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Issue 152 October 2017
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Richard Anderson sketches a striking character concept using stylised brushes and an easy-to-grasp workflow. 6
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In his new series, Pablo Muñoz Gómez explains the concept of DynaMesh and how to sculpt an object freely. HG G
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Join Olly Lawson as he takes you through his workflow for envisioning and crafting a painting that’s full of light.
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See how Hethe Srodawa creates key frame art when concepting for video games. 60
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Rogue One artist Finnian MacManus shares his tips for creating a strong portfolio of concept work.
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Traditional Artist 0 0 A T We showcase the best art created using traditional methods, sent in by you. 0 2 AGHG B G T B H F Annie Stegg Gerard taps into the style of 18th century artists as she illustrates classic creatures of mythology. 0 T B d T GF It’s easy to create a harmonious colour scheme in gouache, as Laura Bifano shows. T BHBG HT GdGBH
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2 B H1 B T JP Targete talks Florida rain and aliens.
Resources
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WORKSHOP VIDEOS
N C KA ! See how Paul goes about paintinga puffi n in flight. You can read our interview with the artist on page 40.
PLUS 52 CUSTOM BRUSHES
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D / D / A KA D D- DD Discover how Richard Anderson painted this month’s cover image, and listen as he explains how he creates his custom brushes. His workshop’s on page 62.
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Copy catsImage fraud is goingon at unprecedented levels and just about every fantasy, sci-fi and comic artistis beingripped off, discovers arr ck W ebster
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Selling a product with an unauthorised image is an attack on the artist’s livelihood
Havingyour work plagiari sed is extremely stressful…
How big is the problem?
Widespread. Off the scale. And the more popular you are, the worse it is. Anythingthat can be reproduced gets pinched. Have you been a victim?
There are companies around the world sellingmy art on clothing. I did art for a how-to book years ago, and one of the thingsthat gets pinched a lot is somepictures I drew to teach how to draw cartoon-style eyes. So, if you go to Amazon, Etsy or eBay, there are dozens of sellers marketingthese cartoon eyes all over clothing. Someone traced them as a vector drawingand now they’re everywhere. Is enough being done?
Absolutely not. I’m not really sure of the differences between the laws in the US and other parts of the world are, but then, that’spart of the problem. If you’re in one country it’s virtually impossible to enforceyour rightsin another. What can artists do?
You’re never goingto be ableto convincesomesociopathic goober on the internet that rippingartists off is a bad thing. Concentrateon reasonable people. Explain. Communicate. They will understand eventually. What about the future?
Things will get worse before they get better. Our governments don’t push hard enough to get corporations to do the rightthing by other people’s rights. Colleen is a comic book artist and a creator rights activist, whohas lobbiedtheUS government on the issue. .coleendor n. com
ImagineNation News
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Congratulations! Happy1 50issues! I still have issue one lying about somewhe I’ve never regretted buying a single copy of ImagineFX. Thank you so much for John Howe’s workshop in the 150th issue. He’sone of my favourite artists. I’d like to see a worksho from Alan Lee in a future issue. It would be nice if either John o Alan could also paint a cover. It would be great if you could look into the topic of street art i traditional art section. Howit influences digital artists and vice versa? A companion app for the magazine would also be good to see, where readers could seebehind the scenes of the magazine with competitions, extra workshops, interviews and discounts. Even though I know that anyone can submit their art work to FXPosé and Traditional FXPosé, I’d like to see a page dedicated to casual readers’ art. But whatever ImagineFX does, it’s always amazing and inspiring. Keep doing what you’re doing for another 1 50issues, please!
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1 40– IlyaKuvshinov’s cover]. Since then I’ve picked up each issue and adored them all. I’m a self-taught digital artist, and seeing all of the wonderful work that appearsin each magazine truly inspires me. I learn through observing others’ techniques and how they use colour and form, so having such eye-catching art to study from is a great opportunity. This magazine inspires meto reach out of my comfort zone and try something other than my morecartoony work; I believe I’m a better artist because of it. I’m sure it’ll help meimprove as I aim for my fine art GCSE. My current aspiration is to become a graphic novelist, but I don’t know how to go about developing such a career. We’re never taught how to get jobs that are more freelancer-based and I was wondering if you had any advice?
Heather HitchmanLambert heatherhitchman
Libby, via email
Claire replies Libby! You’re certainly how our 150th special sue urned out but one reader
as
ghtl
peeved at he olded poster nside he bag…
the youngest reader that’s emailed in! And thanks for sending in your own art. I ’ll look into gettinga feature together on becoming a freelance artist.
