My Brush, Pencil, and Pen settings for Manga Studio 5

Neil Fontaine
A free video tutorial from Neil Fontaine
Art Instructor, Professional Painter, Writer
4.5 instructor rating • 18 courses • 89,411 students

Lecture description

Some asked me what my settings are for Manga Studio 5, so here they are. I also talk about why I now prefer Manga Studio 5 over Photoshop.

Learn more from the full course

How to Draw Manga Faces and Hair

Learn to draw Manga and Anime faces like a pro

05:33:19 of on-demand video • Updated January 2016

  • Learn the basics of the manga head
  • Learn to draw the facial features, eyes, nose, mouth, hair
  • Learn to add emotions to your faces
  • By the end of this course, you will be drawing manga faces that talk and seem to move on the page
English [Auto] Hello this is Neal the art instructor at Mass pain out outcome and top artists talked about it in the dark at my web site. You can find tons of drawings tutorials and painting tutorials that is digital painting tutorials right. Let's get started. This video was this be all about well this video is a bonus video. Chimay how to draw manga bases and tear and a student asked and that course on me. Hey what are your settings and Monga studio five for your pencils and stuff like that. And when you're talking it's settings and things like that. So I'm going to quickly go through that for you guys here. And also these are things on the go through in this video. I'm going to show you my tools like the pen and pencil what their settings are on the show my dock settings and that paper and all that. I must show you just quickly how to use how to use these tools and kind of some benefits to that but text you can you can do it then and then I'll show you or just explain to you why I prefer Manga Studio 5 over Photoshop and I've been using Photoshop for 17 years. That's a really big statement to make. First thing is also how to open a new door and it was quickly do this go to file new and then you notice that appear with presets go to a 4 350 API automatically opens us Monga draft setting here. And this is good for you if you're going to be printing and I'll you know I'll explain this later maybe in my Mongar crash course. You know what this is used for printing. But basically this inner side square here gives you the most safe area to draw in the next area up here is some of that might be clipped off so you don't want too much important information there. And as you get out here this is going to definitely cut off. You can still draw all the out to the edge there just know that that's to be clipped off when the page is cut down to size. So anyway that's that. Turn that off. Next thing is paper color. Have it checked. Click on this. I like to choose the paper color rather than have it be pure white way up here. I notice if I have it you know. Down here no matter what color I pick whether or not these are really bright color but more towards the gray area down here I can use like a brownish color or kind of a blue color. Or the two I usually use and this is kind of similar it's more of actual paper that you're looking at rather than this really bright screen a really bright white screen isn't natural to look at when you're when you enter a room you never have so much light on your paper even to wipe his paper. Never quite as white. It's more like a gray color because the light isn't hitting it so brightly and so it's easier on the eyes to watch next to good a view and then you get to pixel size with why I do that is because I like to start my sketches small. And the reason why I start my sketches small is because I can have more control over what is I'm looking at you know what it is I'm seeing and this will allow me to you know whatever is drawing like that and I can take that sketch and blow it up and make it bigger and maybe it gets a little bit bigger than that. But it's really quick and fast. You can get these thumbnail sketches down really really quickly and then come in here and you can blow that up and make it bigger. So if I wanted to take up this whole entire page let's say what because I want to make an actual 8 by 11 print or something. Now it's how tiny that is it doesn't really matter though because I can take it and I can stretch it out to be as big as I want to be. Let's say I want to take up not the whole whole page but I want to take about that much of the page to say Not even more than that lets them have a tick up like that much of the page hit OK here by hand a circle and it's a kind of re do it no it looks really grainy and funky. So it might have you know sketch a lot maybe little bit bigger but doesn't matter it's still information I can see it. It's enough for me to actually go in and make a new layer and then start sketching further on top of this year. And I come in here and start doing my more or finalize sketching. See here I can just come in here quickly. And I can add a more finalized sketching into this. OK I can tell cat won't make my legs longer maybe longer than that actually because that's more of a kit look. I want my character to be a kit that say something like that. And then I can come down here. Basic arm structure this coming in that way. Now where the press are going to be how big they're going to be all that good stuff. So this is you know this gives me a quick way to work. And as I come in I