Shopping Trip - 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 pose and proportions.

3. Final sketch. I sketch the characters and props in full detail. I used perspective rulers to help me with the clothing rack.

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 made a few simple tube brushes for the tubing since that's much easier than drawing two consistently even lines. 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.

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. I always start with shading at full and then use the airbush to paint away the shading, painting with light. 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 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 two desaturate solid color layers (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.

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 blush, I add in a light red layer, airbrushing just on the same area as the skin for the cheeks and places where bone is near the surface of the skin. I use the same approach for the make-up.

11. 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.

12. 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.

13. For the sweatbeads, 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%, a bevel effect set so that the highlight as on the bottom, and a subtle drop shadow. 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.

14. Just on the rack of clothes, I added adjustment layers to reduce the contrast and saturation, using a mask with a gradient so the effects starts just behind the character and increase further back to create a sense of depth.