Poster complaint I’m a loyal subscriber and am very happywith every issue I receive. But I’d like to share my disappointment at the poster that camewith the 1 50th edition. It was folded to match ImagineFX’s A4 format, and made it impossible to put up neatly on the wall. I realisethat includingthe poster in any other way might be impossible or too expensive, but just in case it isn’t, it would be cool to receive it unfolded.
Ronald Gerrard, via email
Mark milamber23
Askar, via email
Claire replies Ronald, with that many
ideas in one email, you should come and work for us! Thanks for writingin. If anyonemissedour issue 150, there may be a few copies left in our online store – see page 30for detai ls.
Youngest ever reader! I’m probably one of your younger readers – I bought my first issue, the one with the beautiful “futuristic manga” cover art when I was 1 3 issue
Claire replies Hello Askar, sorry to
D I D Y O U M IS S T H E PR E V I O U S PA C K E D IS S U E ?
Don’t worry– you can still get hold of it. Visit xm .ag/ 1 51 -
for details.
hear that you’reunhappywith the poster. Unfortunately, we’rerestricted by the height and width of the space on the shop shelves: we’re unable to supply it unfolded or even in a tube. I find that you can iron creases and folds out of paper by putting it under somecloth on your ironing board and then ironing carefully on top of the cloth. This will help get rid of most of the fold.
Brett Schwindt brettschwindt Just finishedsomethingthat you want us to shout about? Then tagus on Twitter or Instagram, or find us on Facebook!
ImagineNation Artist Q&A
STRUGGLING WITH A PAINTING TECHNIQUE OR TOPIC? EMAIL
[email protected] TODAY!
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Question
How can I best simplify shapes when painting from outdoor references? Hilda Kvítkov , US
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[email protected] with your art questions and we’ll provide all the answers!
Answer Donglu replies What’s fun with virtual plein-air paintings is that we’re not just reproducing what we see on the photo from Google Street View, but we have the freedom to apply degrees of stylisation to it. Shape stylisation and simplification doesn’t only apply to composition and silhouette – it also affects how you blend your colours.
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A standard process is to take a more transparent colour with a smaller brush to blend different colours together. But I’ll show you how to use custom shapes as brushes to blend colours. When you zoom out, you’ll see an interesting colour gradation on the overall image, and when you zoom in, you’ll see abstract and stylised shapes in your images.
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If you vary the shape and the level of details of your custom shapes, you can generate different degrees of stylisation when blending your colours. It becomes a fun and creative experiment. I encourage you to take some time to build your own library of custom shapes, because it’s a great wayto find your own signature through this stylisation process.
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ImagineNation Artist Q&A Qu
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Rocks come in different sizes, shapes and with various kinds of surfaces. Whether it’s an imposing limestone cliff face or a small rock on a river bed, I take the sameapproach when paintingthem. I try to be awareof the overall shape and form of the rock structure, along with its texture, because both of these are what givea rock its character. The overall shape is controlled mainly with larger brushes paintingat lower zoom levels, whereasthe texture and elements such as cracks are painted with both custom brushes and smaller-sizedbrushes. I often use several photos of rocks as reference and study them both in terms of their three-dimensional shape and surface details. Also, be awareof where the light is coming from: the way the light interacts with the rock is what makes it believable. The sunny side has a lot of textural detail. The shadowy side, on the other hand, should be less detailed and receivebounced light from nearby surfaces or from the sky.
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Step-by-step: Illustrate a large, visually interesting rocky structure
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Question
When making a virtual plein-air study, how can I accentuate the colour vibrancy? Bao Kang, England
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Answer Donglu replies I ’s eal y easy to allb ack n a gen eri alet e an rselves artistca y. I often exaggerate t col at at n a d u se com plem entary colou or pa nti e lta eas and e s aded a eas. T bo e colou propertesof vi alco s. T o pu tthings n a s plerw ay, hen om plem entary colou ar aced si e by si e, ey accen at each other’ colou rp op er . A nd en sat ated col are i ced o an a ea of ad , t ey vibrat ore t an fthey w ere pa ed n
areaso fthe om po on . C hrom at hadow san other effective ay o create t e il si n detailin ado w areas. O en, ayi do n a few okes of at ated col n shad e can rick t e brain erprettho se st kes as a resu ci g lgh tfr m e s y lgh . C olou vibrancy can be a s on esign an gu age, b ecause itp ays a bi ole in ho w he b ain akes ense of certain gh g si at s. A ga you app y t e basi es, you can ap y m e s ylsed col choices give you scene a realsense er al y to yo scene.
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Videos, images, brushes and more are available with your digital editions!
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r k o f A p p l e I n c . , r e g i s t e r e d i n t h e U . . n d o t h e r c o n t r i e s . A p p t o r e i s s e r i c e m r k o f A p p l e I n c .
