Lonely - Process (Patreon)

1. In Manga Studio, a very rough sketch with big fat pencils. The fat pencils force me to keep the sketch loose without getting too caught up in the details. I started with just the basic naked figure, a vague sketch of the big big hair (which was something I planned to include in this one from the start), and a general sense of the bed and drapes.

2. Final sketch. Using the rough sketch as a reference, I drew a new sketch layer with a finer pencil. I refined the face and clothes, sketched in the general shape of the curls and directionality of the hair, roughed in the shape of the bed. I also made a quick 3D model of a handcuff to use as a reference for the inking.

3. Inking. I use a variable-width inking brush for the character and a constant-width brush for hard things (handcuffs and mask lock) on vector layers. I use lots of different layers for different parts, which makes it easier to overdraw and erase as needed. I kept the bed and drapes on separate layers so that I can export them separately.

4. 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 try to keep the range of colors limited for better color balance so it's mostly reds and pinks (which are always a favorite).

5. Form shading. I create a dark brown solid color layer (linear burn) and start painting in the basic form shading with a soft airbrush. Except for the hair, which gets its own dark brown layer but with color burn blending for more richness. To give the hair more form, I added a second layer of shading for the hair so the first layer traces out the fine details and the second layer is much broader, shading the whole mass of hair as one.

6. Turning off the form shading, I make a new dark 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.

7. Backlight. A bright pink solid color layer (screen). I turned one of the form shading layers back on, temporarily disabling the mask (shift-click on the mask), to make it easier to see where I'm painting. I used both a soft brush and a soft airbrush. When it's done right, it should look like real lighting from a different angle.

8. Combine them all and ta-dah! Looking good!

9. Shiny. Now add in the shinies. I used a solid white layer at for basic shine on lips, mask, locks, and breastforms, another solid white for shine in the eyes, and solid white set to overlay (which makes a richer shine) for the hair shine. Painting the hairshine, I use a variable width sharp brush, then go over it with an airbrush to give it a little glow.

10. 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.

11. Final character details. I add in a light red layer for blush, airbrushing just on in the same area as the skin (masks don't blush unless it's painted on, which would be redundant here). Blush goes on joints, palms, the sternum, the collarbones, and lots and lots on the face. Then I add some tears. I use a white layer, lower the fill, add a white stroke layer effect, and paint in some tears. Then I add another white layer to add some shine to the tears for extra moistness. No extended eyelashes on this one because the mask means no make-up needed.

12. Backdrop. I paint in the backdrop using soft airbrushing, fat strokes at first, then a few smaller ones to add variation. Same with the curtains, although I dropped the linework for the curtains. Then I added a solid dark fuschia layer set to multiply and played with gradients in the mask to create deeper shadows around the character.

13. Darkness. You know what this needs? Even more shadow. On top of the whole thing, I added another, much darker fuschia multiple layer and carefully cut out a shape for light coming through a doorway. This create a more dramatic look and hints at a backstory for the image.

14. Mirror. It looks better flipped this way. It makes the character look more reluctant which is more dramatic.