I had never used a character generator before, and it seemed to me that it was past time. This painting brought to you by:
When I ran it, I rolled:
A selfish mechanic hmm? Also, how am I supposed to have a mechanic with a rifle, I need those hands to be holding tools to indicate she's a mechanic! Although I like that this doesn't specify gender anywhere. I could have drawn a men's corset.
But I didn't. I like the trope of the female mechanic too much. Two tries at sketching resulted in this. It's not bad, but there are several 'I'll have to look this up later' items: I know skirts can be hiked up with little rings on straps, but I'm not quite sure how that works. And I know that little victorian shoulder-shawls exist, but I can't really remember how they fasten. Ditto those high boots with the little buttons. And I know I'm going to need some reference for that shoulder/arm position, and for the cat.
Behold, reference. Two interesting things: the good trigger safety on the arm reference, and the stark difference in modesty in women's steampunk attire. Both of these things are good little details to use to add specificity and depth to a character.
First, I drew the parts I absolutely needed the references for, and then rotated and tweaked what I'd inked until I thought it fit reasonably on the vague idea I'd sketched.
These heavily reference lines were then desaturated to the same level as my original sketch, so I could see them all together at the same intensity, creating a franken-sketch. Over the top of that I re-sketched everything with an eye towards adding detail and making design decisions. For example, the shawl has been nixed in favor of a collared shirt, mainly because I had the idea to give her a mechanical arm, and work out how to show it well under a shawl.
Once the 'ink' is done, it is desaturated to become the new sketched layer, and the old sketched layers are removed. Ahh. Now I can see what I'm doing.
Then, we do it again. This is the actual ink layer, or the beginnings of it anyway.
Flip, and finish inking. If I had one general 'pro tip' for drawing, the horizontal flip would be it. It's an extremely simple and easy way to instantly see your mistakes in proportion, balance, and flow. This one actually had very little in need of adjustment, although I (as always) had to reduce the legs to some kind of reasonable proportion. I'm not sure where this conviction that legs are 2/3rds of a person's height came from, but I know I'm not the only one with this kind of consistent WTF when it comes to proportion.
Now to the fun part: color. On a layer under the lines, use a basic palette (three or four colors arranged from darkest to lightest is a good limit. For a good mix of color, I like to pull my values from reference ) and lay out the most basic of color areas; highlights and shadows. This is your underpainting.
Put another layer on top. Using the eyedropper tool and a 50% paintbrush, soften the edges between your basic colors, and do some detail of highlights and shadows.
More layer, more detail. See the difference in the blunderbuss and mechanical arm from the last progress image to this one?
Once you're happy with your color distribution, erase everything outside the lines. You can still modify past this point if you like, but I've found that tends to be needlessly fussy rather than helpful.
And if you've read through this far, thanks for sticking with me. I know, it was a long one. Which is why I'm stopping here, and not going into how I did the background! :D (Hint: It was basically the same process, but much less interesting, because it was mostly pipes.)