Get a digital subscription to e ! ImagineFX and Just search for ‘ImagineF ’ on these selected platforms…
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The human eye is naturally drawn to warm hues. You could compare yellow to light, orange to fire and red to blood – all things essential to our existence as human beings. If you associatethis to the golden hour” when the sky assumes vibrant reddish hues for a brief period of time during
sunset (or sunrise), the result is the type of imagery that’s popular among artists and photographers. When painting sunsets in Photoshop I make heavy use of the Color Dodge colour blendingmode. The secret to makingthis colour mode work effectively is to start with a dark muted base – the opposite of what
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we’re tryingto achieve. The effect is then built up slowly so you don’t oversaturate the scene too early on. Another important aspect to be awareof is what elements are in front of the sunset. They’ll assume the same colours of the sky, and if they havea strongsilhouette – such as a castle – then this will add visual interest.
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Step-by-step: Setting the scene for a sunset
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aulS ottC anavan h assee gi alartch an ge a l tsi ce opening hisd eviantA R T ac oun tin 2 0 0 6 , in hi alyear fu vers y. “I ’d een d abbl g w h gi al paint ng for a m on h o rt o an em em ber eei g om e as on ork t ere by art uch asD an L uV iand Jason C han ,” he says. “A he t e I ad ab olutely no idea h ow tw as ei g created, ut ati pi ed e to f gu e ou tw att ey w ere doi o I ou d w ork in video gam esan , too. W hatfolow ed w asa m es of utorial , ud esand om ruly ead lart.”
T he eadf lartd n’tlasttoo on g, and h the open, w el om ng w or of A , p he m ore profes on al, cr -o en ated orld ofC on ceptA . g, P aulstarted ge g seri creaton . “C A asvery m uch the ace to go o getrealcri es an eaning lfeedback f om nd pros. I earned a ton ere and en oyed get g m y bu tk cked a bi ,” em em ber . A n exam ple?“I think the e m y f end Jason R ai vi e told m ely) o st p ess speedpainting and
act aly spend e renderi g an g a pa g w ason e of osts gn cant,” aysP aul. “It changed the w ay I approached m ork and I ’m eter aly gratef lt m or at.” A other es tofpost g ork on ne w ast atovert e P aulend ed up becom ng good f end om e ofthe people w ho ad i spi ed
MA I CSECACE “While mytruepassion is fantasyart, I alsohavea soft spot for sci-fi .I painted this whileplaying thelatestHomeworld game(literally pausingit tojumpi ntoPhotoshop).”
ason R ai vi e t d e to p es eed ai g,an d act al y s end en er g an d g a pai
Artist Portfolio V I S O RY “Mybiggest sci-fiinspirations areguys likeJohn Harris, SydMead and John Berkey. I always trytochannel some of their style into myspaceart.”
A C I E CS DRA GO C “I ’veplayed CCGs since I was a kid and love workingon them. Tellinga storyin a tinyframei s a fun challenge. This is for the gameCall toAdventure.”
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“OnceI knewwhereI wasgoingwith thepainting, I blockedit out in 3D. I reallywantedtopush scaleandthis helpedme gureout whereeverythingwould sit in the3D space.”
Artist Portfolio A IFI D “T hich I st llike. I ’ve lw ys dored L ovecr f n d he w he cre tes senseof dre d.”
“As commercial artists, a lot of what wedo centres around selling a product,” he says. “This can mean selling our work to the public or pitching our portfolios to prospective clients, but it also means selling ourselves as a brand to be bought into. ‘Networking’ is a gross term, but that’s what I’m referring to: expanding one’s network to reach more eyeballs and thus become more successful.” This is all standard, says Paul, if you’ve got a business background, “but for artists – the anxious creatures who lurk in darkened bedrooms clutching a stylus in one hand and a pot of coffee in the other – it can be quite an alien concept, and can be difficult to manage, especially early on.” How can you strike a balance between wanting to befriend an art hero without it appearing like a veiled networking move? “This is certainly something I struggled with over the years and it can still affect me today,”
L earn w eop e M aw ar ,b e s er el
says Paul. He does have some tips though. “Enjoy learning as much as you enjoy creating: read books, play games, watch films. The moreinterests you have the better, as they all feed into your visual library,” he says. “And learn how to talk to people! Most of us are a bit awkward, but social skills are super-helpful when you want to attend an event… Oh yeah, and attend events! They’re a great way to make friends and find inspiration, both of which are hugely valuable.”
