#also please do not roast me on my layers i know that says layer 482

[ozonecologne]

like HOW did you do the shading on that lnx piece!! the velvet?

🥰 I will happily walk you through my layer process for this piece!

First, I do a sketch of my subject from reference to get the general shape of things. Once I'm happy with it, I line everything in solid black with a default hard round brush.

You can see the outline of the durag above the forehead here, and my navigation panel to the right that shows where in the piece this is overall. This canvas was 8.5x11 inches at 720dpi, so I think the size of this outline brush was 15px? I think the smaller lines were a 5px, used with a really low pressure.

Once everything is outlined, I add a base color layer underneath the outline layer. I try to match this color to the reference as best as I can just using my eyes, but sometimes I help myself out by color picking the middle tone. I'm still learning about color so this step is hard for me. Cheat when you can!!!!

Once the main color is under there, I look really carefully at my reference and block in the shadows and variations in the colors that I can see, checking myself with the color picker as I go. I'm sure someday I will get faster at this, but color theory is hard 😮‍💨

I noticed a gray reflective purple-y shadow at the front, but also that the velour/velvet is not uniform. I use a soft round brush at different levels of opacity to make little dots that really tell you what texture this is, and then make the brush bigger and softer to unify them with some longer strokes. There's no rhyme or reason to this part, I just flip really fast between my canvas and the reference image to try and paint what I see.

Once all these colors are more are less where they're supposed to be, I adjust the line art color with clipping masks to make the shape a bit more organic. I just match the surrounding colors I've blocked in so we have a smooth blend, also paying attention to edge highlights.

Time for the bigger and brighter highlights to make everything pop! I lay down some bigger shapes first, like these long strokes of white that I soften at the edges with a low opacity soft round eraser.

You can see on the navigation bar to the right what the zoomed-out piece looks like at this stage. It's getting there, but there's a lot more texture and brighter highlights on this area! To really make it look like velour, I zoomed in on the reference image and noticed that a lot of the highlights at the front here are actually more of those dot shapes. That's what makes it look soft to the touch. I use a really small soft round brush at full opacity to pop those in:

YEAHHHHH now we're talking.

I've spent a lot of time on this area, so I'm ready to move on! Once the whole piece is finished, I use a trick that I learned from Elicia by duplicating everything I've drawn, merging it into one layer, blurring it, and lowering the opacity.

It might not be that noticeable here, but zoomed out it gives the whole piece a bit of a glow and softens up the lines. It makes the painting a little less crisp, a little more dreamy. I love learning tips like this from other artists I admire -- it doesn't always work out when you try to map someone else's style onto your own, but sometimes you find something that really sticks!

Finally, I put on some adjustment layers. I especially like to play with saturation since my color theory is still not that good, and I always worry about my contrast so I usually do a curves layer as well (lighten up the lights, darken up the darks). I'm also a fan of a nice pink overlay, but I didn't do that here. I don't think it needed it!

So now I'm done! And here's the finished piece:

Looks great :) Hope this is cool to you!!!