I then do the darker areas of short fur, toning in the same manner as the cream.

Because her hands are surrounded by fire I have to use somewhat more dramatic lighting, so spots of bright orange appear on the bits I believe would be most illuminated.Midway thru toning her hands I decide to completely illuminate her palm.

The effect is immediatly notiacable and makes for a more interesting contrast. (Airbrush on screen.)

The shirt is done in just two quick steps of dark, then light values.

For the skirt I started with the areas I wanted to lighten, then worked in the darker values on the outside.

Next I worked on the inside folds using mostly warm shades, and then I went back to the outside surface to give the folds a bit more depth and light.

This is all done using the airbrush on a very low opacity, around 10%, with the stylus on varying opacity, but not varying size. The final highlights use the airbrush on screen.

Using the airbrush on screen with a red-orange color, I add splashes of fire streaks and dots to give the hooves an interesting shine.

I then do the horn with the airbrush on normal.

I like to call this technique 'sculpting,' because I use the airbrush to build up darker areas of color, then use the lighter base tone to refine the chunky areas into sharper refinement, like using sculpting tools in clay to subtract from the main piece.

The first step of dark shadows are done with a lower opacity (10%), mostly hard-edge, large brush, stylus on vary opacity. The second step of darks are done with a medium opacity, smaller brush. Highlights are first done with a regular brush on low opacity, then with a smaller brush on screen.

Back to the tail again. This time I start off with large areas of a slight dark, then in the shadows I add darker reddish shadows. I like the look this time.

Next the highlights with the airbrush on normal, hard-edged small brush. Then I go back and use a very large, low opacity (5%) to intensify the bright areas.

I spot-touch a few areas with a small brush as well.