I start by painting the background.

I usually start with the background first and paint characters and other things in the foreground last.

If you draw from the back, you can decide the depth and the light source at an early stage, which makes it easier to draw the characters and other objects later.

I mostly use the “Dry Brush” for this stage.

 

 

 

■ Dividing the line art layers

 

Before painting the background, I move the line art layers from the layer folder to the top of the base color layer for each part. I duplicate the line art layers that weren’t divided into parts.

Before removing the layers from the layer folder, I check that the blending mode of each layer is the same as the layer folder.

 

Before painting the background and the character, I merge the line art and base color layers into a single layer for each part.

Some of the line art layers have other parts drawn on them, so I clip these to the lower base color layer before merging them, like the “bookcase” example above.

 

I will paint directly on the merged layers or add layers above them to paint.

I’ll explain why I do this later.

 

[1] Painting the back walls and pillars

I start by painting the walls and pillars in the back.

I wanted to create a sense of depth in this illustration, so I used the visual effect of “color perspective theory” to create a feeling of distance.

 

Color perspective refers to expressing distance by painting distant objects in cool colors such as blues and closer objects in warm colors such as yellow.

Since the walls are the furthest part, I will paint blue-toned shadows.

Painting shadows in achromatic tones (gray) creates a dark and dull look, so I avoid using grays.

 

[2] Painting the bricks

Next I’ll paint the bricks in front of the windows.

I draw some rough guidelines before I start painting.

 

Using the “Dry Brush” at a large size, I dab the area to create a stony texture. Then, I set the layer mode to [Add (Glow)] to brighten the layer and add more gradation.

 

When painting, I start with the shadows and then adjust the shape using highlights.

For the background in particular, a good technique is to add highlights to the corners (or borders) of objects to define them.

This is a very minor part of the background, so I don’t paint in too much detail to avoid it from standing out. I’ll spend more time on elements in the foreground to make them stand out.

 

[3] Painting the portraits

I’ll paint roughly for the portraits and frames, and won’t go into detail here.

I adjusted the portrait frame with the [Free Transform] tool, but painting in this state may make the portrait look a bit flat. Therefore, I consider the perspective and add more of a three-dimensional effect to create the effect of looking up at the portrait.

The reason I merge the line art and base color layers is so that I can more easily change the shape of objects like this.

 

[4] Painting the view

Next I’ll paint the view that’s visible though the windows.

I didn’t draw this in the line art stage, so I start by roughly painting the shape of the silhouette.

Then I make a new layer with blending mode set to [Add (Glow)], and I paint the building lights and the moonlight.

 

[5] Painting the window frames and bookcase

I start by drawing the shapes and then add patterns and textures at the end.

I use the same method for the plant to create a natural effect.

 

▼ Window frames

 

▼ Bookcase

 

▼ Plant in bookcase

 

Hint: Choosing colors

Shadows are affected by nearby objects (due to reflected light). When choosing shadow colors, use the [Eyedropper] tool to pick up the color of a nearby element and lightly paint this color on top.

The intensity of reflected light changes depending on the material, texture, and distance. Metal and water are very reflective, while cloth and other fabrics are less reflective.

 

Note: You can temporarily switch to the [Eyedropper] tool while using a drawing tool by pressing the Alt key. The tool will switch to the [Eyedropper] tool while the Alt key is held down, and return to the previous tool when the key is released.

 

[6] Painting the table

I imagine the table being made of a smooth, varnished material. Therefore, it strongly reflects the water and magical light.

For the areas where the reflection is strong, I paint on a layer set to [Add (Glow)].

In the shadowed parts, I lightly blend in the color of water on top of the brown base color.

 

Rather than adding a texture from a photograph, I paint a simple wood texture by hand.

After drawing the woodgrain on a new layer, I use a [Layer Mask] to erase it slightly so that it blends in more.

 

[7] Painting the water

When drawing water, you can express transparency by intensifying the saturation and contrast in areas where the light is reflected.

I want the distant water to be darker and the water in the foreground to be lighter. Therefore, I paint the light blue on a layer set to [Multiply] and blend in the color.

 

Then I draw the windows and walls reflected on the surface of the water.

 

Next I will draw the waves. Because the waves are a complicated shape, I will draw them using the textured “Sponge PH" brush.

I paint the water with a lot of energy, imagining it swirling around the table.

 

If there aren’t enough details in the foreground or around the character, then the illustration won’t look complete, so I take my time painting the shape of the water in the foreground. I use the “Color Mixer” brush to paint the flow of the water other than the wave crests.

 

Finally, I use the [Airbrush] > [Spray] sub tool to paint some scattered water spray. If I paint too much spray, I use a layer mask to adjust the amount.

I darken the water in the nearest foreground, and then I’m finished painting the background.