Book Image

Mastering Manga Studio 5

By : Liz Staley
Book Image

Mastering Manga Studio 5

By: Liz Staley

Overview of this book

Time is something that almost every artist doesn't have enough of. If you're an illustrator or comic creator you know just how much time and effort it can take to produce one great page. But the features in Manga Studio 5 can make this process a lot more streamlined and give you more time to create! "Mastering Manga Studio 5" will teach you how to create more comics and illustrations in less time than you ever thought possible. By using the features of Manga Studio 5 like the Story Editor, Custom brushes, actions, materials, and 3D models, you'll learn how to make Manga Studio work for your style and workflow. Go from being a novice Manga Studio user to an expert using the tricks, techniques, and projects in this guide. Learn how to make and share custom tools, set up left- and right-handed workspaces, make custom materials, alter 3D models, and create custom actions. By putting together a custom story project and making your own tools, automating redundant processes, and converting an inked art into a traditional comic art, you'll learn all about the advanced features of Manga Studio 5. "Mastering Manga Studio 5" will teach you what you need to know to produce more work in less time.
Table of Contents (18 chapters)
Mastering Manga Studio 5
About the Author
About the Reviewers

Chapter 6. It's Only a (3D) Model

3D models are present in the Materials section of Manga Studio. However, working with 3D models is so different from working with a 2D pattern that giving them their own chapters only seemed right. Having 3D models of figures and other objects available right in Manga Studio is a really useful thing! It makes getting reference for a difficult pose much easier. You don't have to scour the Internet, or get friends together for a photo shoot when you're on a deadline.

A good thing to remember though about using 3D elements in your work is that you should really use them as a reference, a jumping off point, instead of the be-all-and-end-all of the piece. Use a model to get the general pose that you want, then draw off of it. You really shouldn't throw a 3D model in with 2D artwork and leave it. It takes more work to make the combination of things looks good than is usually worth it. Most of the time 2D art with 3D elements stuck in just look awkward and strange...