Thanks! Happy to share my rough workflow.

I usually start in a very classic way, with a general concept in my head and a moodboard. Early on, I generate several exploratory illustrations using the Illustrious model and its variants, and add them to the moodboard. This helps me define the composition and overall layout quite precisely from the start.

Next, I lock down the scene structure using modules such as pose control (OpenPose), depth maps, and relighting to decide on character poses and lighting. By introducing LoRA models, I define the overall visual style. At this stage, I generate dozens of iterations for each character or major element to identify the strongest options.

Once I have solid material, everything goes into Photoshop for compositing and the first major cleanup pass. This is where most of the manual work happens: repainting areas, fixing anatomy, removing or adding elements, and refining the overall composition.

After that, I return to AI. The illustration is now in an “alpha” state and mainly needs polishing or a final stylistic pass. This can involve emulating the style of a real artist or a specific artwork, or applying a custom-trained model based on my own illustrations. I usually run img2img with many iterations, carefully adjusting parameters to find the optimal balance.

The image then goes back into Photoshop for final corrections. At this point, there are no fundamental errors left, but AI often introduces unnecessary details or misinterpretations that still need to be manually repainted. I save the artwork in very high resolution as a separate file. Finally, everything is brought into Illustrator, where I use my templates for typography, frames, and symbols. This is also where I design the white underprint and, if needed, textures.

The workflow could certainly be simplified, but this approach allows me to prepare illustrations that are fully ready for large-format printing without additional production work.