser and I've noticed that I was getting some very very nice shiny result so I said okay it's a it would but if I combine the render of the 3d and the OpenGL together and let me just throw some files over here and I came up with something like this so again let me deconstruct it for you guys and girls you have to excuse me if I made some mistakes in English but as you understand is not my native language I am trying to be comprehensive as possible so a whole composition yes I have my main render and then I ply on top of it the other renders I did and then I'm also putting like the outline from the preview mode of closer then I'm adding an outer glow to my main layer I'm putting the secondary let's say renders from the screen D I'm putting them on a soft light mode and then what I'm doing I'm also going about and I'm sketching some sort of like scratches on the render itself so I feel that when I do that it also adds more character to the image but also texture because the thing that you know you will get in 3d it's going to be like in continuous line and us the example I have shown you before we thinking when you break that continuation it becomes less boring and then some scratches and some effects basically I don't notice something like you know it's like fire or energy which this is something simple to do actually you don't need to find like images on the internet I mean you can create your own effects and you can create your own brushes like I might even take like you know brush stroke and I can create create any type of pattern let's say I'm going to select that and I'm going to edit define brush preset so I'm going to turn it into into a brush fix and then let's delete that then I'll take the brush as you can see I mean I can brush it I can go to the brush settings the shape dynamics I can change it a bit most importantly I want to scatter it so when I paint I can do something like that I can even add texture so this is exactly what I did over here I did the brush I've sketched and then I bought that motion blur and Gaussian blur to make it look like you know it's it's an energy it's a fire thing and then I've added some glow which basically I just took the brush like the brush and I chose like the color of the fire and I just brushed all all over my character well actually in the outline over here and then I put it on the overlay mode so if I put it to normal you're going to see that you know I did something like brushed over a character and then I put it on a overlay mode I never worked with 100% layers I usually reduce them even to 90 percent Sun glows the other thing I did was basically I I created a flat version of the character then I said control a so I selected the whole image I went to channels this I selected the red channel with the visibility of all the arching me and just by pressing the the right arrow key I just moved it a couple of pixels it's giving sort of like this terror scopic result which simulates more like the result that you would get when you see something on the TV since this is like a manga I think you know in might as well come from a screen then I'm enabling the whole RGB and on top of it I'm creating another flood layer and giving me the blur mode filter filter cochon blur and then I'm putting it on an overlay blend mode which makes it more brighter and makes it come to life and I gain it's um it's something like you know it might come from a TV so you see the difference over here and then finally some textures now texture is very important for me texture it's the final touch to the image that is going to unify all the elements of the composition together this is the image without the texture and this is the image with the texture so basically what the texture is is some halftone pattern and I also added some noise because you're going if you're going to see a lot of manga they have this noisy texture feel to it another another thing that I have learned is like usual in color halftone when you have different numeric values you get a high end current version but if you put the same you've numeric values to all the channels you're going to get a black and white version so you see the color is up here so it really depends on what you want to achieve so and then of course stroke and in your glow to make it look like you know it's frame I like I like to print sometimes my my visuals it I think it looks more finished yeah I do like it any questions Paul yeah I think we fit maybe one or two more questions yeah somebody's asked I think somebody else how's this – this is yep another P is asking how many layers do you typically work with info oh it really depends well really depends on the image until I'm happy and I wouldn't want this seminar to finish this webinar without showing the image of the promotion of the webinar so let me just go over just like very very fast just to just to show you like this is the overall composition of it like I'm working with layers of course this is something I put up very fast it's a composition of different images together and lending them together and then the render the outline and the model again this is Genesis but I imported her in Kozar and then what I'm doing I'm I created a series of actions custom-made actions myself which most of the times they work I mean you know it's not going to give me a perfect result but it's going to take it to the point where instinctively I'm going to look at it and then I would know where I'm going to start sketching so it really is a trial and error thing but if I was going to deconstruct it and break it down I would say that it no it's my poser renders and then some different filters depending on the image that I want to achieve and then hand-paint at other light effects like glowing stuff and then the final texture on top of the image to give it more like like in this case a final touch so over and so so you're going to notice that although I finished painting over here then I went about correcting some stuff so it really depends on the image and of course the final result is the poster because also being a project designer I always want to add in some of my visuals type of graphic elements so I need I needed to have a function in the sense that you know this is a poster II can actually print it and frame it and you know put it somewhere what a sauce thank you very much I think this session really flowed well today I think perhaps this session went a little bit better than the first one actually and we had some great questions I think the audience can be really busy this evening okay I really do hope that I was able to give some information to to the audience today so they come to really take it and applied to their own work yeah I think you that's definitely been done but do you have some other questions but what I'll do is I'll post those in our facebook private group and you can just pick them off through the coming day yeah sure yeah it's about making a three or four or something and if anyone wants to find me I'm on Facebook you all know my name just at me as a friend and I would be very happy to chat not to give advice because I don't consider myself to be sort of like a wise man to give advice but to make friends and exchange ideas yeah so look for our Facebook group just search in Facebook for digital art live community digital our live community and request to join just say that you've been on this webinar and I'll let you into that group and then I'll post the questions in there and I'll just nudge tassles in the week to see where the post is but thank you for coming today thank you for being so active I can tell there's some real budding comic artists in the room today and it's great to have you inspired by sharing information while from tassels to you and also with each other as well there's been a bit of that in the chat box today so thank you thanks for coming and the recordings are going to go out within the next probably within the next 24 hours actually so you'll get a link for the rendered recording of this session and as a final reminder we've got the poser X both three recordings available for the next today and tomorrow set at that price for thirteen hours of tuition on those various topics covered there okay yeah mic sauce for the Facebook group against those digital art live community up at the end chatbox oh look at that be found it for us thank you put the link in there I'll just leave it on that screen for a bit I'll also copy the chat transcript as well so they got a copy of that and hopefully we'll see you in the future at another digital art live session thank you very much everyone you

8 thoughts on “How to Create Graphic Novels and Anime Art Using Poser Pro

  1. So long ago (Poser 5-7 era) Tasos sent me a copy of one of his graphic novels for free, cool guy… Cool to see him cool to see him doing this many years later.

  2. Where is a link to his work ? or his web site ? I just started to watch the video but this is the first question that comes to mind.

  3. I'm making Sprite Animations at the moment but I will use your tutorials for anime studio when I'm ready 👌🏾

  4. Fantastic tutorial but it seemed more like a webinar from Adobe then Smith-Micro as most of his time was spent in Photoshop with tips and techniques then in Poser…. Love his workflow…

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