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Imagine FX_Aug 2018

Published by Saigon Design Center, 2019-01-09 14:59:15

Description: Imagine FX_Aug 2018


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Sketchbook Sai Foo FEMALE TRAINING “I’ve been told that I draw female characters like they’re men, especially when it comes to their faces. So I’ve been working on that, although I’m not finding it easy…” FIGHT POSES “I sketched this a while back, to practise drawing a believable fight scene. I don’t think I’ve nailed it yet, but I like the feeling I got from these poses.” Do you want to share your sketches with your fellow ImagineFX readers? Send us an email with aselection of your art, captions for each piece and a photo and bio of yourself to [email protected] 2018 51

The number one destination for digital art news, views and how-tos EcrApc_rgtc @jmobgpcarrm wmspgl`mvugrf mspuccijwbgegr_j _prlcuqjcrrcpGraphic design Art Web design 3D Digital art

GET YOUR RESOURCES See page 8 now! Workshops assets are available… Download each workshop’s resources by turning to page 8. And if you see the video workshop badge, you can watch the artist in action, too.Advice from the world’s best artists54 62 This issue: 54 Be inspired by a manga classic Toni Infante taps into the66 influence of Akira. 62 Improving an old piece of artwork Thomas Chamberlain-Keen takes old work to the next level. 66 15 tips for better character art Refine your manga figures with Collateral Damage Studios. 72 Paint an ice queen in warm colours Pauline Voß uses VR to create a 3D base going into Procreate.80 76 Core Skills: Photoshop Quickly embellish your art with textures. Mark White tells all. 80 How to paint over a 3D base Scott Zenteno takes a 3D sci-fi mech scene into Photoshop. 86 Elicit a sense of wonder See how Cathleen McAllister paints two witches late for class. August 2018 53

WorkshopsPhotoshopBE INSPIRED BYA MANGA CLASSICToni Infante taps into the influence of Akira, and uses colour,contrast and composition to create a striking cover imageArtist I’ve been a huge goals. People rarely spend more than playing with and exaggerating these manga fan since a few seconds looking at something techniques. Use of complementaryPROFILE childhood and it’s before moving on. So in the case of colours, diagonal shapes and forced impossible to hide the art that also serves a commercial perspectives are some of the elementsToni Infante influence that passion purpose – such as a magazine cover I repeatedly use in my work and I’ll has on my art. In my quest to learn – it’s even more important to ensure talk about these and more in thisLOCATION: Spain how to paint powerful and dynamic those techniques are all working to workshop. From the initial rough images, I’ve learned a lot from my create an eye-catching composition. sketches, creating more detailed lineA freelance illustrator favourite manga artists through It may feel overwhelming at art, adding colour and final touches,and comic artist from observation, and trial and error. times, but the trick is divide up the I’ll dive into this neon world toBarcelona, Toni works Yet as illustrators we can also make workflow, focus on one step at a time explain you my choices during thewith clients such as use of a range of visual techniques and solve any problems as they arise. process and pass on some tips orImage Comics, Boom! – composition, colour, lighting, observations that hopefully will helpand DC. He also teaches. perspective – to help us achieve such Because it’s a static medium, I you in your own always try to create dynamism by GET YOUR RESOURCES See page 8 now! 1 Looking for inspiration 2 Produce quick thumbnails Before I begin sketching I always look around for While the premise is simple – a woman on a motorbike – there’s plenty ofsome reference material. Films, photographs or any other potential for introducing different points of view. Those sketches work as amedia can help me to generate a raft of original ideas. I’m brainstorming session, and as well as arranging elements differently I try to workalways trying to make something fresh and different in with different emotions on each one, too. Black, white and a mid-tone are all themy art. Having said that, this piece is meant to be a tribute colours I need at this point, which make things simple yet readable. Those sketchesto the manga classic Akira, but I’ll also include references are like the skeleton of the image, and the composition must work even at this earlyto some of my other favourite manga series. stage. I place my lighting and cast shadows with the narrative in mind, and if I’m lucky I’ll start having some ideas for how to colour the scene later on.54 August 2018

