Squirrel Process

Squirrel Process: I had a couple people ask about my process recently, so here's a breakdown of how I paint (sometimes).  My process is usually a lot messier than this, but these are the steps I jump around between:

I often start with a rough sketch.  Adding color usually changes my feelings about the design so I like to keep things loose and change them as I go.  I put the sketch on a multiply layer at low opacity before I start painting.

I'll start most paintings with big flat colors.  I usually start by filling in the background with a color that I wouldn't mind peeking out between the strokes (because that's what it's going to do).

I usually paint in the background in that same step, but if I were more disciplined I'd paint it first behind the character.   Here I used a Darken layer on top of the squirrel layer.

At this point if I'm doing a tricky surface type like fur, I'll lay in where the major  areas of texture and value will be.  Here I also roughed in the acorn texture.

Now is my first detail pass.  Fingers, feet, and face get the most part of my attention.  I'm careful to look for things like where the skin will show, around the eyes and in the nostrils (and in a small patch in the front of the muzzle).

Now's my first pass for the lighting.  Sometimes I'll block in lighting in the first stage, but like I said, fur is a tricky thing to paint and has to be built up in layers.  I make sure that all planes facing toward the light are lit so the smaller forms don't get too broken up.

I noticed that squirrel fur is dark at the tips, so I added a soft fringe on the forms that are turning away from us.  For most of this painting I used one of two brushes---the Captured Bristle Acrylic from Painter and a modified version of that brush where I put some spacing between the bristles and turned down the "Spacing" attribute on the brush dabs so it gives a more continuous stroke.  This second one I used for most of the fur.

I wanted the eyes to look very glossy, so I put in an imaginary environment for the reflections.  Sometimes reflections have colors that aren't elsewhere in the image so I took the chance to put in a little blue to make the eyes pop.  I'm pretty sure the key light reflection is in the wrong spot, though most people won't notice.

I still felt like the fur was too flat, so I put in a 50% layer of a dark black-red.

At this point I put in the final touches: refining edges, catching textural details where important, etc.

If I have a big area that I don't want to detail out, I'll use an overlay texture to break up the area and paint in a few details to maintain consistency.  This can be hard to keep from looking cheap, but it's often worth the effort because it can save so much time.

I have a habit of painting with less saturation and contrast than I really want, so I'll make a few adjustments before I call an image done. That's it; hope it's helpful to someone!