Waiting Patiently - Process

1. In Clip Studio, I draw rough thumbnail to get the basic concept down.

2. Rough sketch. I make a more formal sketch to finalize the layout and poses. I used Clip Studio's 3D models as references and a perspective ruler to lay out the shop and the suitcase.

3. Final sketch. I use separate layers in multiple folders for the various props and the character which makes it easier to plan, especially when so many of the parts overlap. If you look closely, you can see that I draw some parts that I know will be completely hidden behind others, particularly the basic body shape, to make sure it will all make sense together. Keeping them on separate layers also makes it easier to shift the positions of individual features when final details on foreground features might change the layout needs.

4. Inking. I scale the canvas up to four times the size and 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. Planning for the line coloring later, I try to use a different vector layer for each part that would be differently colored as linework such as one for the character's skin, one for everything that will have black linework, etc.

5. Color blocking. I set the folder containing all the different inked vector layers as the reference layer. Then I made new raster layers underneath and started filling in the flat colors. Sometimes I used a round pen, sometimes the color fill bucket, usually with the fill set to follow only the reference layer, stopping at the middle of a vector.

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. I always start with shading at full and then use the airbush set to clear to paint away the shading, painting with light. For the hair, I used color burn for richer shading and start with a general, soft watercolor brush to get lay in some stronger hairs for a sense of texture, then use an airbrush to establish the overall form, then use a fingertip smudge to add some extra detail. With the fur, I do the same as with the hair but start with scattered blotches instead of streaks and I do a lot more smudging to create more texture.

7. Cast shadows. I make a new blue 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. For the secondary lights, I used desaturate blue and white layers (set to screen). Then I paint with a soft airbrush on opposite sides of shiny objects. The forelight is used only on the shiniest parts, mainly the decorations. When I combine it with the form shading, backlighting really makes the characters pop. I don't use any backlight on non-reflective objects. On the hair, I used the fingertip tool to streak in the shape of the hairs.

9. Shiny. I used a solid white layer for the primary shine, painting with a soft watercolor brush, then another, stronger white layer, painted with a hard variable-width brush for specular highlights, which I then soften and smear with the fingertip tool. For the shine on the hair, I started with thin strokes with a soft watercolor brush, then use an airbrush to add a soft glow to groups of streaks, and finally use a soft round brush to erase a few streaks in the middle of each group. I also added a pale yellow layer set to screen to airbrush in some soft highlights in key places. 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 natural blush, I add in a raster layer and airbrush red just on the skin for the cheeks and places where bone is near the surface of the skin. I used the same approach for make-up. I also painted in a few little freckles.

11. I made some simple signs and the used distortion to match them to the shapes on the door. Then I painted inside the door with various watercolor brushes to create a vague sense of the interior of the darkened shop.

12. On a second layer, placed over some of the linework, I used a watercolor brush to paint in a few white reflective streaks for the windows of the shop. Then I airbrused in very rough reflection, sampling colors from the character.

13. Colored linework. Since the linework is still all vectors in Clip Studio, I simply selected the vectors and changed their color to whatever colored linework I needed, sampling from each section and then shifting the color to be more saturate and dark, more or less depending on how hard or soft I want each thing to feel. The hardest things I keep black. Then I collapsed all of the linework into raster layers, locked the pixel transparency, and used an eraser to fix up any places where different color linework crossed over each other or a multiply brush where the shadows were deep enough to require darker linework.

14. Eyelashes are done with a simple raster layer painted with a black variable-width pen. Then I lock the pixel transparency for that layer and use a soft pen to paint in grey streaks for texture and then soften the look with a few strokes of a black soft airbrush. I also added a little color to the tips of the eyelashes to make them fancier.

15. Between layers for the face and the layer for the suit, I added a very faint layer of solid white and used a watercolor brush to add a few reflective streaks, just opaque enough to create an isolating sense of separation between the inside and outside by lightening the colors and linework inside.

16. For the sweat, I adde some simple white shapes, airbrush erased in the middle, painted in a few highlights, the added just a touch of reflected color on the outer edge.

17. I used my concreate texture, distorted to match the perspective of the ground. I then added some grunge texture to the wall of the shop.

18. I made a simple text sign, using a nice font in white. Then I rasterized it, copied it twice in black, moving one down and the right for a drop shadow, and enlarging the selection of the other one to make a black border. Then I collapsed them together and added a gold border. Then I just distorted them to match the perspective of the window.

19. Finally, I added a few little text sound effects for the bells.