can sketch over that make something more more readable. But you want your sketches to be fast anyway. OK. So that's that. Now on to the actual settings of my tools here. So the first four here is a pencil tool and you notice that the default things were the same. Some of them I had this whole wrench iconic So that just locks the pencil quickly explain what that does. But say I have my pencil setting at where it is right here. And so I picked the stabilisation up all the way. What stabilization does is it stabilizes or strokes so that they're more carefully you know easier to pull to pull out. Not quite as illustrated does that point but it just really it still feels really smooth and normal but just kind of makes it more smooth. However when you want to do something like that they want to shade back and forth like this. It doesn't work very good for that. It works great if you want to pull lines in one direction and shade that way. But if you want it that's kind of shading back and forth thing turn situation all way down and suddenly you'll notice you can get that nice smooth flow that you might want to make with a bigger and get softer here so you can see that it really works great for that. I use I have civilization up because most time I'm using it for sketching. But if you want to do that back and forth type thing they are trying to stay as stable as they send down hardness. I looked down one level I don't like it up here. I like it down here even here sometimes just depends and it's great for sketching what's really important here is that the minimum value is zero point pressure pressures on a straight line. If you actually add another dot or couple of dots just grabbed a square port outside of the square and they disappear. If you pull it down like this when you have your sketching here I'll use a slightly bigger brushing and see when you try to go big and small it's really easy to get really really small and then get bigger. I think it's small again but when you press harder to get to get thicker lines they get a lot darker than if you have this zeroed out here. Like this I can still get really small lines. And as I get bigger I notice it doesn't get quite as dark as it did over there. Right. So it just gives you a lot more control of opacity. If you turn this up this way Khirbet this way then it gets rid of that ability to have your function. Actually it turns it more like it's spicy like turning this up at almost the same thing. I like to have this air out like I said Now I get really small lines and thick lines. Next thing is with my actual Wakhan settings that's important so I'm going to go here to all my programs where I come tablet you will see it's on a screen like I'm of properties the shop over here for Photoshop I have a set in the middle for Monga. I like it set one firm and for illustrator I like allway firm because illustrator noticed that it just doesn't have this good pressure sensitivity built into it. So I like to get my lines really thin to thick and I like to do nice slow strokes if I want to get a certain kind of look. I used Illustrator for doing my inking and I'll do it with a slow stroke if I can have really controlled lines anyway. Among studio I set up one so try to mess with the settings year. I was working in my youngest CD back and forth and see what works best for you. For me that's what works best for me. Right that's my pencil settings and very simple. It uses dark pencil I have my pen pressure set and then I like to lock it what locking does if I don't lock it if I come here and change tack up in pressure of say I want to use this as a painting brush like I would in Photoshop right. Kind of like you and I could photoshop type stuff. Then I come back to say light pencil I start sketching with that and say See here I'm drawing and sketching with it whatever. Then it comes back to dark pencil it still set the way I had it before. I don't want that. So what I do then is I go to here next to brush size. I click it quick pen pressure and then I go to my sketching here. I lock it in there is my lock it is if I decide to use this really quickly as a shading type you know tool for a second and I go to a different tool and they come back to my my pencil notes it's back to my original set saying I had saved so it makes it where I can't overwrite them on accident like overwrite them temporarily. But once I go back to that tool it will be back where I like it. So these are two tools that I use to sketch with. And it's really up to you which one you like better. Honestly I don't know as much of a difference between the two. The dark pencil and the light pencil. Maybe it's because of how I have my my settings. I have a really light hand. I've learned how to lay hands with sketching. I think you kind of want to lay hands on sketching personally but at any give I always push a harder if you need it to push harder for whatever reason. What I liked between the students are so similar is this one I have stabilisation set all the way down to nothing. And this will have a set up high. So this will be for if I wanted to draw something and then this when I come down if I want to actually do the back and forth type of shading like this that's why that's what I use for it. So that's that's go back down here to dark. The only other one I like to use is a colored pencil and again the settings