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Process

I take the same thumbnail, push it back like tracing paper, and sketch a fresh pass on top. I stay loose, use the DG main brush for both sketching and early rendering, and hunt for points of interest from the rough. I block in big shapes, place simple face markers, and keep moving. The goal is momentum, not polish. I work large, around 5000x3200 pixels, and try not to go over 10k in case the art gets reused.

Silhouette

Silhouette is king. I build around a strong outer shape first, then nest interesting secondary shapes inside. I look for asymmetry, hanging forms, and a clear read from a distance. I ask if the silhouette is interesting before I name every object. If something on the side could wiggle or swing, I think about physics, gameplay, and cost. One big hanging element is usually better than lots of tiny ones. Keep it striking, not noisy.

Gesture and Structure

I flip the canvas early and often to catch balance issues. I exaggerate when it helps the character read, like oversized hands or planted feet. Rectangles for hands and triangle “nodes” for eyes and nose keep the head quick and proportional. I rough in simple anatomy, then “dress” the figure with clothing and gear. This is the time to nudge proportions, slide a forearm, drop a hand, or widen the chest. Nothing is locked.

Design Language

I reuse successful motifs from earlier passes so the world feels cohesive. I cluster props by function: cooking gear, scrolls, plants, crystals, feathers, maybe a bird companion. I prefer normal backpack straps that clearly anchor the load, so nothing feels like it floats. I avoid perfectly straight lines. Even a staff gets curves, dings, tape wraps, and personality. Busy areas sit next to calm areas, so the eye has rhythm: busy, rest, busy, rest.

Value and Line

When the line gets messy, I add a multiply layer and spot in mid-gray shapes for separate attachments like straps, bags, and boots. I drop a quick ground shadow to seat the figure. Thicker lines help pop foreground objects, thinner lines ride in the background. I keep facial structure simple but clear: tilt of the head, nostrils, cheekbones, brows, beard mass. Expression is a bonus, not a trap.

Iteration

I keep versions. If I like a direction, I copy it aside, then push another idea. Free Transform > Distort is great for subtle rebalances without redrawing everything. I pepper in ideas fast, then refine. We move from silhouette, to big shapes, to smaller shapes, to details. If I need anatomy reference later, I note it and keep moving now.

Practicality

I think like a teammate. If a prop makes the character expensive or unworkable, I simplify. One staff with wrapped goods might be fine, but a backpack plus lots of swingy bits might not. Present the design with just enough clarity to start a useful conversation with a lead or art director. That is the win for this stage: a clear direction and room to iterate.

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