AEIGMDAEG Easier said than done, you might be thinking, and Paul would agree. “I suffer from an anxiety disorder, which can make social situations stressful and tiring,” he reveals. “Lucki ly, it never affected metoo badly when I was working in-house as I would just take a short nap or go for a walk if I felt overwhelmed, but it’s easier now that I’m freelancing.”
BIZAQD “I ’ve w ysgr vit ted tow rds oose, expressive style, p rti l bec use I h ve short ttention sp n, but lsobec useit’s un .”
AI HDDDA “Ari sthe fi rstin seriesof dr gon p intngsI h vepl nn ed. I w nted hert eelpow er ul r the th n overl besti .”
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Interview Paul Scott Canavan
Artist Portfolio
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Mental health issues are extremely common in this line of work, he says. “It almost seems to go hand in hand with the creative mindset, and I’ve found it very helpful not only to see a therapist, but to reach out to friends in the community and share my experiences. I’ve picked up loadsof helpful tips this wayand it helps to know that many of the people you respect suffer from their own issues.” Freelancing brings with it strange working hours, but Paul has imposed a strict ‘work-free weekends’ rule and thinks having other interests is essential in keeping stress levels down. “I like to lift weights at the gym three to five days a week, to ensure that I don’t actually fuse with my computer chair,” he says. “Weightlifting is incredibly cathartic for mebecauseit equates to constant improvement, something that can help during periods of stress or depression, and
there really is nothing quite like picking up a hunk of metal to make you feel accomplished!”
D D I BK Take alook atPaul’s online gallery of work, and it becomes obvious that the artist also relishes workingin different styles and projects. The die was cast at school, where Paul was encouraged to experiment with all kinds of projects, including using oils, life drawing and sculpting in clay. This was followed up by four years studying 2D animation. “Honestly, I just need to work on a variety of thingsor I get bored! I’ve never categorised myself as a character artist or environment artist, or even specifically a concept artist or illustrator. For me, the appeal of being an artist is being able to draw anything to somedegree,” he says. “After all, it’s all simply a series of shapes and forms that are being affected by light.”
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STU IO PROFIL E
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Dh a eakbfT hf-I aI-IIIaeIT f ea f bee c fka f d IT aeh s the video games industry has grown over the years, more companies areoutsourcing their art requirements to specialist studios. And amongthose that havemost benefited from this trend is Canada’s Volta. Launched in Quebec City in 2006, its team of over 40artists have delivered hundreds of projects to companies includingCapcom, EA, Ubisoft, Riot
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Games and Supercell, for games includingStreet Fighter V, Mobile Strike, Battlefield: Hardline, Assassin’s Creed Brotherhood, Clash of Clans and League ofLegends, The studio is involved in the creation of concepts for characters, environments and vehicles, production art pipeline support, marketingart, and a full range of 3D and cinematic services. And one of the reasons it’s so in demand is the high calibreof artists it employs, says CEO Claude Bordeleau. “Our artists range from havingbetween five and 20-plus years of experience,” he says. “We rarely hire juniors.” There’s also a breadth and depth to the roster, which means Volta’s able to cater for a range of clients, adds studio art director Guilherme Guimaraes.
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We have some people who are specifically, say, environment artists or character artists, and companies come to us just because they like that artist’s style,” Guilherme says. “But we also have artists who are very versatile, so they can work on any project we pick for them.” There’s flexibility in other areas, too. For example, while the artists are
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We have artists who are very versatile, so theycan work on any project that we pick for them
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I ’s a grea envi en avi tc er on s abo th w d ack e a speci c p ect divided into distinct 2D and 3D teams, there’s often crossover between the two disciplines, says 3D art director David Giraud. “Alot of the guys on both teams are really talented in all mediums: they can draw in 2D and theycan sculpt in 3D,” he says. “And sowhen they have to jump from one to another, it’s not reallya problem.” Knowingthe artists are at the top of their game means supervisors can take a step back, says senior concept artist Rael Lyra. “That’s somethingI really like about workinghere: the sense of trust in the artists,” he says. “It’s agreat environment for havinghonest conversations about how weshould tackle aspecific asset or a specific project.” And that trust extends to hardware and software.
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“Every time we hire someone we ask them: ‘What’s your process, what do you use?’” says Claude. “And whatever it is, we just getit for them. It’s a bigof a headache for IT, but if you havea concept to design, you can doit in 3D, you drawit on paper and scan it, you can use your Cintiq, your Intuos… whatever you want!
