Multiply Layer and line work
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Quick question: Several people have mentioned putting a multiply layer over the line work layer in order to preserve the line work. Because I always work on a colored background, however, painting on the multiply layer changes the colors I'm using to paint and makes it impossible to get a pure white. Am I misunderstanding how people are using this? And is there an advantage to preserving the line work in this way instead of just moving the layer with the line work to the top so it lies over the paint instead of under it?
Laurie DeMott
instagram.com/demotlj -
@demotlj I know what you're going through. I also struggle painting with white on a layer set to multiply mode. What I do is that I set my line art layer to multiply and place it on top of all my color work layers.
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@demotlj the multiply will basically take what ever color you pick and multiple it with the color already on the canvas. The process I found to work best for me is to put all my local color under my line layer. Then add a multiple to add shadows using a cool gray/blue color. Most of the time that will work. Some colors though need a different shadow color. Then I add an overlay or soft light to add highlights. Then another multiple for deeper shadows. Once I am happy with that I will go with a normal layer and render out the forms a little more around the areas I want the focal point to be. The normal layer would be the layer that would cover some if not all of my line art.
However my last few pieces and the one I am working for the Octopus challenge I am going to try and keep the line art in there and not over render the piece.
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You could use a threshold filter first to change the non black pixels to white but this works best if you ink the line work or adjust to be as dark as possible. Then flatten it and use a multiply layer.
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I like to have my line work on top set to multiply (I change the color of the line work so it's more of a dark red or orange rather than black I'll also make the pixels a bit transparent by adjusting the opacity of the layer if my line work is too dark). I work below on regular layers as much as possible. Then when all my color choices are made and worked out I'll have layers above the line art to polish. The line on top seems to work better for me especially if I have shaded or hatched with the line work. Having changed the line work to a dark red or orange helps those shadow areas blend in with the color below.
