I usually start by filling flat colors for each layer of the character (skin, torso, front leg, back leg, etc.) Then I make a selection with each path and brush in my details with the painting tools. It takes some concentration but it’s probably the most fun. Using this technique also enables maximum contrast between hard edges and soft gradients. You might notice that after I’ve finished drawing a path over the “live” part of the figure, I just kind of sloppily wrap it around and close off the endpoints. This can lead to some fun little happy accidents when I’m painting in the details, especially with my particular cubist/futurist-inspired style that involves shapes in motion or blending into other shapes to flatten out the overall look. (Fig. 4)

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