6.2 5 2 .22DAE Of course, you can’t go completely crazy, because you still have to work under anyrestrictions imposedbythe client, particularly in the case of 3D work. But in general, the amount of creative freedom clients give Volta’s artists is on the increase, says Claude. “Fiveor six years ago, we really had to stick to the precise brief,” he reveals. “But nowadays, our reputation means that more and more of our clients are askingfor our creative
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input – even with existing franchises, such as Mass Effect.” Before you get the impression that life at Volta is abreeze, though, everyone is keen to stress that it’s extremely hard work, and at times frenetic. “It can be very challenging,”saysManuel Couture, director of production. “Especially when last-minute requests comein from clients, and wehave to juggle alot of variables to get everythingdone. But at the same time, these kinds of challengesmake our jobs a lot more interesting.” And while the work might be hard, it’s the typeof work that many artists would kill for. “For me, Street Fighter 5
was adream come true,” says David. “We got to model 10of the main characters, includingCammy, Zangief, Rainbow Mika, and some characters that were new to the Street Fighter universe, as well as 22 DLC characters. As someone who’s played Street Fighter since I was very young, beingpart of that was pretty crazy.”
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Yet even when thepace becomes super-hectic, that’s somewhat offset by the calmer environs ofQuebecCity. Havinglived in huge conurbations in Brazil such as São Paulo, Rael in particular appreciates the smallness of the region’s capital. “The people here tend tobe super-warm, super-friendly
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and respectful,” he says. “And the city’s quiet. So we really like workinghere and livinghere.” In addition, there’s a real sense of community around the studio, partly based on the fact that most of the artists are from other countries. “That’s what I like most about Volta: working with people who come from all around the world,” says Manuel. “Weget to hangout with a lot of great artists, and when you look attheir portfolio it’s so motivating.” “It’s like havinga second family,” agrees Rael. “Because we share the same background and desire to succeed as artists, and everybody is driven by the same forces, so you feel like you can rely on each other a lot.”
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For this workshop I’d like to show you a really fun way to sketch characters from just your imagination. I’ll be showing you how to create Photoshop brushes to mimic the traditional brush pen and marker techniques used by professionals. I’ll start with a texture brush to sketch in the lightest values, building the gestures and form of the character. During this early stage I’ll
also go over some techniques to follow when producing cover art work and layouts. I’ll then move on to the darker values, bringing in details from the lighter sketch form. Oncethe details arein placeI’ll show how to use economical brush strokes to describe a lot of visual information in a short amount of time. And then, once we have the most information about the character down on the canvas, I’ll go over quick ways to adjust colour and cool
details within minutes. This is when I’ll experiment with shapes within the form and silhouette. Paying attention to the overall design will make everything look unified and, quite frankly, cool! Finally, I’ll apply the final touches of quick overlay sketching to give the sketch a watercolour feel, which will introduce variety and depth to the character. Hopefully, by the end of the workshop you’ll be inspired to create your own fun characters!
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. I like to start an illustration or character concept by doing small, quick thumbnails to extract ideas out of my head. That means good and bad ideas. It’s normal to have old images floating around in your head from something you once saw or inspired you. My method of leaving those mundane images or ideas behind is to bust out a bunch of little sketches, to get the best ideas possible on the canvas.
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For this workshop I produce just a few thumbnails because the idea is relatively simple: a woman and her dog. But if you’re just starting out, I’d recommend doing a pile of thumbnails – say, 50. It may seem like alot, but you’ll be glad you did and you’ll become a better artist for it. These two thumbs have something that we’re looking for so, I take pieces from both and mix them up.
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Workshops
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By taking elements that will work for the cover and combining them, I can demonstrate the general layout and idea ideathat I’m I ’m going oingfor. Thi This helps to convey convey the attitude and overall gesture for the woman with the dogs. Now I’m ready to move on to the final illustration.
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I start my final illustration by laying down a neutral skin tone. You can see on the left of my image that I have a basic value colour palette laid out within easy reach, from which I’ll use the Eyedropper tool to pick from. I use one of my custom brushes at this stage – it’s an angle brush that works like a real marker pen, and helps me achieve interesting-looking and dynamic angles.
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M-A -AK GH, H, 4 , G G, AK , Working from light to dark is a good – and traditional – way of working. Using the previous value and shape block-in, I create a new layer above and start sketching in with a burnt sienna colour (a nice, neutral choice). This brings out the details of her eyes and smile. I restrict myself to just drawing in the smaller details for now.
In depthConcept depth Concept skills 1 G , N4A 4AN A AR AK K On a new layer ayer above bove the rest, I Ctrl click click the layers below to make make a selection. tion. PressingCtrl ng Ctrl H hides hides the selection outline. Then I increase the brush size and block in larger details such as her dress and boots. The ImagineFX magineFX team ask me to givethe dogs amechanical mechani cal appearance, so I apply a grey tone to them.
