Sissy in Charge - Process (Patreon)

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, and hair. For the sissy outfit, I started by sketching in a more commonplace dominatrix outfit and then I frillied it up.

3. Inking. I use a variable-width inking brush for the characters and a constant-width brush for hard things (the buckles) 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 inks in multiple layers. I didn't ink the laces or grommets at all because I'm going to paint those in with a different technique 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. Cast shadows. Because the single-point lighting from the bulb is tricky, I started with the cast shadows. To help me line up the shadows, I added a new shape layer with a star shape with 99 points, centered on the bulb to show me the direction that a shadow would fall at different points. Then 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. I start on the backdrop, then the characters last, because it makes it easier to visualize where the shadows will land when starting with the simplest, furthest back objects.

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. 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. For the jewels, I used a hard, variable-width brush, set to 40% opacity and painted lots of sharp little sections with a lot of overlap for a faceted look.

7. Backlight. A very desaturate pale purple solid color layer (screen). When I combined it with the form shading, backlighting really makes the characters pop. I used both a soft brush (for the shiniest parts like the buckle and lips) and a soft airbrush (for everything else). I don't use any backlight on non-reflective 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.

8. 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.

9. 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.

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. Everything soft gets colored linework. Hard objects stay black.

11. Lacing. I didn't ink the lacing because the linework would be too small and fiddly. Instead, I made a simple donut-shaped brush and used it to stamp the grommets on in a new layer. Then I added a very thin black inner glow to the grommets so that they would appear to have thin linework. I did the same on additional layers with a simple hard brush to make the laces. Then I went back and added cast shadows onto things the laces would cast shadows onto.

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 sweatbead, 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 hide where it is hidden by the hair. After, I add a new white layer to paint in the shiny highlights.

14. For the background, I added a little texture to the wall and a couple of black gradients to focus the light.

15. I added a few sparkles in key places. Just a few. Too many looks fake.

16. Finally, I added a bright yellow shape on top of the bulb in the same shape as the bulb, blurred it heavily, then set it to screen to give the bulb a warm glow.