Welcome back to my channel, I’m professor Crimsy and in today’s class I will teach you how to create a variety of special effects to improve your illustrations using blur filters and blur brushes in Clip Studio Paint. We will start off with a quick overview of all the available filters and brushes and then I will teach you step by step how to create my 7 personal favorite special effects using some of these tools.
Of course, in order to demonstrate all these , I will use some of my own illustrations, including this brand new one that I made just for this occasion featuring my Oc Yukine. That being said, we have a lot to cover so without further ado, let’s begin the ritual!
We have the blur and blur (strong) filters, these are automatic blur filters that have a set blur value to them. To really see a difference you typically need to use them multiple times, but it can be pretty subtle and the bigger the canvas and the least effective these filters will be.
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Tthe Gaussian blur is by far the one I use the most in my art because it comes with a strength slider and a preview of the result that updates every time you move the slider which gives you a lot of control on your end result.
With the motion blur, a forward or backward directional movement is added to your blur. You can control its strength, its direction and how smooth it is, which is great for any element in your art showcasing lateral movement, like a character running or an object falling.
Where the motion blur is great to create movement, the radial blur is its equal when it comes to creating intensity. This blur filter is also directional, but instead of being linear, this one originates from a single point and projects the blur effect in an outward of inward direction.
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The smoothing filter is pretty self explanatory, if you have a high amount of grain in your art, which happens a lot with scanned traditional artworks brought into a digital drawing software, this will serve as an anti-aliasing filter.
Another filter I consider to be a blur filter, but that was not included in the blur category is the mosaic filter, also known as the pixelate filter or the censorship filter. As its name indicates, this filter is pretty great to automatically pixelate an image to give it a pixel art look or to blur a certain part of your art that you want hidden.
Starting with a pretty basic yet very effective one, lineart enhancement is the best way to add depth and strenght to your lineart.
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4. Now go to the top menu --> Filter --> Blur --> Gaussian blur. I left the value at 6 since my canvas is letter size, but you may want a higher value the bigger you canvas is.
As you can see, it makes a pretty big difference already, but if you want to go an extra step, you can also:
Once you are fully done with the coloring and shading of your character, a nice effect you can add is movement blur. It may not apply in every scenarios, but in this case, it’s winter, the wind is blowing and many elements of my character are in motion because of it, like the dangling yokai lanterns, the ribbons and the bottom of the kimono and its sleeves.
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1. To create this effect, isolate your character from the background by duplicating its folder and merging the layers together. It’s important to keep the original folder visible under this layer because we will be erasing parts of this image in the process.
2. To create movement blur, select the area in motion and go to filter --> blur --> motion blur. Adjust the settings to get the right strength and angle and press ok.
4. Once you’re done, you can also duplicate the layer to make the effect stronger, then merge the two layers together and play with the layer’s opacity until you’re happy with the result.
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Next up, something that can really add a punch to your artwork is glowing highlights. There are many ways to create glow in your art, but here’s the three methods I use the most.
2. Choose a dark color in the same hue as the element you want to add glow to and draw on top of said elements with a hard brush.
3. Once you’re done, head over to the top menu --> filter --> blur --> Gaussian blur. Adjust the settings to make the highlights very blurry and press ok.
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4. You can adjust the layer’s opacity and use the soft eraser to refine the edges of the glow and that’s it.
2. Instead of using the Gaussian blur filter, go to the blend brushes and pick either the blend or the blur brush and simply blend around the spots of glowing areas until it looks smooth.
The third method is the simplest in my opinion, but it’s not as precise as the first two. You can simply grab the soft airbrush and gently dab on top of your element until you’re satisfied with the glowing effect. This is especially good for spherical glowing objects and wide areas.
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Here, s the final result! Feel free to experiment with all of these methods, it’s really a matter of personal preferences how one chooses to apply them in their work. :)
To create an interesting composition in your illustrations, it’s always important to add both background and foreground elements to it so that we get a good sense of depth from the environment around the character. We call this the depth of field effect.
First, let’s add our background elements, then our foreground and middle ones. Typically the further away those elements are from the character and the blurrier they get in the distance, so it’s fine if everything looks a bit rough, it won’t matter in the end. So in the background we have the sky and some snowy mountains, in the middle ground we have a pine tree branch behind our character’s umbrella and in the foreground we have two more pine tree branches to the top left and bottom right of our image. Of course, everything looks very flat right now, so it’s time to go on a Gaussian blur rampage!
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1. Slightly blur the sky and the mountains independently, then merge the two together and blur them again. The goal here is to have them be very blurry to show how far away they are.
2. Slightly blur the pine tree branch in the middle ground. Having this one be less blurry will help accentuate just how far these other branches are from our character.
So lastly, strongly blur the pine tree branches in the foreground and we’re done! Now our composition looks pretty nice and we can really feel the depth in our environment.
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Moving on to a more tricky effect, let’s create some smoke coming out of the carved oni pipe our character is holding. This effect might seem fancy, but in truth, it’s only a few steps that you rinse and repeat many times until you get the desired result. Sadly, I lost my initial recording from when I created this smoke effect, so I will quickly go over the process again and I apologize in advance if the final result does not look as polished as the top one, as long as you understand the process then you should be able to reproduce it. :)
The trick is to go from broad details to small details and the hardest part is to get the right smoke shape at the start. What you need for that is a good soft paint brush like the round mixing brush.
1. Gently trace the shape of your smoke, imagine that it is very light and floating in the air in long thin strands, a bit like hair.
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2. Then get the blur brush and gradually blur the strands of smoke that you just made. Don’t hesitate to erase to refine your shapes or if you feel like your smoke is too opaque.
3. From there, I used a combination of the flat marker brush and the fingertip brush to add more layers of smoke on top of what I already had. This is our medium level of details.
4. When you're happy with the result, duplicate the smoke layer, blur it using the Gaussian blur filter and put the blending mode on add (glow) as well as reduce both layers opacity.
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5. On a third layer, draw the thinnest strands of smoke. For this I used the flat marker at a smaller size and simply went over the lines we made before to add this extra layer level of detail that makes it look like the smoke is slowly dissipating.
With these three levels of detail we end up with some good looking smoke, but there is still a few more steps to do:
6. ring the smoke layers in a group, don’t forget to put the folder on the blending mode ‘’through’’, then
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