Home
Artists
Search
Recent
Random
Posts
DMs
Tags
Random
Importer
Import
FAQ
Account
Register
Favorites
Login
Comfy Pillows - Process (Patreon)
Published:
2016-08-16 06:54:23
Edited:
2019-08-22 08:17:18
Imported:
2024-08
Content
1. In Manga Studio, I start with 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.
2. Final sketch. Now I go back and do a more detailed sketch, working out the the body, clothing, hair, and pillows.
3. Inking. I use a variable-width inking brush for the characters and a constant-width brush for hard things (the garter clips) on vector layers. I use lots of different layers for different parts, which makes it easier to overdraw and erase as needed. For the fur, I made a fur-edge brush from my own linework a while back. 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.
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.
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 linear burn blending for more richness. I also use a smudge tool on the hair and various creases in clothing and skin to create detail.
6. Backlight. A very desaturate pale pink solid color layer (screen) the same hue as the pillows. When I combined it with the form shading, backlighting really makes things pop. I used both a soft brush (for the shiniest parts like the buckle and lips) and a soft airbrush (for everything else). I used a second white layer for forelight on the shiniest objects. When it's done right, it should look like real lighting from a different angle. And again, smudge the edge of creases and hairs.
7. Cast shadows. 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.
8. Put them together and it's looking good!
9. Shiny. I used a solid white layer at for basic shine on lips, nails, and shoes, 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. After painting all the shine, I use the cast shadow layer to make a selection and delete the shine from anywhere covered by shadow.
10. For the blush, I add in a light red layer, airbrushing just on the same area as the skin for the joints and face. I use the same technique for the eyeshadow.
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. Everything soft gets colored linework. Hard objects in the foreground stay black.
12. Gauzy sleeves. For the gauzy puffed sleeves, I added a new, semi-transparent layer of color above my shading but below the linework. I add the same type of form shading and backlight I used before. Then I add a tint to the colored linework for things behind the sleeve by adding a semi-transparent color at the top of the linework folder and masking it to the area inside the sleeve.
13. 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.
14. For the lace detail on the stockings, I went back to the color layers and, just above the color for the hose, I added a simple white fishnet pattern and then added another layer of white on top of that and painted in some fancy designs with a variable width brush.
2. Final sketch. Now I go back and do a more detailed sketch, working out the the body, clothing, hair, and pillows.
3. Inking. I use a variable-width inking brush for the characters and a constant-width brush for hard things (the garter clips) on vector layers. I use lots of different layers for different parts, which makes it easier to overdraw and erase as needed. For the fur, I made a fur-edge brush from my own linework a while back. 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.
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.
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 linear burn blending for more richness. I also use a smudge tool on the hair and various creases in clothing and skin to create detail.
6. Backlight. A very desaturate pale pink solid color layer (screen) the same hue as the pillows. When I combined it with the form shading, backlighting really makes things pop. I used both a soft brush (for the shiniest parts like the buckle and lips) and a soft airbrush (for everything else). I used a second white layer for forelight on the shiniest objects. When it's done right, it should look like real lighting from a different angle. And again, smudge the edge of creases and hairs.
7. Cast shadows. 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.
8. Put them together and it's looking good!
9. Shiny. I used a solid white layer at for basic shine on lips, nails, and shoes, 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. After painting all the shine, I use the cast shadow layer to make a selection and delete the shine from anywhere covered by shadow.
10. For the blush, I add in a light red layer, airbrushing just on the same area as the skin for the joints and face. I use the same technique for the eyeshadow.
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. Everything soft gets colored linework. Hard objects in the foreground stay black.
12. Gauzy sleeves. For the gauzy puffed sleeves, I added a new, semi-transparent layer of color above my shading but below the linework. I add the same type of form shading and backlight I used before. Then I add a tint to the colored linework for things behind the sleeve by adding a semi-transparent color at the top of the linework folder and masking it to the area inside the sleeve.
13. 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.
14. For the lace detail on the stockings, I went back to the color layers and, just above the color for the hose, I added a simple white fishnet pattern and then added another layer of white on top of that and painted in some fancy designs with a variable width brush.
Files
