>>27966
The process is a little different each time.
usually I'm approached by a commissioner who wants something made. They usually have a short written outline of the core concept. I have galleries at eka's, pixiv, motherless, and a discord channel that I can be reached at.

I then point them to my commissions page where my general prices are listed.

If they're happy to continue, I'll ask them pointed questions about what they want. I also request any reference images that they want me to use. Usually about the needs for character design, and the mechanics of what they need. in this particular set, the commissioner knew that they wanted an automatic butchery line... but the machine design and concept are all my suggestions. I chose laser cutters and its circular design to accommodate all of the types of killing they wanted in a single versatile machine.

there's usually a bit of back and forth at this stage. I'll usually get to quoting a more solid price (dependent on whether they want cel shading/soft shading or a more realistic rendering, and detailing how many pages/panels it'll take to complete. For pinups - that's usually the end of things... for comics though, I often end up having to prune back unnecessary details or redundancies in what a commissioner wants to fit within their budget.

then I do a first draft... basically just scratchy sausage people, and essential props. I do this as rough blocking. It gives us something more substantial to talk about. are the camera angles what they want - are the poses and expressions how they wanted? sometimes I hit right on the mark, other times stuff needs to be redrawn. Finally, we settle on blocking.

This greenlighting is important - because its very easy to change rough poses now - but it gets harder, and more time consuming to change things like that after more details have been put in place.

Then comes the refinement processes - I generally go into some 3D software next. I currently use DAZ for posing It lets me build a character quickly, and pose them for drawing reference. It keeps the proportions looking accurate. It's a little like life drawing classes, only I can choose any pose and angle I want.

when I have my reference images laid out in my krita document, I fade them down and roughly sketch the scene in its entirety as a refined pencil draft. This stage involves a little rearranging, and can sometimes lead to new ideas that I have to pass by my commissioner. Then I seek approval for the refined line draft... letting them know that that's where I want to draw my lines.

If I get approval, then I proceed to ink the drawing and layout the base flat colours on a separate layer. This step is usually done without a background - just on white. I seek approval once again.

If I get that - then its time to fill out shading, backgrounds and effects layers (things like blood, tears, anything with additives, multiplicatives, softlights, glows etc).

Then with another stage of approval, I often (But not in this case) move into some different software to do some advanced colour grading and effects. This is the stage in most of my images (Like the snake one above) where they really begin to pop with dimension and lighting. Then I take them back into Krita for minor error corrections and in the case of comics - typography.

I generally do my own typography and scripts, and stories when a commissioner requests them for a pic- but I don't always accept typography commissions, I pick and choose at my discretion. they're always welcome to write their own on Eka's and have me link them from my pics though.

At this stage is delivery and posting to Eka's, and Pixiv.