are the same. I have a minimum of a zero any time have anything think so of him pressure always has had the minimum value of zero. It gives me the most control and I like it. I always had that zeroed out too usually. So you know I was here with this brush is when you get with it it kind of gives you a really similar look too. If you remember my Photoshop brush that my Photoshop pencil brush it's really similar to look almost as if it adds noise to the brush. Right so you can actually use this to assimilate that kind of back kind of style. Anyway. Good idea. All right so it kind of has a similar look to it and it's great for if you want to add a little bit of texture for painting even so you can make a bigger brush here and come here and add in kind of shape with it and you can add this kind of slightly textured look so you can see some of the texture in there that will give that kind of almost like a skin texture look to it. That's the only time I usually use any any. Most everything I do I do without any. I do all my texture by hand so next thing is my ink pen. I like to use and I have it locked here. And so it knows the settings here minimum value of zero straight line pin pressure nothing else. Nothing else is done. But in case you're wondering what these things do is tilt means that as you tilt your pin either from straight up and down to more of an angle it changes the thickness of your of your brush. And so if I come in here and I get rid of that one of these lines and they pull this down more like this I should have a greater if it's straight up and down like this as it began to tilt it sideways. It gets thinner. I don't see the purpose of this. I never use it. I want to show it does velocity. It's kind of interesting though it's how fast you pull the pencil. If I'm going slow you know to sit stick. If I go fast it gets. So I go like this and Pullar fast. Right. And it's really hard to make it work just stops. So it's like you know if I want make like eyeglasses or something it's really hard to make it to where it is it just stops. And so it's like boom flick it really fast really fast fast really fast and it kind of starts and stops. I love that. Maybe that will be helpful for something I never use it but maybe one day I'll be like hey I need that particular look and then I'll use it. But I always keep it to a point pressure so to go out to my Pinto here and noticed that it goes right back to my original settings because I have it set there so it did it it didn't change anything. Stabilization I used to have all the on for this because I really like to have that nice flow if I make a better player than I can I think you can have vector management here and this will allow you to I think you have even further control over that line. And so that's really great. You can still pull your lines really really fast and get nice control. You can go slow and you can get pretty nice control over this. What's cool about this is if you want to add straight lines you can with Pinots really good. So anyway that's my pencil and I'd be my inking tool. Those are the settings again. I always keep it zeroed out here and keep this neutral or straight line. Those are my main two things I would use in a studio. Another thing I like to use as a tool for as far as laying down colors and things like that one. I use my inking brush so if I'm laying down color like that I lay it down like that let's say have an arm or something right. So he got it and just kind of I just kind of eke out a basic shape of a arm and hand here like something like that. You get the idea. Hopefully what it isn't representing. So if I want to take an interest let's say I have I want like all this over here to kind of be all that to be colored in what I would do then on another layer of my coloring layer or rethinking layer that would come in here and how it pull all this out line and trace what I want to fill in. Now I take my paint bucket tool and then just double click in here and that already does my cool trick I do in Photoshop where I have an action for it. But this one is just. I'm actually come fill in the other stuff I want to fill in that will quickly get me the shading I want it with this pressure here. Does this really cool it then come in here. Now I can kind of pull into this color and if I wanted to kind of you know sheet out and more and more of that painterly kind of look I can have that. Of course it have to go into my settings. My actual inking settings and change it as well so has that more painterly look and that's a quick way to like color and fade and stuff. I'll show you how this tool works. This is a transparent watercolor tool so this is the next fall I use quite often and I usually use this to add in different kinds of shading So let's go back to the old document here. And unfortunately I don't have just the inclines. OK hold on a second and we get some inclines real quick to demonstrate this brush and it's setting. So you see the default settings here. Passing all that can remember what is default in this or not. I might have changed some stuff here so this isn't exactly the same as what you have. You can change it if you want to try out the way I have it under here under pressure. I rarely ever put pressure on this tool. Sometimes I do. The default is though I don't have any pressure on it. It is actually part of my