I'm Ben, and I love drawing and painting stylized characters. Today, I’ll show you how I use a photo reference and then break away from it to create a unique, more stylized result. My goal is to keep some realism but also push the shapes and exaggerate a bit.

I think of the head as basic 2D shapes that I can then turn into forms in 3D space. Often, I slide back and forth between a flat, 2D approach and a more dimensional, 3D approach.

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Rough Sketch and Shapes

I begin by tossing down simple shapes, they stand out to me. I try a triangle shape for the face, then add the neck and ear. I’m not searching for a perfect likeness, I’m just using bits of the reference to give the character believability.

At first, I’m in 2D mode, quickly indicating features like the nose and the eye sockets. Then, I shift to 3D thinking. For example, I might imagine the nose as a triangular cylinder.

I have no problem flipping the canvas or transforming sections with digital tools. Working loosely in this early stage gives me the freedom to shift any shapes or proportions.

Refining the Line Work

When I refine my sketch, I think of it in passes. First pass is quick and loose. The next pass is more decisive, focusing on planar changes, like the difference between the front of the cheek and its side plane.

I keep my line work relaxed so I can keep experimenting. I also like to hint at small details, such as flyaway hairs, so I don’t forget them later. I’ll knock back rough layers or lower the opacity, then draw again, refining each pass.

Establishing Values

I separate big shapes (like the hair, face, or clothing) into different layers with local values. Sometimes, I use tools like the lasso and paint bucket to fill areas quickly. The goal is to differentiate the face from the hair and other elements.

Then, I start imagining where the shadows and lights fall. Let’s say the main light is from above. I use a multiply layer to define shadows under the eyebrows, nose, lips, and chin. I also like to add a midtone background, just a simple gray or darker color, so the figure doesn’t sit against a stark white canvas.

I take advantage of clipping masks to quickly isolate parts of the drawing. This is especially helpful when I push shadows into the hair or shape the light around the face. I build these values in broad, simple layers, not worrying about perfect edges or transitions yet.

Merging and Adjusting

Once I’m happy with the general value structure, I often group and merge everything into one layer. This lets me adjust the face, pose, or proportions without juggling multiple layers. I might push the nose up or add a bit more attitude, for example. It’s all about nudging shapes until they look right.

Adding Color

When the grayscale values are feeling solid, I add color. I use the Color layer mode on new layers, which helps me keep my values while adding hue. I pick a base skin tone, then refine it. Maybe I select a cool color for the hair so there's a warm-cool contrast. It's simple: select the area, lay down a color, and set it to Color mode.

Adding Color Variation

I create layers for subtle color variation. For the face, I might use multiply layers to add a little red to the nose and ears or a bit of yellow to the forehead. I often add a cooler tone to the shadows, too, which helps keep the skin interesting.

For the hair, I can play with an ombre or push the saturation in certain strands. Even subtle freckles or details can add a lot of character.

Building Highlights and Final Touches

To add a sense of life, I like using Screen or Color Dodge for highlights. I imagine the skin’s specular highlights: places like the nose, eyelids, and lips. Sometimes, I erase parts of these highlights with a soft brush so they fade naturally.

I also ensure the hair gets some sheen, using a strong highlight but blending it for a softer finish. If I introduce a second light source, like a warm bounce light, I do small tests on separate layers. This stage is fun and experimental.

When everything looks cohesive, I finalize background colors to contrast the figure. I might darken or lighten it, shift the hue, or add subtle texture.

* * *

This entire process, starting in grayscale, working through shapes, and adding color on top, is just one of many ways to stylize a reference. Sometimes I go straight to color instead of the value-first approach. But I love having the freedom to push and pull shapes or color notes at every stage.

I hope my process gives you some ideas and confidence in your own stylized character work. Take the parts you like and explore different ways to adapt them to your style.

Get the Digital Painting Fundamentals Course
Check out Ben’s course on Stylization
Get the Filthy Photoshop Plugin