In depth Manga classicAugust 2018 55

WorkshopsRESOURCES 3 Refining the sketch 4 Background and balance It’s time to draw over the sketch and place details, Placing the character on the right can make the just as if I were using a lightbox. I focus on anatomy and image look unbalanced. To fix this I place details in the perspective, using a one-point perspective grid that I street behind using some night Japanese street images as rotate slightly to add some dynamism to the scene. Then reference. I place a huge light source on the store at the I define muscles and the main lines of the character. left, which creates a key diagonal line going towards the I draw her clothes, hair and other details in a different character. The vertical street lines and the motorbike colour, so as not to lose sight of the character’s anatomy. headlight help to balance out the overall composition.PHOTOSHOPCUSTOM BRUSHES:PENCIL BRUSHI set this to 100 per centOpacity for line art, 20-30 per cent for sketches.TEXTURED BRUSHSquared-shaped brushfor backgrounds. Idealfor geometric objects.GENERAL BRUSHUsed on 100 per cent 5 Final line art 6 Don’t overwork, simplifyOpacity. Good for flat When everything’s set in place I draw over the Sometimes it’s tempting to start detailing early oncolours and rendering. rough sketches lines from before and detail the character in the process. The results are often messy. Instead, try to and other elements. The background will be detailed be straightforward and simplify. Here, the basic structureCOLOUR GENERATOR using only colour, but line art will remain visible on the and anatomy are in place, but it doesn’t mean they need character and foreground, so I keep them clean on to be visible on the line art. The structure lines have doneAdds random colour different layers. This line art will play a huge role in their job and now it’s time to build on them. I simplifybrush strokes on an depicting the classic manga look. objects like her nose and hands into just a few lines.Overlay layer.56 August 2018

In depth Manga classic 7 Thoughts about character design On a portrait piece like this it’s important to define the character. The clothing design, colour scheme and eyes all help to add depth to ouryoung biker. I decide to portray her wearing a leather jacket and trousers with plenty of triangles motifs and diagonals. You can also see theseshapes in her hair. Red-coloured elements on her clothes and face convey the impression of strength, despite her friendly expression. 8 Lighting study 9 Establishing general colour schemes The idea of setting the scene on a neon-lit street at I now make my first colour decisions. Depending on the complexity of thenight was decided early on, but now it’s necessary to detail illustration, I usually create a full colour key in a smaller duplicate of the file.the concept and place highlights and shadows more However, because there’s just one big character and I’ve got a clear idea of the imageprecisely. I pay attention to the position of the ImagineFX I don’t need more than my previous light and tone study. Filters like Image>logo, too – it’s important to keep it readable. I decide to Adjustment>Color balance help me to keep all the tones as a purple hue.leave that area in dark tones and free from neon lights,enabling the logo to pop out in white. August 2018 57

Workshops 10 Bringing life to the world To add realism and life I bring plenty of details into the background: store signs, damp pavements, people… I imagine myself in the scene and try to express on the canvas what I would feel as I walk through that environment. Exaggerated lighting or a sense of weather are always good tools to employ when creating visual interest.58 August 2018

In depth Manga classic11 Volume and rendering 12 Leather and metal Using my custom Colour Generator brush in My colours are already established so I select the Eyedropper tool (Alt+click)Overlay mode I add some randomness to my colours. This and keep working on shades and volumes, bearing in mind that lighting workshelps to enrich the entire image. Then I start on the differently across a range of surfaces. The darkest zones and contrast are reserved forcharacter. First I put highlight over on the left that will leather and metal, while skin is worked with a low contrast. I try to merge layersmake her stand out, and then I dive into the details. My while painting, keeping the background and lights separate from the character.shading is full of hard edges and flat colours, because Iwant the image to echo the anime or manga style.13 Bring in anime-style effects 14 Tweaks from the team I’m almost there now, so I enhance the overall look At the request of the ImagineFX team, I change the hair colour and light focusand apply my final touches. Inspired by anime I spend a to make the character stand out against the logo. I also do some polishing work andbit of time working up the motorbike headlights, making get rid of some details on the background to make the cover text more readable. Atthem big and strong. These geometric forms also help me any point, it’s important to stay focused on the important stuff and not fillto fill the composition to the lower-right area of the scene. everything with unnecessary details that might distract the viewer. To finish off,They’re painted with white with some reddish tones on I apply Filter>Focus>Focus mask to emphasise certain shapes in the scene.the edges on an Overlay layer mode. August 2018 59

