Rediscovering Magic: Bringing a Vintage Witch Illustration Back to Life
Sometimes the best discoveries hide in plain sight. While digging through my physical archive—a collection of bristol boards, sketches, and half-bake ideas—I came across a witch illustration I'd completely forgotten about. She sat there, frozen mid-flight, her broom cutting through an ink-black sky, the full moon framing her face in that classic Halloween pose we all seen before.
The original was drawn on 14 in. x 17 in. bristol board, rendered first in pencil, then brought to life with india ink. Based on the paper's condition and my hazy memory, this piece is at least three years old, possibly older. Back then, I got as far as the black and white ink work before life pulled me in another direction. She's been waiting patiently ever since.
Now, with Halloween approaching and my Redbubble collection calling for fresh content, the timing felt right. I scanned her into Clip Studio Paint and began the coloring process—breathing new life into old lines, discovering what she wanted to become.
The Archive: Where Old Work Goes to Wait
I've always been a keeper. Sketches, finished pieces, experiments gone wrong—I file them away in portfolios and flat files, promising myself I'll revisit them someday. Most artists I know have a similar graveyard of unfinished work. We're optimistic hoarders, believing in second chances.
Final india ink illustration on bristol—classic witch pose, bold lines, and dramatic contrast, ready for digital color.
This witch was one of those second chances. When I pulled her from the pile, I remembered the satisfaction I felt finishing the ink work. India ink is unforgiving—one wrong stroke and you're committed. But it's also addictive in its permanence. Looking at those clean, confident lines now, I'm glad past-me took the time to get it right.
From Analog to Digital: The Scanning Process
Getting physical art into the digital realm is always a critical step. I scanned the original at high resolution to preserve every pen stroke and texture the bristol board captured. Clip Studio Paint has become my tool of choice for this kind of work—it handles large files smoothly and gives me brush options that feel natural.
Enhanced black and white version—classic witch in flight reimagined with digital textures and starry sky in Clip Studio Paint.
I’'ve always favored traditional over digital, but digital does offer a lot of flexiblity. The original ink drawing has a finite quality. Once it's done, it's done. But bringing it into the digital workspace opens up possibilities—color, adjustment, experimentation—without risking the physical piece.
Color Choices: Building the Halloween Atmosphere
With the line art secured, the real decision-making began. What kind of witch was she? Friendly? Menacing? Playful? Color would tell that story.
Flat color stage—blocking in foundational hues and establishing the witch's signature Halloween palette before final rendering.
I gravitated toward a classic Halloween palette—deep purples and blacks for her outfit, warm golden tones for the broom, and that signature orange-pink moon that every October sky seems to have. The night sky needed depth, so I layered blues and purples, adding stars to create that sense of endless space behind her.
Coloring is where illustration moves from drawing to storytelling. Every hue shifts the mood.
The Redbubble Halloween Collection
This piece will join my growing Halloween collection on Redbubble. I'll be honest—I haven't made sales there yet. But I'm approaching it like any long-term project: build the catalog, refine the offerings, and trust that the right audience will find it.
Finished Halloween witch illustration—glowing with spellwork, moonlight, and vibrant colors, ready to join the seasonal collection.
Finishing Strong: The Final Push
There's something satisfying about working toward a deadline, even when it's self-imposed. It forces decisions. It prevents endless tinkering.
When you work for yourself, discipline and structure matter. Without them, projects drift into the archive—waiting, like this witch did, for someone to pull them back into the light.
Rediscovering What Was Already There
Not every illustration needs to be finished the day you start it. Some pieces need time. They need distance. They need you to grow a little before you're ready to complete them.
This witch taught me that the archive isn't a graveyard—it's a library. A place where ideas wait, patient and ready, for the moment you're prepared to give them the attention they deserve.
If you've got unfinished work gathering dust, maybe it's time to take a look. You might surprise yourself with what you find.
