Sissies Playing Poker - Process

1. I started with a rough thumbnail idea.

2. Next, I drew a more refined sketch, getting the poses and proportions closer to the final version and using perspective rulers to work out the buildings in the background.

3. Then I did the final sketch, getting the figures finalized, working out all the clothing and hair, and refining the background.

4. Inking. I 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. 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 characters and lashes on separate layers.

5. In Manga Studio, I collapsed all the vector lines into a single layer and set it as the reference layer. Then I added a raster layer and filled in the color blocking using a simple fill pen set to overflow to about halfway through the linework. This is much faster than using a magic wand to select, although I still have to go in paint the tight corners in by hand. 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.

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. For the hair, I used linear light for richer shading (but toned down a little from my usual color burn so that it can recede into deep shadow better) and I used a variable-width soft airbrush to smudge detail into the shadows, picking up the shape of the hairs.

7. Cast shadows. I make a new 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. Backlight. I used a desaturate 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.

9. 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.

10. To give the felted table top some texture, I created a large rectangle of white noise, then used distortion to match it to the perspective of the table top and set it to overlay and masked it to the green of the table top.

11. For the blush, I add in a light red layer, airbrushing just on the same area as the skin for the cheeks and other cheeks. I use the same method to add color for the eyeshadow.

12. For the cards andf the text, I hand painted the text and used fonts to make the cards, both flat. Then I used distortion to match them to the shape of the surfaces.

13. 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.

14. 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.

15. 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 soften the edge where it touches the skin. After, I add a new white layer to paint in the shiny highlights.

16. For the overhead light, I added a simple white layer with a round gradient and then added a smoky pattern layer effect set to multiply. I added a small one in front of all the characters and a fainted, larger one behind the characters.