I’ll paint the background and character at the same time while checking the balance, but here I’ll explain how I paint the clothes first so that the process is easier to understand.
 Roughly place shadows
I create a color layer for the lowermost color in the folder for each part, and roughly build up shadow layers.
For the shadow layers, I use masked fill layers as I’ve been doing so far.
If the underlying base color is a cool tone, I overlay shadows in a similar tone on layers set to [Multiply] or [Color dodge].
Note: If the base color and shadow color are different tones, it can create a muddy effect (e.g., overlaying cool effects on a warm base color).
I check the balance as I layer the colors, and adjust them as necessary using the [Edit] menu > [Tonal Correction] > [Hue/Saturation/Luminosity].
 Adjusting the color of the line art
I make the interior lines a little lighter.
The lines of the clothing wrinkles and hair were only drawn as a guideline. Instead, I will define the shapes as I paint.
I make sure that the line color is the same tone as the base color of each part. For example, the haori jacket is light blue, so I use a blue for the lines.
I create a new layer with with a lighter color above each line art layer, then turn on [Clip at Layer Below] and paint over the parts I want to make lighter.
I’ll explain my process using the haori jacket as an example. I typically use the following seven layers.
① Base color, ② Multiply, ③ Gradient + Multiply, ④ Multiply, ⑤ Screen (reflections), ⑥ Color dodge, ⑦ Highlights
▼ The following images show each layer stacked above the base color one by one.
▼ They look like this in the layer palette.
Explanation of each layer
① Base color
This is the solid fill layer that acts as the base.
I added gradients for the haori base color, so I moved these into the “base” folder.
I paint the overall shadows on a layer set to [Multiply]. Using the [Pencil] tool and [Airbrush] tool, I paint the clothing wrinkles while keeping a sense of speed.
I use the [Pencil] tool to paint sharp shadows at the joints of the body and places where the fabric creases. Meanwhile, I use the [Airbrush] tool to add blended shadows where the fabric doesn’t crease.
③ Gradient + Multiply
I make the shadows in the creases slightly darker. Using the [Airbrush] tool, I just slightly add color.
Layers 3 and 4 are clipped to layer 2, so the shadows don’t go outside these areas.
⑤ Screen (reflections)
To add variance of color, I add a slightly different color to the shadows for the reflected light. For example, if the shadows are grey-blue, I might add purple reflections.
I lightly add this color as an accent.
⑥ Color dodge
I paint broadly in the direction hit by the light.
However, I want to leave some parts in shadow, so I try not to paint over too wide an area.
Even if it is a material with a texture that doesn’t have strong highlights, I add a strong highlight on the edges to emphasize the outline.
Now I’ve finished painting the haori.
I paint the kimono, innerwear, and accessories in the same way.
I paint the skin and hair in a slightly different way, so I’ll explain this in the next part.