Workshops
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In depthConcept skills
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. Now I know I have my final form and I think everything is just about done, I like to walk away for a little bit, maybe 30 minutes or so, and then come back with some fresh eyes. This helps me to look at objects anew and perhaps noticesomething ‘off’ that I didn’t seepreviously. In this caseI feel that there’s too much contrast in the character, so I apply a little lighter grey value on a new layer that’s set on Lighten mode.
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. .I’m now happy with this fun chick and her cool bot dogs. I want to add a little sketch vibe to the background to create more of a traditional look. This helps unify everything. Finally, I use these steps to apply a little film grain to the character. I create a new layer, fill it with 50 per cent grey, apply the Noise filter, set the layer to Soft Light and reduce Opacity to 1 5 per cent, then load the selection of the character and mask it out.
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ZBrushCore is a simplified version of ZBrush that serves as an introduction to digital sculpting. It has some of the key features of ZBrush and it’s easy to learn. Throughout this series, I’ll share various workflows for 3D sculpting, with an emphasis on particular processes and features that will help you produce professionallooking objects and images. E c i a . K e
DynaMesh is a clever process that removes the technical barriers when sculpting in 3D. There are a few concepts that you might have heard of, such as like polygons, geometry or topology, and they generally refer to the structure of a 3D object. Often, when you edit a mesh or an object in 3D, you need to be aware of how the changes you’re making affect the structure. DynaMesh takes care of all of these technical aspects, enabling
you to focus on sculpting and designing your object. Think of this as working digital clay. You can push, pull, flatten or stretch areas of your model without worrying about the distribution of polygons. If you start sculpting and the mesh becomes distorted, you can run the DynaMesh process to redistribute and create more polygons that will help you describe the shape you’re trying to make.
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Let’s turn Polyframe on so we can see the underlying structure by pressingShift F. Go ahead and select the Move brush: you can use the shortcuts from the bottom of the screen or the brush’s thumbnail to access the library. Click the sphere and drag to create an interesting shape. The polygons are now getting stretched, but we can hold down Ctrl and click and drag on an empty space to re-DynaMesh.
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1 When you first open ZBrushCore, you’ll see a sphere that’s loaded by default and you can select any of the brushes at the bottom of the UI to start adjusting the mesh in different ways. Click the DynaMesh sub-palette on the right-hand side of the screen to expand it. You’ll see the DynaMesh switch is orange, which means that it’s turned on.
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Workshops
In depthLight & shade
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In this workshop I’ll be taking you through the steps that I go through when painting an environment, from the early sketching phase through to rendering and finalising, with some advice along the way. Whether you’re a professional artist or a hobbyist just painting for fun, it’s a good idea to change your process now and then, trying new things. To be able to do that, it’s important to
have a strong foundation of principles and techniques that will carry you through this. I like to go back to these fundamentals every now and then when I can to strengthen them, and this enables me to get on with the fun parts of experimenting while painting! I’ll be touching on some of these important principles in this workshop, as well as sharing with you some of my own ideas and processes as I go on.
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Step one for me is usually grabbing a sketchbook or my iPad and doodling out some ideas. I like to do this before looking at any reference or work from other artists, because I want to have something strong to lead through with, without being reliant on another person’s work.
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The first step of my painting process is visualising the final image, so that I don’t waste time changing too much as it develops. Looking back, it was about 90 per cent accurate. I’m confident with the scene, so while it’s fresh in my mind I work quickly to get it all down. I find that not using lines helps me to work fast, so I go straight in with my colours.
I was tasked with creating a painting showcasing light and colour, and my mind went to all of the beautiful scenes that I’ve seen while travelling around India. I also enjoy traditional painters, especially the 1 9th century Salon painters like John Singer Sargent, who were able to so confidently paint their impressions of – among other things – beautiful subjects in naturally lit interiors. I had fun painting this image and I hope you’ll enjoy reading about it.
In depthLight & shade
1 EN K A4K GA, PH GE I want to paint the right colours from my mind, but starting out I also add some noisy texture so that my picture later has a ‘grip’. This will ensure that I can make flat, creamy strokes over the top that will stand out nicely later on, and the visual noise helps bring the whole picture together easily. I recommend playing with the Color Dynamics settings of a brush for this.
MK K RA PH G Because the underneath is now so rough, I want to build up without losing the colours. For this reason, I like to use the Mixer brush, which can sample a square of your canvas for painting with, rather than just painting with one single colour like the regular brush does in Photoshop.
2 A- K RA EA I’m happy with what I’ve established so far, so I continue to render it out. My start is very rough and smooth, so this means continually sharpening and defining things. I like to use the Lasso tool to make selections for painting at this stage, to really develop sharp, crisp areas in the composition.
