Pumpkin Butt - Process

1. I start with a basic sketch to work out the layout, pose, and proportions.

2. Final sketch. I sketch the character in full detail.

3. 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 and 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. 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. Since this picture will be lit from below, I flipped the canavs upside-down to make it easier to visualize the shading. Next, I created a dark blue 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 to paint away the shading, painting with light. For the hair, I used color burn for richer shading and start with a general, soft airbrush for the overall shape, then 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 bluelayer 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. Backlight. I used a desaturate solid color layers (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. In this picture, I'm using a soft orange secondary light from below for light from the pumpkins and a more sharply defined white light from above for the moon I will put in later.

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. Now that the shading is done, I flipped the picture rightside-up again. For the blush, I add in a light red layer, airbrushing just on the same area as the skin for the cheeks and places where bone is near the surface of the skin. I use the same approach for the make-up. I also added a noise layer with vivid light blend on top of the eye shadow to make it glittery.

10. Texture. I added a simple greyscale pattern of sequins, masked to the horns and tip of the tail, set to vivid light blend mode, placed above the shading.

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 charged the color of the lashes to match the hair linework where the eye is obscured by the hair.

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%, a bevel effect set so that the highlight as on the bottom, and a subtle drop shadow. 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.

14. Moon. I drew the moon starting from a simple white circle and then painting in just a few different shades of pale blue. Then I blurred the whole thing and added a light blue glow layer effect.

15. I added a darker purple gradient to the backdrop and added a noise layer with some curve adjustment, set to screen, to make stars, using a mask and airbrush to softly fade them in and out behind the moon.

16. For the bats, I used a Clip Studio ribbon brush I made by drawing eight silhouettes of bats and combining them in random order. Then I brushed them in in two strokes and copied them to my picture. I faded them from full black at the large end to slightly bluer at the small end.

17. Glow. I copied the shape of the bright yellow insides of the pumpkins and made a new bright yellow layer above everything else, applied a strong blur, then set it to screen, creating a glowing effect. I did the same thing with the shape of the moon, minus the shape of the trees and bats.