Next month Ethereal art Concept artist and vis dev maestro Simon Goinard creates our cover!60 August 2018

Next month Concept art techniques!How to master the art skills and software you need to get better at concept art! All this… and more!Build a whole Rob Bliss Substance Trent Kaniuganew world interview Painter tips sketchbookFormally director We speak with the Step-by-step video The Americanof art at Rockstar, brilliant London- game art texturing artist shares hisAnthony Macbain based illustrator techniques with darkly evocativeshares his skills. and concept artist. James Brady. sketches with us.ISSUE 164 ON SALE IN THE UK Friday 13 July August 2018 61

WorkshopsPhotoshopIMPROVING AN OLDPIECE OF ARTWORKUsing exaggerated forms, lighting, and mindful shape language,Thomas Chamberlain-Keen takes his old work to the next level62 August 2018

In depth Improve old art Artist PROFILE Thomas Chamberlain- Keen LOCATION: England Thomas (also known as Tck) is a concept artist who has recently started his first job at Atomhawk Design. He loves food and music; consumption and creation. GET YOUR RESOURCES See page 8 now! I created my original A year later I was interested to see ORIGINAL IMAGE painting around this how I could improve the piece. There time last year, having was something very successful about been inspired by the it that was most likely a happy vast fantasy landscapes accident at the time, but hadby artists like Dongbiao Lu and continued to evade myRuxing Gao. It was my first stylised understanding until now.environment artwork. Yes, it was alittle generic and derivative of similar Looking back at it, I started toworks, but it was also a rewarding notice errors in lighting, a lack ofpiece to finish, especially since I was engaging design work andstarting to feel that I was relying too unappealing shape design. Mymuch on photo texturing. I wanted challenge was to try and preserveto go back to some pure painting. what had worked then, while giving the painting a major overhaul… August 2018 63

Workshops Balancing the compositionA RIDE IN THE SKY Adding the second dragon completes the composition by creating a pleasing triangle of interest with the larger dragon and the buildings. It also reinforces the direction in which the dragons are heading, helping to convey the distance between the three objects. Detail control I want to keep the focus on the environment, so I paint the characters with an almost graphical approach. The folds in their clothing are represented with flat-coloured shapes rather than detailed, high-contrast shadows. This made them feel more like a continuation of the dragon’s patterning rather than entirely separate objects. How I correct… A FLAWED COMPOSITION 1 A stronger foundation The lighting in the original scene is inconsistent, which makes it difficult to understand how the objects occupy the space they’re in. This is particularly noticeable on the mountains and so I start to paint over these first. I choose a light source – the sun coming from the top left – and some rough camera settings. To encapsulate the expanse of the environment I attempt to emulate a fish-eye lens effect by having the base of the mountains converge at the bottom and then adding a slight curve to their trajectory upwards.64 August 2018