IK G, P PRGPK AG I’ve definitely left this too late, but I had so much fun painting the base that I got carried away! I tend to go through so many thumbnails for my work, that it’s nice to just see where this painting takes me. So this time I’ve played it by ear and am now considering how to introduce the character and story to the scene. I try different characters in lines here first.
Workshops
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At this stage I’m thinking about a girl from a previous painting I’ve made, sitting in her room contemplating some future challenge. I sketch in a dagger hidden under the blankets, and add a teapot and some homely overgrowth by the windows, to juxtapose each other both in story and colour/texture.
My mind needs time to consider the foreground, so I give it a break and continue fleshing out the background that I’m more confident about. I go quite far into darks and lights here, almost to black and white, because I know that I’ll add some hazy lighting afterwards to bring it back together. I contrast the windows, because the lights and darks meet strongly here.
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I’m constantly thinking here about colour temperatures. Having a lighting setup like this is very interesting and I recommend trying to paint this kind of scene from life whenever you can. Even just the room you work in will do. The skylight outside is very blue, so the room will feel warmer in contrast to this as the light bounces around it. To emphasise this I make everything inside red, too.
2 A-H APK E - K RA ED N
Knowing how light behaves is the most important thing to painting something from your imagination. The top of these wooden chests need to be very cool (towards bluer colours) – even with a warm (towards red) green seemingly above them, because they’re reflecting a very blue skylight to us. The front of the chests can be very warm, as they reflect warm light from the red bedsheets.
In depthLight & shade
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Workshops A-2--
D / A K A - NC ! 3 B A 3 B U U U U 3 4 Where do you begin when developing a new game project? I like to start with a key frameillustration, like this image that I’d done recently for a new personal project. I had a pretty solid idea of what the game is about, but needed a jumping-off illustration to really get things started. At this initial stage of a project, a keyframe illustration is an image that sums up what the game world is about. It needs to show characters, in a setting, doing something that conveys what you do in the game. The game’s art style and tone needs to be established as well. In this case the game is a shooter/combat game set in our world, but from the perspective of one-inch people. I chose a natural setting for the first image, something down in the weeds so the viewer understand that you’re small, like the size of a bug. The characters were important as well. In one image I wanted to capture the style of the game, the diversity of character shapes that I have planned and the amount of stylisation for them and the environments.
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When I was a student, I couldn’t find information about how to break in to the film industry. Concept artists within the profession talked to each other, but rarely with anyone outside the loop, making it difficult to understand what distinguished film work from everything else. Concept art as used in film has many facets, and these tips are specifically geared toward emphasising clarity and narrative in your portfolio.
The advice I give comes from my experiences and observations within the entertainment field, which is fastpaced and continually changing. To stay relevant, concept artists must adapt quickly, and keep ahead of the curvein a challenging environment. Understanding what art directors and production designers look for when assembling their teams is crucial, as is streamlining your process, since time is always of the essence. Joining a project offers many opportunities and you should learn
as much as possible from every one. Since the concept work on a film can last from a few months to a few years, knowing how the industry works and being able to transition seamlessly between jobs will help you stay on the production as long as possible Most important, though, are your co-workers: building strong relationships with them can inspire and improve your own work. These friendships can be the backbone of your future in the industry, whether in the short or long term.
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nd Ar t teacher a s t concep t ar ti Wang j ie L i t shares his ar techniques
Do ’ t m iss ext issue! W e r eveal how you ca dr aw a d ai t
Stun n i ng p o rtrai ts
ISSUE 153 ON SALE IN THE UK
Friday8 September
A llt is… an dm ore! gR Interview and art showcase with the multi-talented American illustrator.
S et h
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Should you doodle or follow a plan? Artists share how they begin their illustrations.
T
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Vicky Stonebridge steps up to the wheel in our first-ever pottery workshop.
M
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How to create quirky and dynamic-looking figureswith concept artist Tan Zhi Hui.
TH E SE C RE T S O F W E TA Discover how Weta levelled up the VFX of War for the Planet of the Apes, in our in-depth feature
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the test by the ImagineFX team…
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P RO D U CT S O N T ES T
HARDWARE
Huion’s device is certainl more established brands offer the same level of qu Has one artist’s mission to create an indestructible portable easel paid off? RAINING
An you ancy ma ng your own ease for plein air assignments, James Gurney’s got one or two tips under his hat.
scover ow to create conv nc ng an compelling character concepts.
