I enjoy getting a chance to go back and color these to add some more depth and clarity while also hopefully making some new process blogposts for you all to see and eventually to be included in a new sketchbook (though I just released on this summer: Axe Wielders which is still available for sale)
Below is the process for creating the commission as well as coloring the artwork.
The start of this was done as three separate drawings on different sheets of copy paper. The mouse was drawn first and the magpie was drawn using photo reference. On top of those sheets on a lightpad I drew the mouse's collection of goods. Those elements were all scanned and tinted different color in photoshop and moved and re-sized until it fit well inside the square border of the piece. A quick amount of tan digital painting was done to imply the areas of the tree background and the rocks and stick debris in the foreground
With the layout complete, I printed it out and taped it to the back of a sheet of Strathmore 300 series bristol. On my huion lightpad I was able to see through the surface of the bristol down to the printout to use as a guide as I inked. I inked this with Copic Multiliner SP pens (the 0.3 & 0.7 nibs). Since this original art is what the fan who commissioned this piece will own, I always want the art to be crisp, clean, and detailed enough to stand on it's own without color.
The original was then shipped off to be with it's owner, but not before I got a good scan of it.
The first step of digitally coloring a piece is do establish the color areas with flat colors (a professional version of coloring-in-the-lines). Here the final color palate isn't as important as being able to easily isolate any part of the piece when it comes time to render it (like being able to grab just the mouse's fur or just the cooking pot, or the sword in the magpie's beak, etc)..so while I got the backgound and figure colors close to final in this step, with all the bits of the mouse's collection overlapping each other, I needed to abstract that and just do vibrantly wrong colors to be sure I got everything and enough separation between them all.
I'll admit, this piece was hard to manage so the viewer could still focus on the characters while being able to get lost in the objects. The rendering was all done with the dodge and burn tools in Photoshop with a stock textured brush. I forgot to mention on the step above, I added a color hold (where I want the ink lines to be a color other than black) to the trees in the background as well as the ground as it recedes into the background on the left.
This piece will be included in the next sketchbook out sometime in 2026!
