Too Much Fur - Process (Patreon)

1. Rough sketch. In Clip Studio, I start with a basic pose sketch, working out the layout, proportions, and basic body shape and a rough idea for the outfit. I actually did a rough sketch before this but it was for a completely different interpretation of the suggestion before I had this better idea.

2. Final sketch. I use separate layers in multiple folders for the various props and the character which makes it easier to plan, especially when so many of the parts overlap. If you look closely, you can see that I draw some parts that I know will be completely hidden behind others, particularly the basic body shape, to make sure it will all make sense together. Keeping them on separate layers also makes it easier to shift the positions of individual features when final details on foreground features might change the layout needs.

3. Inking. I scale the canvas up to four times the size and 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. Planning for the line coloring later, I try to use a different vector layer for each part that would be differently colored as linework such as one for the character's skin, one for everything that will have black linework, etc. For the fur and petticoat, I used some ribbon brushes I created a while back to save time on those types of details.

4. Color blocking. I set the folder containing all the different inked vector layers as the reference layer. Then I made new raster layers underneath and started filling in the flat colors. Sometimes I used a round pen, sometimes the color fill bucket, usually with the fill set to follow only the reference layer, stopping at the middle of a vector. I used a simple two-color gradient as the backdrop.

5. Form shading. I create a dark blue 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 set to clear to paint away the shading, painting with light. For the hair, I used color burn for richer shading and start with a general, soft airbrush for the overall shape, then used a variable-width soft airbrush to smudge detail into the shadows, picking up the shape of the hairs. I also added a pale yellow layer set to screen to airbrush in some soft highlights in key places.

6. Cast shadows. I make a new 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.

7. Backlight. For the secondary lights, I used saturate blue layer and a white layer, both set to screen. Then I paint with a soft airbrush on opposite sides of shiny objects. The forelight is used only on the shiniest parts, mainly the metal or satin. When I combine it with the form shading, backlighting really makes the characters pop. I don't use any backlight on non-reflective objects. On the hair and fur, I used the fingertip tool to streak in the shape of the hairs.

8. Shiny. I used a solid white layer for the primary shine and painted spots and streaks using a hard variable-width brush. 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. After painting all the shine, I use the cast shadow layer to make a selection and delete the shine from anywhere covered by shadow.

9. For the texture of the wool, I added a simple noise pattern, set to overlay, above the shading layers.

10. For the natural blush, I add in a raster layer and airbrush red just on the skin for the cheeks and places where bone is near the surface of the skin. I used the same approach for make-up.

11. Colored linework. Since the linework is still all vectors in Clip Studio, I simply selected the vectors and changed their color to whatever colored linework I needed, sampling from each section and then shifting the color to be more saturate and dark, more or less depending on how hard or soft I want each thing to feel. The hardest things I keep black. Then I collapsed all of the linework into raster layers, locked the pixel transparency, and used an eraser to fix up any places where different color linework crossed over each other or a multiply brush where the shadows were deep enough to require darker linework.

12. Eyelashes are done with a simple raster layer painted with a black variable-width pen. Then I lock the pixel transparency for that layer and use a soft pen to paint in grey streaks for texture and then soften the look with a few strokes of a black soft airbrush.

13. In between the layers of the character the layers for the footprints in the snow, I added another gradient of white to transparent so that the footprints would fade out with distance.

14. For the falling snow, I added a layer of white then used two kinds of snowflake brushes, one with lots of small simple ovals, which I brushed in heavily, going thicker in a sweeping line in the middle to make it look windy, and a second brush with big, detailed snowflakes that I made a while back for the snowman picture.

15. Since it really is too much fur, I added some sweatbeads to what little skin we can see. I started with a simple white linework, then added a transparent white fill, then added simple shading, backlight, and shine.

16. For his steaming breath, I used my cloud brush to paint some light blue puffs, then locked the transparency and painted white puffs on the same layer, creating some depth in the puffs.

17. Finally, I added a word balloon to add context. I drawing my own curve balloon so it has fewer points and is easier to edit.