Step 5: BITMAP
For the artwork in this demonstration, we were looking at the airbrushed look. We find Photoshop is best for this, so we import each element of the image layer by layer and begin adjusting their size and positioning if needed.
Step 6: NOW FOR THE COLOR
Once we are happy with the general layout, we start to carefully select color swatches and proceed to apply fills to the artwork. This is quite time-consuming as Photoshop does not treat areas as objects like Illustrator does. This means we place all of the color onto a separate layer to the line work, taking care to bleed the color beyond the extent of the importing line art. Occasionally we may choose to get to this stage using Illustrator and import the already colored image into Photoshop. This always depends on the inked artwork's complexity.
The general rule of thumb is: Every job is different.
Step 7: LAYING OUT THE IMAGE
Now each stage of the artwork has gone through the same process and is already colored, all the elements need to be pulled together to create the finished piece. This is when the artwork really starts to take shape and is one of the most rewarding points in the creation of an image.
Step 8: MODELLING and SHADING
If an image is suited to having light and shade applied it is left until the last step, as the decision for the lighting needs to be made when the whole scene is finished.
This is when an image can start to get quite complicated, but we know that at this stage we are on the home straight. When this stage is completed...
Step 9: ...THE ARTWORK IS FINISHED
A copy of the finished artwork is sent to the client for approval. Occasionally changes are needed, such as color, layout and even whole elements that need changing, but the methods of creation that we employ up to this stage ensure that major changes such as these will not be expensive to make.
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