Dinner for Two - Process

1. First, I did a rough sketch, getting the figures and poses settled and roughing in the idea for the table setting.

2. Next I did a more final sketch to work out all the details.

3. Inking. I use a variable-width inking brush for the character and a constant-width brush for hard things on vector layers. I used my own brushes for the chains. 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 inking for the maid, couple plus table setting, glasses, table edge, and eyelashes on separate layers.

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 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.

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, using a smudge tool to add detail in the creases and the feathers. 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.

6. 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.

7. Secondary light. I used a desaturate red solid color layer (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. Then I added a desaturate yellow solid color layer (pin light blend mode) to paint the soft glow from the candles. This is effectively an underlight so it's more in front and below instead of an edge effect like the backlight.

8. 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.

9. For the blush, I add in a light red layer, airbrushing just on the same area as the skin for the cheeks and other places where bone is near the surface of the skin. I use the same method to add color for the eyeshadow.

10. For the low lighting effect, I added a levels adjustment layer above the form shading and cast shadows but below the secondary light and shine. This makes the form shading more subtle and dark, letting the candle glow secondary light dominate.

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. I also added a little but of yellow secondary light to the lashes.

13. For the candle flames, I used a variable width brush to make simple white flame shape, using the smudge tool at the tip. Then I locked the pixel transparency and brushed in some yellow at the top, then just a touch of red on top of that. Then I added a simple soft round yellow on a new layer at the very top, set to screen blend, to give the light a warm glow.

14. For the glasses, I used a white edge, then added a solid transparent white layer for the front and back of the glass.

15. In between the glass layers, I used a variable width brush to paint in red for the wine, then locked the pixel transparency and added some very dark red, using the smudge tool to smear the dark red around for a liquidy swirling feel. I set the red layer to vivid light blend mode so that we could just vaguely see the edges of things behind it.

16. Finally, I added a few white steaks for highlight and some soft yellow and red for secondary light on the glass.