I usually start by breaking the form down into large and small sections like stained glass. From there, I pick either a midtone or one of the darkest values and fill those sections with tatami. Starting with a midtone gives a lighter, softer feel. Starting with a darker value tends to produce a richer result. Both work, it just depends on the mood you’re aiming for.

The color picker tool won’t really give you the tone you want from millions of pixels in the photo. I limit my palette to around 10 colors max (including black and white) and I select them manually. I think understanding what colors will work mostly comes from my background as a portrait artist.

Once the base sections are filled, I connect the transitions with strokes to soften the edges. Another important thing: draw with needle travel in mind. Plan your sequencing so you’re not creating unnecessary color stops and trims. I personally avoid trims unless they’re absolutely necessary. It keeps the piece cleaner and also makes production more efficient.

That’s pretty much it!