"I can't get any dimension" — "It looks flat."
The key to solving that struggle is seeing in "planes" rather than "lines."
Last time, we explained the concept behind "coloring by seeing in planes."
This time, as a practice edition, let's actually use line art together to practice dimensional coloring.
*The line art used here is available for download on the Nuri-Iro official website. Please grab a copy and work through it together with us.
What Does It Mean to "See in Planes"?
When coloring, it's easy to fall into the habit of simply filling in the space inside the lines.
But if you want to bring out dimension, it's important to focus on the "flow of the face's planes" rather than the "lines" themselves.
For example, a face has:
- "Bright areas" where light hits
- "Mid-tone areas" between light and shadow
- "Dark areas" in shadow
.
This time, we'll color while thinking of the face as broadly divided into 3 planes.
First, Decide the Position of the Light
To bring out dimension, first decide "where the light is coming from."
This time, the light is set to come from the left side.
So:
- Left side → bright
- Middle → mid-tone
- Right side → dark
we'll build up color following this flow.
The key is not to overthink the details from the start, but to first roughly divide things into 3 stages: bright, mid-tone, and dark.
Don't Enclose Lines — Color Along the "Flow of the Planes"
When there are lines in the line art, you might feel tempted to color as if enclosing them.
But if you want dimension, it's important to color following the "direction of the plane" rather than enclosing the line.
For example, the forehead has roundness.
The lines for the turban and the forehead's outline in the line art
serve as a guide saying,
"the plane flows in this direction."
Layering color along that flow creates natural dimension.
Conversely, if you color in a direction that goes against the flow of the plane, the connection of the skin will look unnatural and end up flat.
Move the Colored Pencil in "Planes," Not "Lines"
When coloring skin, it's better to move the colored pencil as if covering a "plane," rather than moving it like a thin line.
This leaves fewer visible stroke marks and results in smoother-looking skin.
Also,
- Light touch for bright areas
- Slightly more pressure for dark areas
use pressure as another way to adjust dimension.
The Whole Face Is Made of Curved Surfaces
A face isn't flat — it's a collection of rounded forms.
- The roundness of the eyeball around the eyes
- The fullness of the cheeks
- The three-dimensional change in the bridge of the nose
.
Because of this, it's important to keep "following the curve" in mind while coloring too.
Around the eyes, follow the curve of the eye.
Around the mouth, follow the flow of the mouth.
Coloring along the flow of the planes creates natural dimension.
What If There Are No Lines?
Some actual line art won't have lines indicating the planes.
In that case, try imagining a "3-way split" in your mind.
For the forehead, for example,
- bright area
- mid-tone area
- dark area
picture these roughly as you color.
At first, it's fine to lightly sketch guide lines.
If they end up too visible, you can adjust with an eraser as long as they're light.
Think of the Face in Simple Shapes
If the dimension around the nose feels difficult, it also helps not to overthink it.
For example,
- Forehead → circle
- Nose → triangle
- Around the mouth → square
Substituting simple shapes like these makes the flow of the planes easier to understand.
Dimension starts with "understanding the shape."
It's OK to Start "Blocky"
At the underpainting stage, it's fine if things look a bit blocky.
In fact, at first,
"This part is bright"
"This part is dark"
clearly separating these is what matters.
After that, gradually blend the boundaries as you build up the gradient.
Creating Smooth Skin with Gradients
To bring out dimension, it's important to increase the number of "stages" between dark and light.
For example,
- Add a touch of slightly darker color even within the bright areas
- Layer an even deeper color into the dark areas
- Blend the boundaries
Building up color little by little like this creates smooth, natural dimension.
Darkness Is What Makes Brightness Stand Out
To bring out dimension, it's also important not to be afraid of "dark areas."
It's precisely because there are dark areas that the bright areas stand out.
Conversely, if everything ends up the same brightness and tone, the piece will look flat.
Keeping contrast in mind,
- make the dark areas firmly dark
- and keep the bright areas bright
and dimension will naturally emerge.
Keep Roundness in Mind for the Eyes Too
When coloring the eyes too, keep the "sphere" in mind.
For example,
- Slightly darker on top
- Brighter on the bottom
doing this gives the eyes a translucent, three-dimensional look.
Keep in mind that the eyes, too, aren't flat but are round in shape.
Summary | Seeing in "Planes" Changes Everything
Coloring with dimension isn't about carefully filling in details from the very start.
First, broadly,
- bright
- mid-tone
- dark
divide things into these "planes" as you think it through.
Then, gradually add more gradient steps and blend them smoothly, and natural dimension will emerge.
Not "coloring lines,"
but "coloring form."
Just keeping this in mind will make a big difference in how your coloring looks.
Be sure to practice this "seeing in planes" approach together with us.