ERRANT Studios 的免費 FAtLC 套件 (ERRANT Studios' Free FAtLC Kit) ERRANT Studios' Free FAtLC Kit

素材ID：2183039

- 此素材存在問題

免費

ERRANTStudios

此素材集中包含可以在工作室模式下使用的素材。（什麼是工作室模式？）

Translated by

一個免費的工具包，裡面裝滿了我們用來製作新網路漫畫的資源。

您可能會發現它很有用。

包括1個調色板和1個自動作集。 A free kit full of assets we're using to produce a new webcomic.

You may find it useful.

Includes 1 color palette, and 1 auto action set.

這到底是什麼？

Clip 的原生 CMYK 顏色數學存在缺陷。這使得在不依賴自己的估計的情況下模仿老式漫畫製作變得非常困難。

此目錄提供了一個極其複雜的解決方法。

包含的材料

1. 經典漫畫製作調色板
這個調色板基於 1930 年代和 1950 年代之間美國漫畫家可用的顏料種類，它遵循與當時的老式彩紙相同的命名約定和網格組織。
這些不是採樣的。它們是從那個時代活躍的多家出版公司的標準和實踐中詳述的混合量中得出的數學衍生而來的。
此外，還有...
來自後期的 10 個額外樣本 ，覆蓋了原版中沒有的黃色和綠色，我們將其用於特殊的超現實效果和名義角色的獨特力量。
9 種額外的中性暖色調以及來自後期的皮膚和肉色調 ，以允許更多的角色多樣性。
6 個以生產為中心的色板 -
採樣鉛筆芯：4H、2B 和 6B
採樣圓珠筆：黑色、藍色和紅色
2. Classic Comics Live 調色板助手
有用的圖層材質，可用於顯示顏色配置檔預覽處於打開狀態時顏色在畫布上的外觀。可以用作即時調色板，與吸管一起使用，以避免Clip糟糕的應用程式顏色管理造成混淆。
3. ESi 生產動作集
我們正在積極構建的 Uncurated Action Set。此處的相關作涉及分色。

分步指南

1. 設置和藝術製作

這個過程需要使用基於 RGB 的加法色彩數學，同時依賴於使用傳統 YRB 減法系統開發的色彩理論。因此，您需要使用隨附的調色板來獲得所需的結果。
您需要足夠的解析度才能很好地渲染點。我的作品針對行動裝置，因此我使用 2.6 英寸 x 5 英寸和 450 DPI 進行最終藝術。
為您的畫布提供真實世界的單位，允許您將 Clip 的毫米單位顯示用於畫筆。這非常有用，因為大多數舊漫畫的線條在0.3毫米到1.5毫米之間。
將黑色墨水與所有其他顏色分開。
真的沒有很多其他規則。您只需要有一個顏色圖層或一個顏色資料夾即可用於動作。我傾向於使用資料夾。
2. 分色
選擇您的顏色圖層或資料夾，然後使用所需的分色動作。65lpi 類比了非常早期的漫畫和報紙標準。如果您正在處理較小的畫布，則 80lpi 會更有説明。
該過程應該是自動化的。
你可能不得不調整圖層的可見性和不透明度，有一個自動的鼻子層我幾乎總是關閉。
3. 匯出列印效果

確保要導出的圖稿的背景為純白色或透明。
可以匯出所有拼合的圖稿，也可以只匯出彩色圖稿，並將黑色油墨分開用於以後的更改。
匯出為 TIFF、JPG 或 PSD。包括顏色配置檔。除非絕對必要，否則不要調整大小。

4. 轉換

使用第三方軟體，將此導出的檔從 CMYK 設定檔轉換為 RGB 配置檔。Affinity Photo 在打開時會自動執行此作，然後立即使用預設設置匯出為 png。