BOOKS
Kan Muftic aims to boost your core art skills, particularly when drawing from life. RATINGS EXPLAINED
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Art tools Hardware ARTIST INTERVIEW
Weask how the GT-220 fits into the dailyworkflowof an artist
How have you found it in use? Really good. Without the glove it’s a bit sticky, but once that’s on everythingfeels right. I like the rubber strip on the baseof the monitor, which stops it from movingwhen you lean on it. B4 UE A, U,4 4UE UAA4 U ! U BC B ,UU UB4, BU 4,- UE AD! 3 , 3 4 4C B
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Annie SteggGerard taps into the style of 18th century artists as she illustrates classic creatures of mythology, usingpencil and oils.
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SHOWCASING THE FINEST TRADITIONAL ARTISTS
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Traditional ArtistWorkshop
In depth Forestscene
Pencil
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he 18th century Rococo painters have always been a big inspiration to me, and their work has been a large influence on my own method. The imagination, dreamlike palette, romantic atmosphere and lively brushwork all contribute to create a wonderful atmosphere of enchantment. This period was one of the first timesin art history when painters sought to truly transport us to different worlds and fantastic places. This is something that I strive to recreate in my own paintings.
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In this workshop I’ll discuss how to illustrate a scene in oil that has this classical, Rococo sensibility to it. You’ll be learning how to use an underpainting to achieve a lighting effect that captures form and volume. I’ll then be showing you how to use glazes to enhance the colours and create a jewel-like effect for your painting. Finally, I’ll show you how apply details that bring your characters and their world to life. I’ll beworking in traditional oils for this painting, but the principles I’ll be showing here can also be applied to other mediums. Art
shouldn’t be defined by the medium used, but rather the message the artist is communicating. Don’t be afraid to try oils out, even if it seems scary at first. Every time you push yourself and experiment, you improve and expand your own abilities. Annie enjoys creatingwork inspired fromfolklore, mythologyand nature. Through her work, shestrives tocreateimages that will evokeemotion and imagination in the viewer. Her clients rangefromvideogamecompanies tofine art galleriestoprivatecollectors. Seemore of her art at www.gallerygerard.com.
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MIXING A GOUACHE PALETTE oinartistLA U R A B FA N O asshe shows how–withab itofp lanning–it’se as to re ate ahar onio s olo rs he e
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Traditional ArtistInterview
First Impressions JP T A a C Ae l f ia a ia gf ie.le l fifia a l ia e Where did you grow up and how has this influenced your art? I grew up in Miami and spent a lot of time either playing outside or drawing inside. The weather inspired me. Rainy days and thunderstorms were the perfect mood-setters for my art.
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What was your next step in art? I received a full scholarship to The School of Visual Arts in New York and studied illustration. Storytelli ng and art always ruled over any of my other interests when growing up.
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What was your first paid commission, and does it stand as a representation of your talent? My first serious paid commission was a book cover for a young adult novel back in 1 989 called Appointment with a Stranger. This was done in traditional oils It’s not a representation of my talent because what I enjoy doing is more fantasy,
There are a lot more creatives working in those industries more then before. It’s opened up a lot for younger artist coming out of school.
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Does one person stand out as being helpful during your early years? I had a few good teachers who encouraged me to push my art. My dad inspired me to just draw: he was an architect and had his own office at home. I’d sit on the floor and draw for hours while he played classical music. He never kicked me out or told me to do what he did. He gave me silent encouragement and freedom just by letting me be in his studio. I miss him.
sci-fi and darker art. However, it does represent the meticulous detail that I enjoy creating.
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I feel that some studios and producers lose sight of the artist behind the art
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What’s the last piece you finished, and how do the two differ? I created a few Alien Covenant marketing pieces. Nowadays, much of my commissions are done digitally. The biggest difference between my current and older work is really more of a transition between traditional and digital. To date, what’s been your most difficult concept art assignment? It was creating interior illustrations for HG Well ’s The War of the Worlds, published by Easton Press. There were only about 10 or so images. I handled each image as if it were a still frame from an epic film. Everything had to be perfect: composition, mood and lighting. How has the games and film industry changed for good since you’ve been working in it?
What gripes do you have about the games and film industry right now? I feel some studios and producers lose sight of the artist behind the art. Because images can be digitally generated fairly speedily, some directors are spoiled into seeing polished renderings. The demand to produce such art quickly is high. What’s the most important thing that you’ve taught someone? Draw, draw! Understanding the basics of a composition and the difference between a static and dynamic scene. Sketchbooks are key. Would you say that your art is evolving? What’s the most recent experiment you’ve made? My sketchbook, Once Upon a Time in My Mind, captures where I’m at and how I feel about storytelling and the world I live in. It’s not an experiment as such, but more of an extension of me. JP ’s cre ture, envi onm ent nd concept rt c n be een
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