Monga had course. So let's take this here then and which one is inking. OK there we go. Nicolay or anything. So I would use this brush here. Now what I would do is say I wanted to have this side of the face in shadow. You kind of push a little bit not too hard but a little bit hard to get that color and then just lightly touch the edges and it blurs the edges out. This allows you to add form to things very quickly with this kind of almost painterly style pull it here. You can also pull hard lines and say I want to use a lighter color because I'm pushing more much harder. Bandi can still push a hard lines in a slightly hit the edges of it and then come back with the same color as the paper or the person's face and kind of pull into it and get it to be a little bit less. So it's it's a great tool it's very fast and efficient at link laying and the colors you want. It's going down a black here at this really dark this hair appeared to be lighter and come in like that. So I really recommend trying this brush out. It's just fantastic. Great. You want to go between pressing hard and pressing soft. So you would like to press hard here for a second and then come in and press soft and kind of blend and work this in and doesn't have that really blurry look when you come in and work this in and kind of blended in in good little circles and then blend in with those circles. To get you know texture type of look and it's it's a great fantastic tool. One of my favorite tools. I do most all my shading everything with this would it be a all in whatever it is. The next one I like to use actually does none of these are the ones I really like to use. Well Passey watercolor is ok. Sometimes I'll use it for certain things and I'll kind of get an idea how it might work on these spaces. Let's see this one here. So I want to kind of add like that and kind of bring this lighter color back in here and notice that it doesn't do anything with a light color it just stays. It keeps getting darker and darker. So the one thing that's cool about the past the watercolor brush is you start with whatever color you want like how dark you want to shade with and if you push lightly you're going to get this color you want it but it'll be much more close to the color you have actually picked. If you wanted to you know make it really light you can like lightly touch but it's not going to make it much later. Now if I then pick a white color and kind of come in here notice it's still pushing that color out. If I start up here nothing happens. So now I can come up here and I can pull in this lighter color and just keep pushing in pushing in the lighter color. Now pulling in toward the darker color then what kind of gold little circles are up and down and kind of fake this kind of get that little bit of fading it doesn't fade as much and I don't know I don't like it but you might find it useful for this kind of thing or hear it as quickly Laina that color. And then if you want to kind of like like that you can't go back to the transparency tool and then just lightly touch that or even use the like color. Now with the transparency tool and you can actually pull into that and just kind of blend into it it kind of fades more and looks more like it's not shaded. So I use those two to choose together can work pretty awesome. So Marigot I want this color when I lay it down. So I just lace that color down very quickly and it's nice and smooth. And then you take this tool here and kind of come in and blended in. They take the lighter color. I put all key to choose the color and the take and kind of blend into it. So it kind of has more of a blended look to it. This was a really quick way to add that kind of blended awesomeness to your to your work. The next thing I kind of use sometimes is the oil paint. And so this was called for is if you want to quickly come here and add color as the color but it does so in the oily painterly way where there's like a little bit of texture left in there. And then you can take a lighter color just kind of like almost sell shade look with this with this brush here. And then maybe you might want to take your watercolor transparence and kind of blend these together a little bit get rid of some of the harder lines. Nick actually add more of a paint kind of look with more texture. But yeah that oil painter painted brush can be very cool. For certain effects you want to get. I think it's great for the self-hater look so what sells a look is you have like a really dark color so we'll say this is the darkest part of the shade. Pull it down kind of maybe go over to a couple times and then take a slightly lighter color actually do even darker than that. Even darker than that no I can ever really get like super dark unless I go over to a few times even then I can't get black with this brush. I like to go over it several times like that and paint it that way. It's kind of slow. It doesn't matter how hard you push I can push really hard the first time it took to have that same look to it that comes down to it just the way the brush works. If the amount of paint so that make a difference see anyway. So Paul McCartney went really dark you to go over a couple of times then add another color slightly go into it and kind of blend. You can even lightly touch this together. I liked to get rid of pressure on this press personally. You get