如果您確實有 Affinity Photo，您還可以利用他們的“漫射”和“框模糊”濾鏡為藝術添加一些“出血”效果。如果沒有，可以使用一些 Clip 濾波器。
5. 最終組成
如果在步驟 3 中導出了所有拼合的圖稿，或者希望保持原始工作檔不變，請以與原始畫布完全相同的大小和解析度開始新的畫布，確保使用預設的 RGB 顏色設定檔。否則，請返回到原始檔並將其顏色設定檔設置為預設 RGB。
匯入轉換後的圖稿。將此圖層設定為正片疊底。
您可以在其下方添加紙張紋理以使其更加真實。
我喜歡添加蒙版，然後用非常輕的噴槍、色調刷和混合器來“磨損”藝術。您也可以使用略帶紋理的非常小的鉛筆工具在蒙版中添加劃痕。
實驗！在頂部添加帶有低不透明度棕褐色斑點的層次，並在層次屬性中添加水彩邊緣。

例子！

What the heck is this?

Clip's native CMYK color math is flawed. This makes it extremely hard to emulate vintage comic production without relying on one's own estimations.

This catalogue offers an extremely complicated workaround.

Included Materials

1. Classic Comics Production Color Palette
This palette is based on the kinds of pigments available to U.S. comic artists between the 1930s and the 1950s and it follows the same naming convention and grid organization as vintage color sheets from the time.
These are NOT sampled. They are mathematically derived from the mixing quantities detailed in the standards and practices of multiple publishing companies active during the era.
Additionally, there are...
10 extra swatches from later eras covering yellows and greens not in the original, which we use for special surreal effects and the titular character's unique powers.
9 extra neutral warm and skin and flesh tones from later eras to allow for more character diversity.
6 production centric swatches -
Sampled Pencil Lead: 4H, 2B, and 6B
Sampled Ballpoint Pen: Black, Blue, and Red
2. Classic Comics Live Palette Helper
Helpful layer material you can use to show how colors will look on the canvas while color profile preview is on. Can be used as a live palette, with the eyedropper, to avoid Clip's poor app color management from causing confusion.
3. ESi Production Action Set
Uncurated Action Set we're actively building. The relevant actions here involve color separations.

Step-by-Step Guide

1. Setup and Art Production

This process requires the use of RGB based additive color math while relying on color theory developed using a traditional YRB subtractive system. So you NEED to use the included color palette to get the desired result.
You need enough resolution to render the dots well. My work is aimed for mobile devices so I use 2.6in x 5in at 450 DPI for final art.
Giving your canvas real-world units allows you to use Clip's mm unit display for brushes. This is very helpful as most old comics had lines between 0.3mm and 1.5 mm.
Keep black ink on a separate layer from all other colors.
There's really not a lot of other rules. You just need to have one color layer, or one color folder to use with the action. I tend to use a folder.
2. Color Separations
Select your color layer or folder and use the color separations action you want. 65lpi emulates very early comics and newspaper standards. 80lpi is more helpful if you're working on a smaller canvas.
The process should be automated.
You may have to play around with layer visibility and opacity, there's an automatic nose layer I almost always turn off.
3. Export Print-Effect
Make sure the background of the art you're exporting is either pure white or transparent.
You can either export all flattened art or you can export only the color art and keep the black inks separate for later alterations.
Export as a TIFF, JPG, or PSD. Include the color profile. Do not resize unless absolutely necessary.
4. Conversion
Using a third party software, convert this exported file from a CMYK profile to an RGB profile. Affinity Photo does this automatically when opened and then immediately exported to a png using default settings.

If you do have Affinity Photo, you can also utilize their 'Diffuse' and 'Box Blur' filters to add some ' bleeding' effect to the art. If not, there are some Clip filters that can be used.
5. Final Composition
If you exported all flattened art in step 3, or you want to keep the original working file intact, start a new canvas the exact same size and resolution of the original, making sure you use the default RGB color profile. Otherwise, go back to the original file and set its color profile to default RGB.
Import the converted art. Set this layer to multiply.
You can add a paper texture under it to give it extra realism.
I like to add a mask and 'wear away' at the art with very light airbrushing, tone brushing, and blenders. You can also add scratches into the mask with a slightly textured, very small pencil tool.
Experiment! Add layers on top with splotches of low opacity sepia and add a watercolor edge in the layer properties.

Examples!

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