My second drawing of Megatron tonight, because I mistook my low battery warning for my computer as my low battery warning for my tablet, it is now gone and never to be seen again. On the upside I think this one looks better

My second drawing of Megatron tonight, because I mistook my low battery warning for my computer as my low battery warning for my tablet, it is now gone and never to be seen again. On the upside I think this one looks better

More Ladyformers!
So this took me all week. I am apparently terrible at determining how long a project will take, even a supposedly small one. I am just ready for this to be done.

More Ladyformers!

So this took me all week. I am apparently terrible at determining how long a project will take, even a supposedly small one. I am just ready for this to be done.

agentdibbs:

nyanja14:

stephenmccranie:

A comic I drew on fighting procrastination.
www.doodlealley.com

I’ve been working on my Procrastination Problem. I’ve got a ridiculously busy Fall term coming up. So I’m drawing inspiration from this guy and his awesome comics.

I really need to print this out and put it on my wall or something, cause this is a major issue for me. Perhaps I’ll get a calendar too. 

I am currently in the process of trying to curb my procrastination problem and over all laziness. This is really great advice and a good source of motivation for me, really thank you for sharing this.
Zoom Info
agentdibbs:

nyanja14:

stephenmccranie:

A comic I drew on fighting procrastination.
www.doodlealley.com

I’ve been working on my Procrastination Problem. I’ve got a ridiculously busy Fall term coming up. So I’m drawing inspiration from this guy and his awesome comics.

I really need to print this out and put it on my wall or something, cause this is a major issue for me. Perhaps I’ll get a calendar too. 

I am currently in the process of trying to curb my procrastination problem and over all laziness. This is really great advice and a good source of motivation for me, really thank you for sharing this.
Zoom Info
agentdibbs:

nyanja14:

stephenmccranie:

A comic I drew on fighting procrastination.
www.doodlealley.com

I’ve been working on my Procrastination Problem. I’ve got a ridiculously busy Fall term coming up. So I’m drawing inspiration from this guy and his awesome comics.

I really need to print this out and put it on my wall or something, cause this is a major issue for me. Perhaps I’ll get a calendar too. 

I am currently in the process of trying to curb my procrastination problem and over all laziness. This is really great advice and a good source of motivation for me, really thank you for sharing this.
Zoom Info
agentdibbs:

nyanja14:

stephenmccranie:

A comic I drew on fighting procrastination.
www.doodlealley.com

I’ve been working on my Procrastination Problem. I’ve got a ridiculously busy Fall term coming up. So I’m drawing inspiration from this guy and his awesome comics.

I really need to print this out and put it on my wall or something, cause this is a major issue for me. Perhaps I’ll get a calendar too. 

I am currently in the process of trying to curb my procrastination problem and over all laziness. This is really great advice and a good source of motivation for me, really thank you for sharing this.
Zoom Info
agentdibbs:

nyanja14:

stephenmccranie:

A comic I drew on fighting procrastination.
www.doodlealley.com

I’ve been working on my Procrastination Problem. I’ve got a ridiculously busy Fall term coming up. So I’m drawing inspiration from this guy and his awesome comics.

I really need to print this out and put it on my wall or something, cause this is a major issue for me. Perhaps I’ll get a calendar too. 

I am currently in the process of trying to curb my procrastination problem and over all laziness. This is really great advice and a good source of motivation for me, really thank you for sharing this.
Zoom Info
agentdibbs:

nyanja14:

stephenmccranie:

A comic I drew on fighting procrastination.
www.doodlealley.com

I’ve been working on my Procrastination Problem. I’ve got a ridiculously busy Fall term coming up. So I’m drawing inspiration from this guy and his awesome comics.

I really need to print this out and put it on my wall or something, cause this is a major issue for me. Perhaps I’ll get a calendar too. 

I am currently in the process of trying to curb my procrastination problem and over all laziness. This is really great advice and a good source of motivation for me, really thank you for sharing this.
Zoom Info
agentdibbs:

nyanja14:

stephenmccranie:

A comic I drew on fighting procrastination.
www.doodlealley.com

I’ve been working on my Procrastination Problem. I’ve got a ridiculously busy Fall term coming up. So I’m drawing inspiration from this guy and his awesome comics.