that kind of saucy look actually peer pressure works better. And so say I wanted to sell she looked to the hair. I come in here I kind of pool this kind of look right here. Only downside again is the you can't get the super darkness that you want out of it with the first stroke and already now I'm running out of you know so I have a certain stock because I can do that and I really would already do it and with this brush either just do it whatever I can and that lets do something better than that. Hold on. So say Look over here. I think that kind of quick Celso look without even having a change of color at all that is starting what you do is you would you would fill in the whole area that you know are going to have a color to it. And then come in here and redo it and take that lighter color you need to again. And it kind of has a cell shaded painted looking away. I don't ever use it but this one is kind of cool for like doing mountains and stuff like that and sometimes you know buildings and things that I don't really like it. It's not going to be good for you know adding any sort of social look to anything even you know even laying down color. I really like it for that personally. Just a coat brush. And the inks. None of these are like they don't you know I just don't see the I don't have a use for them yet. I haven't found one so I don't use them. But what's really cool with watercolor too you can also use like said the one that was kind of cool. Maybe this one here and then turn the hardness all way up. You can add an interesting Selsey look so you can do is on this face over here. Let's start with this kind of color here. This is kind of lightly you know keep it like that and then take a lighter color and you have that kind associate look. I'm not used to darker colors to really emphasize this though. I like that. And then a slightly lighter color like that so it's fading in and saccadic and Selsey look and if you don't like the hard line on the very edge you can go take the transparent tool here and just kind of lightly touch the edge and it's going to blended out. They got almost like a triple Selsey you're looking at the complicated say it looked. That's also a quick way to do that with those brushes. Another way of course is using the pen brush so it's a little different. So but take the brush and add in the first Slayer and then you add in your second layer I want to make a little bit I like that. And there you go and I got your two layers of yourself to look at whatever it is you're shading then you can take your transparent watercolor brush and get that third layer by just lightly going over it and then come back in here if you want and kind of you know blend some of it together. It doesn't look so it kind of blends more. It's a quick way to blend. Nick also uses to blend cars together take this darker color here when it take this color hair blonde and just by lightly pressing into these colors it's a quick way to blend all the colors together. And you can actually get more of a paint blended look out of it that's I like this brush it's just it's a fantastic brush. Great. This kind of looks at these different looks by using different brushes So they check them out. Try them use different settings and other really cool thing is how I added this the glow here to her hair which is a pretty cool way to do that audit. Another one is you take the white color here take your pen tool at the lions you want it says one a couple of lines over here like that. Then you take the airbrush tool or it looks like a spray can which really airbrushed all I keep. I think I keep all this the same turn pen pressure off and I pressure this is all default stabilization. It's all way down. None of these are checked breast in-city is about 50 percent hardness is all way down as well. So I'll keep it soft. You can try harder to see what it looks like but under here add a glow overlay you know different different things. You can try overlays on can do much right now but Atiqullah will and this is and keep it works more of a stronger not as blurry make it smaller. Bashir This is a little a slightly different look. And when you take this and have it hardness all the way down to where it's softer adding adding that extra bit there is kind of as that really bright lines to it it makes that kind of glow. So this is a cool way to add like neon signs things like that really cool make cool letters on science by just going over it with this brush right. Hope that helps you figure out more about mulga study of Phaidon. Don't you want to try it. My last thing in this video and just quickly talking about I was I was a Photoshop user for 17 years. I still use Photoshop for certain things certain layout design things like that with brochures but usually I use Illustrator for that anyway. The main thing with Photoshop I like to do post-production work. So for example to change certain color values and things like that of my finalize painting but all my painting illustrating comic book work inking sketching. Everything else is done among the studio. I might do some prospects and work in Photoshop and any type of photo manipulation or photo correction. Obviously I do in Photoshop. That's pretty much it. That's pretty much what Photoshop is left to I don't use everything else anymore unless you know someone wants a particular how to paint