Polishing the Collection - Process (Patreon)

1. I started with a simple thumbnail just to get the idea and basic layout down.

2. Next, I do a more formal layout sketch, working out the poses and proportions and using perspective rulers for the boxes.

3. Final sketch. I sketch the characters, hair, outfits, and props in full detail. For the picture frames, I designed the frames flat and then used distortion to match them to the perspective.

4. Inking. I use a variable-width inking brush for the character and a constant-width brush for hard things on vector layers. I use lots of different layers for different parts, which makes it easier to overdraw and erase as needed. I also went ahead of inked the shape for the eyelashes because the brush stablization in Manga Studio makes it a lot easier than doing it in Photoshop later. I exported the inking for the lashes, the maid, the front of boxes, the dolls, the back of the boxes, and the walls on separate layers.

5. In Photoshop, I convert the imported lines to a folder with a mask and put a solid black layer in the folder. (CTRL-click RGB in the Channels tab, invert the selection, create a mask from the selection.) This will come in handy later when I color the linework. Then I create another folder and start creating the basic color blocking. I like to do all my color blocking by making a folder and then filling it with different solid color layers for each section of color, whch makes it easy to change a color later. This is a very fussy way to do it and it's probably much simpler to just fill a single raster layer with flat colors.

6. Form shading. I create a dark brown solid color layer (linear burn) and start painting in the basic form shading with a soft airbrush. For the hair, I used color burn for richer shading and I used a variable-width soft airbrush to smudge detail into the shadows, picking up the shape of the hairs.

7. Cast shadows. I make a new brown blue layer set to multiply and start painting in the cast shadows with soft brush, using a smaller brush in places where the object casting the shadow is closer to the thing the shadow is on.

8. Backlight. I used a desaturate solid color layer (screen blend mode) painted with a soft airbrush. When I combine it with the form shading, backlighting really makes the characters pop. I don't use any backlight on non-reflective objects. I used a second forelight for the shiniest parts.

9. Shiny. I used a solid white layer for the primary shine and painted spots and streaks using a hard variable-width brush. After painting all the shine, I use the cast shadow layer to make a selection and delete the shine from anywhere covered by shadow. For the shine on the hair, I started with thin strokes with a variable-width brush, then use a smude tool to add detail and softness to the tips, then use an airbrush to add a soft glow to groups of streaks, then use an airbrush to fade the tops and bottoms of streak groups, and finally use a soft round brush to erase a few streaks in the middle of each group.

10. For the paintings, I selected a few of my previous works, then scaled and distorted them to match the perspective. Then I applied the paint daubs filter to make them look a little more painterly. I also applied a tiling pattern to the wallpaper, using distortion to match the perspective.

11. For the glass walls of the boxes, I added a solid white layer at 10% opacity. Then I added some white streaks to make it look more glassy. I placed these layers behind the back of the box and behind the front of the box so that they would lighten the objects obscured by glass, making them look more like they are behind the surface of the glass.

12. I added a transparent white layer and used a variable width sharp round brush to paint in smoosh effects everywhere that something is pressed against the surface of the glass.

13. Colored linework. Going back to the linework folder, I started adding new solid color layers, using the mask to paint the color of the linework. Since the new layers are inside a folder with a mask defining the linework, I don't have to be very precise when coloring the lines. I always add new color layers below the ones I already did so that I can be sloppy in the areas that are already covered by colored linework. I like to keep using black lines on the hardest objects to give it a contrast with softer objects. Since the linework for the dolls falls behind the transparent glass layers, you can see how the glass lightens the color of the linework in strong contrast to foreground objects.

13. For the blush, I add in a light red layer, airbrushing just on the same area as the skin for the cheeks and other cheeks. I use the same method to add color for the eyeshadow.

14. Eyelashes are done with a folder containing a solid grey layer and a solid black layer. Using the lashes I made earlier with a variable width brush, I add a few thin streaks on the grey layer mask to add depth to the lashes and soften the look with a few strokes of a soft airbrush. For the tears, I used a white layer with the fill turned down just a little and add a layer effect with white inner glow set to 100%. Then I use the mask to soften the edge where it touches the skin. After, I add a new white layer to paint in the shiny highlights.

16. Going back to the glass, I made new raster layers with a very low opacity and used a very soft solid brush to rough in vague reflection.

17. Finally, I added a second layer of shadow with a simple gradient to the background, just to make the lighting a little more dramatic.