I really need to print this out and put it on my wall or something, cause this is a major issue for me. Perhaps I’ll get a calendar too. 

I am currently in the process of trying to curb my procrastination problem and over all laziness. This is really great advice and a good source of motivation for me, really thank you for sharing this.
Zoom Info
agentdibbs:

nyanja14:

stephenmccranie:

A comic I drew on fighting procrastination.
www.doodlealley.com

I’ve been working on my Procrastination Problem. I’ve got a ridiculously busy Fall term coming up. So I’m drawing inspiration from this guy and his awesome comics.

I really need to print this out and put it on my wall or something, cause this is a major issue for me. Perhaps I’ll get a calendar too. 

I am currently in the process of trying to curb my procrastination problem and over all laziness. This is really great advice and a good source of motivation for me, really thank you for sharing this.
Zoom Info

agentdibbs:

nyanja14:

stephenmccranie:

A comic I drew on fighting procrastination.

www.doodlealley.com

I’ve been working on my Procrastination Problem. I’ve got a ridiculously busy Fall term coming up. So I’m drawing inspiration from this guy and his awesome comics.

I really need to print this out and put it on my wall or something, cause this is a major issue for me. Perhaps I’ll get a calendar too. 

I am currently in the process of trying to curb my procrastination problem and over all laziness. This is really great advice and a good source of motivation for me, really thank you for sharing this.

fayren:

I get a lot of questions about my process so I thought it’d be cool to break down and talk about some of my steps for illustrating covers! I hope this is helpful or interesting, it’s not quite a tutorial but perhaps it’s a glimpse into my thought process.
Step 1 | Thumbnail. The point here is to do several very fast, small, drawings, so you can’t get hung up on details. Here I’m thinking most about composition and subject. I had four originally and this one was picked to get finished.
Step 2 | Sketch. I draw on top of my thumbnail, nailing down more of the actual details. I fix any proportion isssues but I still try not to waste too much time making final lines, the sketch will go away in the end, so it just needs to be good enough for me. 
Step 3 | Background Painting. A lot of lightning and mood is set by the environment, so I start with determining their background. I browse through lots of inspirational paintings and photographs during this stage, and try to get a palette in my head for the overall piece. I use the lasso tool to fill in their silhouettes with black and lock the layer transparency. The silhouette is very important for readability, so I make sure even without colors the shapes are distinct.
Step 4 | Rough Color Blocking. I block in base colors and basic lighting under the sketch layer, blocking in the different materials and colors. 
Step 5 | The Fun Part. Here’s where I just get to zone out and paint. I flatten the sketch onto the color blocked layer (if you’re nervous, you can always duplicate these layers and tuck them into another folder before you flatten and commit) and finally get to painting. The sketch eventually gets entirely painted over. Things I’m thinking about during this stage: different materials, changes in planes, drawing from the background colors. 
Stage 6 | Details. I use the lasso tool and fill to do very tiny details like scratches, small specular highlights, etc. I add some wear and tear and knock out a bit of Fulcrum’s teeth. (huhuhu)
Stage 7 | MOAR BLOOD. At this point I decided there wasn’t enough energon dripping off of Tarn and I added more on a new layer. Again, grabbing areas with the lasso tool, filling, and erasing parts of it to make it appear transparent. 
Stage 8 | Lighting Effects. I add some soft glows to Tarn’s lights, but keep his forehead light the brightest. I want it to be the main source of light in the scene so I don’t want to distract. Light is bouncing through the pink energon, so I made the light falling on Tarn’s face more pink. 
Stage 9 | Final Lights. I add a harsh white rim light to both of the figures, really pulling them away from the background to finalize the painting. 
Zoom Info
fayren:

I get a lot of questions about my process so I thought it’d be cool to break down and talk about some of my steps for illustrating covers! I hope this is helpful or interesting, it’s not quite a tutorial but perhaps it’s a glimpse into my thought process.
Step 1 | Thumbnail. The point here is to do several very fast, small, drawings, so you can’t get hung up on details. Here I’m thinking most about composition and subject. I had four originally and this one was picked to get finished.
Step 2 | Sketch. I draw on top of my thumbnail, nailing down more of the actual details. I fix any proportion isssues but I still try not to waste too much time making final lines, the sketch will go away in the end, so it just needs to be good enough for me. 
Step 3 | Background Painting. A lot of lightning and mood is set by the environment, so I start with determining their background. I browse through lots of inspirational paintings and photographs during this stage, and try to get a palette in my head for the overall piece. I use the lasso tool to fill in their silhouettes with black and lock the layer transparency. The silhouette is very important for readability, so I make sure even without colors the shapes are distinct.
Step 4 | Rough Color Blocking. I block in base colors and basic lighting under the sketch layer, blocking in the different materials and colors. 
Step 5 | The Fun Part. Here’s where I just get to zone out and paint. I flatten the sketch onto the color blocked layer (if you’re nervous, you can always duplicate these layers and tuck them into another folder before you flatten and commit) and finally get to painting. The sketch eventually gets entirely painted over. Things I’m thinking about during this stage: different materials, changes in planes, drawing from the background colors. 
Stage 6 | Details. I use the lasso tool and fill to do very tiny details like scratches, small specular highlights, etc. I add some wear and tear and knock out a bit of Fulcrum’s teeth. (huhuhu)
Stage 7 | MOAR BLOOD. At this point I decided there wasn’t enough energon dripping off of Tarn and I added more on a new layer. Again, grabbing areas with the lasso tool, filling, and erasing parts of it to make it appear transparent. 
Stage 8 | Lighting Effects. I add some soft glows to Tarn’s lights, but keep his forehead light the brightest. I want it to be the main source of light in the scene so I don’t want to distract. Light is bouncing through the pink energon, so I made the light falling on Tarn’s face more pink. 
Stage 9 | Final Lights. I add a harsh white rim light to both of the figures, really pulling them away from the background to finalize the painting. 
Zoom Info
fayren:

I get a lot of questions about my process so I thought it’d be cool to break down and talk about some of my steps for illustrating covers! I hope this is helpful or interesting, it’s not quite a tutorial but perhaps it’s a glimpse into my thought process.
Step 1 | Thumbnail. The point here is to do several very fast, small, drawings, so you can’t get hung up on details. Here I’m thinking most about composition and subject. I had four originally and this one was picked to get finished.
Step 2 | Sketch. I draw on top of my thumbnail, nailing down more of the actual details. I fix any proportion isssues but I still try not to waste too much time making final lines, the sketch will go away in the end, so it just needs to be good enough for me. 
Step 3 | Background Painting. A lot of lightning and mood is set by the environment, so I start with determining their background. I browse through lots of inspirational paintings and photographs during this stage, and try to get a palette in my head for the overall piece. I use the lasso tool to fill in their silhouettes with black and lock the layer transparency. The silhouette is very important for readability, so I make sure even without colors the shapes are distinct.
Step 4 | Rough Color Blocking. I block in base colors and basic lighting under the sketch layer, blocking in the different materials and colors. 
Step 5 | The Fun Part. Here’s where I just get to zone out and paint. I flatten the sketch onto the color blocked layer (if you’re nervous, you can always duplicate these layers and tuck them into another folder before you flatten and commit) and finally get to painting. The sketch eventually gets entirely painted over. Things I’m thinking about during this stage: different materials, changes in planes, drawing from the background colors. 
Stage 6 | Details. I use the lasso tool and fill to do very tiny details like scratches, small specular highlights, etc. I add some wear and tear and knock out a bit of Fulcrum’s teeth. (huhuhu)
Stage 7 | MOAR BLOOD. At this point I decided there wasn’t enough energon dripping off of Tarn and I added more on a new layer. Again, grabbing areas with the lasso tool, filling, and erasing parts of it to make it appear transparent. 
Stage 8 | Lighting Effects. I add some soft glows to Tarn’s lights, but keep his forehead light the brightest. I want it to be the main source of light in the scene so I don’t want to distract. Light is bouncing through the pink energon, so I made the light falling on Tarn’s face more pink. 
Stage 9 | Final Lights. I add a harsh white rim light to both of the figures, really pulling them away from the background to finalize the painting. 
Zoom Info
fayren:

I get a lot of questions about my process so I thought it’d be cool to break down and talk about some of my steps for illustrating covers! I hope this is helpful or interesting, it’s not quite a tutorial but perhaps it’s a glimpse into my thought process.
Step 1 | Thumbnail. The point here is to do several very fast, small, drawings, so you can’t get hung up on details. Here I’m thinking most about composition and subject. I had four originally and this one was picked to get finished.
Step 2 | Sketch. I draw on top of my thumbnail, nailing down more of the actual details. I fix any proportion isssues but I still try not to waste too much time making final lines, the sketch will go away in the end, so it just needs to be good enough for me. 
Step 3 | Background Painting. A lot of lightning and mood is set by the environment, so I start with determining their background. I browse through lots of inspirational paintings and photographs during this stage, and try to get a palette in my head for the overall piece. I use the lasso tool to fill in their silhouettes with black and lock the layer transparency. The silhouette is very important for readability, so I make sure even without colors the shapes are distinct.
Step 4 | Rough Color Blocking. I block in base colors and basic lighting under the sketch layer, blocking in the different materials and colors. 
Step 5 | The Fun Part. Here’s where I just get to zone out and paint. I flatten the sketch onto the color blocked layer (if you’re nervous, you can always duplicate these layers and tuck them into another folder before you flatten and commit) and finally get to painting. The sketch eventually gets entirely painted over. Things I’m thinking about during this stage: different materials, changes in planes, drawing from the background colors. 
Stage 6 | Details. I use the lasso tool and fill to do very tiny details like scratches, small specular highlights, etc. I add some wear and tear and knock out a bit of Fulcrum’s teeth. (huhuhu)
Stage 7 | MOAR BLOOD. At this point I decided there wasn’t enough energon dripping off of Tarn and I added more on a new layer. Again, grabbing areas with the lasso tool, filling, and erasing parts of it to make it appear transparent. 
Stage 8 | Lighting Effects. I add some soft glows to Tarn’s lights, but keep his forehead light the brightest. I want it to be the main source of light in the scene so I don’t want to distract. Light is bouncing through the pink energon, so I made the light falling on Tarn’s face more pink. 
Stage 9 | Final Lights. I add a harsh white rim light to both of the figures, really pulling them away from the background to finalize the painting. 
Zoom Info
fayren:

I get a lot of questions about my process so I thought it’d be cool to break down and talk about some of my steps for illustrating covers! I hope this is helpful or interesting, it’s not quite a tutorial but perhaps it’s a glimpse into my thought process.
Step 1 | Thumbnail. The point here is to do several very fast, small, drawings, so you can’t get hung up on details. Here I’m thinking most about composition and subject. I had four originally and this one was picked to get finished.
Step 2 | Sketch. I draw on top of my thumbnail, nailing down more of the actual details. I fix any proportion isssues but I still try not to waste too much time making final lines, the sketch will go away in the end, so it just needs to be good enough for me. 
Step 3 | Background Painting. A lot of lightning and mood is set by the environment, so I start with determining their background. I browse through lots of inspirational paintings and photographs during this stage, and try to get a palette in my head for the overall piece. I use the lasso tool to fill in their silhouettes with black and lock the layer transparency. The silhouette is very important for readability, so I make sure even without colors the shapes are distinct.
Step 4 | Rough Color Blocking. I block in base colors and basic lighting under the sketch layer, blocking in the different materials and colors. 
Step 5 | The Fun Part. Here’s where I just get to zone out and paint. I flatten the sketch onto the color blocked layer (if you’re nervous, you can always duplicate these layers and tuck them into another folder before you flatten and commit) and finally get to painting. The sketch eventually gets entirely painted over. Things I’m thinking about during this stage: different materials, changes in planes, drawing from the background colors. 
Stage 6 | Details. I use the lasso tool and fill to do very tiny details like scratches, small specular highlights, etc. I add some wear and tear and knock out a bit of Fulcrum’s teeth. (huhuhu)
Stage 7 | MOAR BLOOD. At this point I decided there wasn’t enough energon dripping off of Tarn and I added more on a new layer. Again, grabbing areas with the lasso tool, filling, and erasing parts of it to make it appear transparent. 
Stage 8 | Lighting Effects. I add some soft glows to Tarn’s lights, but keep his forehead light the brightest. I want it to be the main source of light in the scene so I don’t want to distract. Light is bouncing through the pink energon, so I made the light falling on Tarn’s face more pink. 
Stage 9 | Final Lights. I add a harsh white rim light to both of the figures, really pulling them away from the background to finalize the painting. 
Zoom Info
fayren:

I get a lot of questions about my process so I thought it’d be cool to break down and talk about some of my steps for illustrating covers! I hope this is helpful or interesting, it’s not quite a tutorial but perhaps it’s a glimpse into my thought process.
Step 1 | Thumbnail. The point here is to do several very fast, small, drawings, so you can’t get hung up on details. Here I’m thinking most about composition and subject. I had four originally and this one was picked to get finished.
Step 2 | Sketch. I draw on top of my thumbnail, nailing down more of the actual details. I fix any proportion isssues but I still try not to waste too much time making final lines, the sketch will go away in the end, so it just needs to be good enough for me. 
Step 3 | Background Painting. A lot of lightning and mood is set by the environment, so I start with determining their background. I browse through lots of inspirational paintings and photographs during this stage, and try to get a palette in my head for the overall piece. I use the lasso tool to fill in their silhouettes with black and lock the layer transparency. The silhouette is very important for readability, so I make sure even without colors the shapes are distinct.
Step 4 | Rough Color Blocking. I block in base colors and basic lighting under the sketch layer, blocking in the different materials and colors. 
Step 5 | The Fun Part. Here’s where I just get to zone out and paint. I flatten the sketch onto the color blocked layer (if you’re nervous, you can always duplicate these layers and tuck them into another folder before you flatten and commit) and finally get to painting. The sketch eventually gets entirely painted over. Things I’m thinking about during this stage: different materials, changes in planes, drawing from the background colors. 
Stage 6 | Details. I use the lasso tool and fill to do very tiny details like scratches, small specular highlights, etc. I add some wear and tear and knock out a bit of Fulcrum’s teeth. (huhuhu)
Stage 7 | MOAR BLOOD. At this point I decided there wasn’t enough energon dripping off of Tarn and I added more on a new layer. Again, grabbing areas with the lasso tool, filling, and erasing parts of it to make it appear transparent. 
Stage 8 | Lighting Effects. I add some soft glows to Tarn’s lights, but keep his forehead light the brightest. I want it to be the main source of light in the scene so I don’t want to distract. Light is bouncing through the pink energon, so I made the light falling on Tarn’s face more pink. 
Stage 9 | Final Lights. I add a harsh white rim light to both of the figures, really pulling them away from the background to finalize the painting. 
Zoom Info
fayren:

I get a lot of questions about my process so I thought it’d be cool to break down and talk about some of my steps for illustrating covers! I hope this is helpful or interesting, it’s not quite a tutorial but perhaps it’s a glimpse into my thought process.
Step 1 | Thumbnail. The point here is to do several very fast, small, drawings, so you can’t get hung up on details. Here I’m thinking most about composition and subject. I had four originally and this one was picked to get finished.
Step 2 | Sketch. I draw on top of my thumbnail, nailing down more of the actual details. I fix any proportion isssues but I still try not to waste too much time making final lines, the sketch will go away in the end, so it just needs to be good enough for me. 
Step 3 | Background Painting. A lot of lightning and mood is set by the environment, so I start with determining their background. I browse through lots of inspirational paintings and photographs during this stage, and try to get a palette in my head for the overall piece. I use the lasso tool to fill in their silhouettes with black and lock the layer transparency. The silhouette is very important for readability, so I make sure even without colors the shapes are distinct.
Step 4 | Rough Color Blocking. I block in base colors and basic lighting under the sketch layer, blocking in the different materials and colors. 
Step 5 | The Fun Part. Here’s where I just get to zone out and paint. I flatten the sketch onto the color blocked layer (if you’re nervous, you can always duplicate these layers and tuck them into another folder before you flatten and commit) and finally get to painting. The sketch eventually gets entirely painted over. Things I’m thinking about during this stage: different materials, changes in planes, drawing from the background colors. 
Stage 6 | Details. I use the lasso tool and fill to do very tiny details like scratches, small specular highlights, etc. I add some wear and tear and knock out a bit of Fulcrum’s teeth. (huhuhu)
Stage 7 | MOAR BLOOD. At this point I decided there wasn’t enough energon dripping off of Tarn and I added more on a new layer. Again, grabbing areas with the lasso tool, filling, and erasing parts of it to make it appear transparent. 
Stage 8 | Lighting Effects. I add some soft glows to Tarn’s lights, but keep his forehead light the brightest. I want it to be the main source of light in the scene so I don’t want to distract. Light is bouncing through the pink energon, so I made the light falling on Tarn’s face more pink. 
Stage 9 | Final Lights. I add a harsh white rim light to both of the figures, really pulling them away from the background to finalize the painting. 
Zoom Info
fayren:

I get a lot of questions about my process so I thought it’d be cool to break down and talk about some of my steps for illustrating covers! I hope this is helpful or interesting, it’s not quite a tutorial but perhaps it’s a glimpse into my thought process.
Step 1 | Thumbnail. The point here is to do several very fast, small, drawings, so you can’t get hung up on details. Here I’m thinking most about composition and subject. I had four originally and this one was picked to get finished.
Step 2 | Sketch. I draw on top of my thumbnail, nailing down more of the actual details. I fix any proportion isssues but I still try not to waste too much time making final lines, the sketch will go away in the end, so it just needs to be good enough for me. 
Step 3 | Background Painting. A lot of lightning and mood is set by the environment, so I start with determining their background. I browse through lots of inspirational paintings and photographs during this stage, and try to get a palette in my head for the overall piece. I use the lasso tool to fill in their silhouettes with black and lock the layer transparency. The silhouette is very important for readability, so I make sure even without colors the shapes are distinct.
Step 4 | Rough Color Blocking. I block in base colors and basic lighting under the sketch layer, blocking in the different materials and colors. 
Step 5 | The Fun Part. Here’s where I just get to zone out and paint. I flatten the sketch onto the color blocked layer (if you’re nervous, you can always duplicate these layers and tuck them into another folder before you flatten and commit) and finally get to painting. The sketch eventually gets entirely painted over. Things I’m thinking about during this stage: different materials, changes in planes, drawing from the background colors. 
Stage 6 | Details. I use the lasso tool and fill to do very tiny details like scratches, small specular highlights, etc. I add some wear and tear and knock out a bit of Fulcrum’s teeth. (huhuhu)
Stage 7 | MOAR BLOOD. At this point I decided there wasn’t enough energon dripping off of Tarn and I added more on a new layer. Again, grabbing areas with the lasso tool, filling, and erasing parts of it to make it appear transparent. 
Stage 8 | Lighting Effects. I add some soft glows to Tarn’s lights, but keep his forehead light the brightest. I want it to be the main source of light in the scene so I don’t want to distract. Light is bouncing through the pink energon, so I made the light falling on Tarn’s face more pink. 
Stage 9 | Final Lights. I add a harsh white rim light to both of the figures, really pulling them away from the background to finalize the painting. 
Zoom Info
fayren:

I get a lot of questions about my process so I thought it’d be cool to break down and talk about some of my steps for illustrating covers! I hope this is helpful or interesting, it’s not quite a tutorial but perhaps it’s a glimpse into my thought process.
Step 1 | Thumbnail. The point here is to do several very fast, small, drawings, so you can’t get hung up on details. Here I’m thinking most about composition and subject. I had four originally and this one was picked to get finished.
Step 2 | Sketch. I draw on top of my thumbnail, nailing down more of the actual details. I fix any proportion isssues but I still try not to waste too much time making final lines, the sketch will go away in the end, so it just needs to be good enough for me. 
Step 3 | Background Painting. A lot of lightning and mood is set by the environment, so I start with determining their background. I browse through lots of inspirational paintings and photographs during this stage, and try to get a palette in my head for the overall piece. I use the lasso tool to fill in their silhouettes with black and lock the layer transparency. The silhouette is very important for readability, so I make sure even without colors the shapes are distinct.
Step 4 | Rough Color Blocking. I block in base colors and basic lighting under the sketch layer, blocking in the different materials and colors. 
Step 5 | The Fun Part. Here’s where I just get to zone out and paint. I flatten the sketch onto the color blocked layer (if you’re nervous, you can always duplicate these layers and tuck them into another folder before you flatten and commit) and finally get to painting. The sketch eventually gets entirely painted over. Things I’m thinking about during this stage: different materials, changes in planes, drawing from the background colors. 
Stage 6 | Details. I use the lasso tool and fill to do very tiny details like scratches, small specular highlights, etc. I add some wear and tear and knock out a bit of Fulcrum’s teeth. (huhuhu)
Stage 7 | MOAR BLOOD. At this point I decided there wasn’t enough energon dripping off of Tarn and I added more on a new layer. Again, grabbing areas with the lasso tool, filling, and erasing parts of it to make it appear transparent. 
Stage 8 | Lighting Effects. I add some soft glows to Tarn’s lights, but keep his forehead light the brightest. I want it to be the main source of light in the scene so I don’t want to distract. Light is bouncing through the pink energon, so I made the light falling on Tarn’s face more pink. 
Stage 9 | Final Lights. I add a harsh white rim light to both of the figures, really pulling them away from the background to finalize the painting. 
Zoom Info

fayren:

I get a lot of questions about my process so I thought it’d be cool to break down and talk about some of my steps for illustrating covers! I hope this is helpful or interesting, it’s not quite a tutorial but perhaps it’s a glimpse into my thought process.

Step 1 | Thumbnail. The point here is to do several very fast, small, drawings, so you can’t get hung up on details. Here I’m thinking most about composition and subject. I had four originally and this one was picked to get finished.

Step 2 | Sketch. I draw on top of my thumbnail, nailing down more of the actual details. I fix any proportion isssues but I still try not to waste too much time making final lines, the sketch will go away in the end, so it just needs to be good enough for me. 

Step 3 | Background Painting. A lot of lightning and mood is set by the environment, so I start with determining their background. I browse through lots of inspirational paintings and photographs during this stage, and try to get a palette in my head for the overall piece. I use the lasso tool to fill in their silhouettes with black and lock the layer transparency. The silhouette is very important for readability, so I make sure even without colors the shapes are distinct.

Step 4 | Rough Color Blocking. I block in base colors and basic lighting under the sketch layer, blocking in the different materials and colors. 

Step 5 | The Fun Part. Here’s where I just get to zone out and paint. I flatten the sketch onto the color blocked layer (if you’re nervous, you can always duplicate these layers and tuck them into another folder before you flatten and commit) and finally get to painting. The sketch eventually gets entirely painted over. Things I’m thinking about during this stage: different materials, changes in planes, drawing from the background colors. 

Stage 6 | Details. I use the lasso tool and fill to do very tiny details like scratches, small specular highlights, etc. I add some wear and tear and knock out a bit of Fulcrum’s teeth. (huhuhu)

Stage 7 | MOAR BLOOD. At this point I decided there wasn’t enough energon dripping off of Tarn and I added more on a new layer. Again, grabbing areas with the lasso tool, filling, and erasing parts of it to make it appear transparent. 

Stage 8 | Lighting Effects. I add some soft glows to Tarn’s lights, but keep his forehead light the brightest. I want it to be the main source of light in the scene so I don’t want to distract. Light is bouncing through the pink energon, so I made the light falling on Tarn’s face more pink. 

Stage 9 | Final Lights. I add a harsh white rim light to both of the figures, really pulling them away from the background to finalize the painting. 

This was evolved from some class doodles I made earlier in the week. I couldn’t help myself I just had to do this. By the way I love Cyclonus’ cheeks I could just cut myself on them.

This was evolved from some class doodles I made earlier in the week. I couldn’t help myself I just had to do this. By the way I love Cyclonus’ cheeks I could just cut myself on them.