with Photoshop. What ever reason video might make one of those. Let's see here. That's from it. So I've been using Photoshop for 17 years. Loved the program had loved it had been biased toward it. I think I tried mongoose to deal with Mongo a city of four or three. Either way I didn't like it back then because the tools weren't they didn't work very well. But now they work excellently. Again they're going to want to pressure you want a pressure sensitive tablet. So either a whack you know into OS or this antique is what I like to use to build draw on the screen or something like that never makes a good one where you can draw on the screen for much cheaper. I think it's like four or five hundred dollars for theirs and it's it's even bigger than the standard size $1000. Now it's a 13 inch per month for the Wakeham Syndic anyway. So definitely get a portion of the tab and then use among studio you don't need monks to do X which is basically monkshood pro. You don't need that like tourism dollars. All it does is really give you a lot of the story options and having duplicating or having multiple pages viewing at a time and things like that you don't need that unless you're going to be doing a lot of comic book type of work. And even then you don't need it it just can kind of help smooth the workflow and make it a little bit faster when you learn how to use it right. Let's see here. Mungo's studio 5 has a robust awesome set of pencils so if you ever tried an older version long as you didn't like it I didn't either. But when I try a city of 5 I loved it so much that I only use it now. Pretty much everything. So I want to stress that Photoshop use over 17 years. I've been using it for a long time I've been teaching it for a long time and I love the program but Manga Studio 5 blew me away and it can be monkshood 5 for 80 bucks at all costs so the price range is awesome and it's a way better program for painting and drawing and all that sort of stuff. The only thing that Photoshop has an edge over is when you want to do for them Appalachian and maybe some post-production work and then also any toward any sort of photo editing stuff. That's really what that program is made for. So that's why it's going to solve that. All right so thank you for watching this bonus video here for my Monga how to draw manga faces and hair. Course if you haven't had a chance to check that course out guess what good news. I still have a few coupons left for the 50 percent off. I usually set a certain number to them. Originally I set I made 30 of them 30 of them sold out so fast and people were me going on in and this Im really bummed out and so I felt bad and so I made another one of the hundred and those 100 are almost sold out. So you know get them while you can. I'll go to put a link here on this video to my Monga course there for how to draw manga faces and hair. And actually if you want a quick quick preview of how the course might feel you can actually just go to the link and you can see next to some of the course of the SAS preview. You can watch that entire Course students the lessons assess preview. That means you can watch that tire lesson for free. I know it sounds weird if you're like watching this as a bonus video because it's actually part of the course but I'm saying this for people that are watching this on YouTube. That way they could go in and take a course like you guys already have. All right guys thanks. Thank you for watching. And please come at any rate. Appreciate it. Oh hey real quick question to you guys. For those that might still be listening do you prefer. And this is for people you can you can make a comment in either to me. Course in the comment section there or you can make the comment and you two get to watch this on YouTube. My question for you is do you prefer Photoshop or manga Studio 5 and have you actually in all the answers you've actually tried. Both of them. If so why so. And I'm referring specifically for drawing inking coloring painting. You know this sort of stuff not for you know anything to do with photo correction thing like that but for the robust system of jogging or painting or coloring do you prefer monkey city or 5 or W Photoshop if you prefer some other program name that program and say why you prefer it. It could just be. It's FREE. It could be that you know hey what could be the reason why you like it better. It's FREE. That's why I like it better. You know if you were able to try some programs you might prefer them better as far as quality but so this does let me know why. Because that kind of will help other people determine maybe what they want to try. I know reviews are good. So kind of like leave a review for your favorite program for drawing and painting and inking and coloring and. Yeah. And if there happens to be either a city of five or Photoshop let me know which one of those you prefer better or even better yet how about if you tried both Photoshop and manga studio 5 first say which one of those you'd like better. And then if you happen to like some other third program better more than a city of five and more than Photoshop lets that one as well go. You know isn't like between Photoshop among a studio. I like Manga Studio but my personal favorite is you know Sketchup pro or whatever happens to be paint tools or something like that. All right. Thanks for watching guys.