In depth Improve old art Shape design To merge the sharp triangles in the rooftops with the rounded shapes present in the environment, I give their outer edge a slight curve and emphasise the size of the decorative ornaments at the roof tips. This removes the hard, architectural feel and enables the buildings to sit in the organic forms of the mountain more comfortably. RESOURCESRendering the scales Adding the puffiness PHOTOSHOPWhen dealing with reflective materials you need Simplifying clouds into large, rounded forms is great for CUSTOM BRUSHES:to pay attention to the environment that selling their scale, but it starts to make them appear like PAINTINGRAKEsurrounds your object. I begin painting the scales solid, hard-surfaced objects. To bring back the softer feelon the neck with their local colour (a muted I break up the hard edges with smooth gradients and Used for exploring largepurple), then consider the angle of each scale’s smaller brush strokes, some of them overlapping to shapes and blendingsurface. Those facing the sky take on some of its indicate translucency. This finer detailing was also present tones to give a naturalcolour, pushing them towards a brighter blue. in the original and explains a lot of why it remains a decent and gentle noise texture.Meanwhile, the scales on the underside take on a image, despite some technical flaws.more greenish tone. The scales on the side of the HARDSPONGEneck wouldn’t pick up any direct reflections, soinstead remain the material’s local colour. Each Used for everything else:scale is then defined with the ambient shadows details, block-in andthat occur where they overlap. blending. I constantly turn the Pen Pressure settings on and off when using this brush. Opacity alone enables me to blend colours while Size alone makes it possible to add precise details. 2 Tackling the big shapes 3 Redesigning the dragon The clouds follow a curve that helps convey their scale and The dragon was the most interesting design in my originalposition. I keep the shape design consistent with the mountain range painting. I tried to update this design, but found it didn’t fit the Asianbecause it creates an interesting repetition between the ground and theme influencing the rest of the image. It also took up a lot of thesky. I then redesign the monastery as a stylised dragon’s head, which space, making the environment feel cramped. So I switched it out forfits the whimsical fantasy mood I’m trying to achieve. a traditional Chinese dragon, but kept some of its western features. August 2018 65

WorkshopsArtist insight15 TIPS FOR BETTERCHARACTER ARTArtists from Singapore’s Collateral Damage Studios walk you throughthe key steps of creating and then refining your manga charactersAs Japanese animation grew in popularity, Singapore to produce an extensive portfolio of storytelling fundamentals are still necessaryartists around the world started taking up the manga art. Beyond just providing key visuals in the creation of good manga art.general basics of the art form and making it for anime conventions or mascot designs fortheir own. We’ve all seen many outstanding video games, our artists enjoy creating Here, three CDS artists will share theirworks of art with clear manga influence that character art and stories to call their own. expertise and experience when it comes tooriginated outside of Japan. creating and refining manga character art. For the aspiring artist wanting to create From how to clean up your character sketches, Collateral Damage Studios (CDS) is an your own character, it can be tempting to just picking the right colours and how to craft aillustration studio from Singapore. We follow the manga template wholesale. It’s story for them, there’s plenty to incorporateemploy some of the best manga art talents in important to note that basic art and into your own manga workflow. ADVICE ON CLEANING UP YOUR SKETCHES WITH LOW ZI RONGArtistPROFILELow Zi RongLOCATION: SingaporeAs the resident characterdesigner for CDS, Low isbest known for his animemascot design forInternet Explorer andAnime Festival Asia. He’salso an accomplishedanimation director forthe viral IE anime short. 1 TIGHTENING UP YOUR ROUGHS I usually start with a rough sketch, working out the pose and the flow of the other objects such as the costume and hair. Then I’ll take a quick second pass to refine parts of the picture and add more details that can aid in my line-work process later. If you’re working on a single layer it can be easy to accidently erase portions of the original sketch when you’re zoomed in and focused on adding details, resulting in the overall composition being altered. I recommend using a new layer to flesh out the details, while keeping the original composition on another layer for easy reference.66 August 2018

Artist insight Character art tips2 DIFFERENTIATE reduce stray lines when cleaning up. Using coloursLAYERS WITH COLOUR to highlight different areas that you might want toI find it useful to change separate into layers alsothe colour of my pencil serves as a visual reminderbefore cleaning up your when lining them.sketch. Even if you reducethe opacity of the sketchlayer during the clean-upstage, unwanted lines thatare overlooked might bemistaken for lines from theoriginal sketch. Changingthe colour of the sketch toanother colour can makethe distinction between thesketch layer and clean-uplayer more obvious, and I find it useful to change the colour of my pencil before cleaning up your sketch3 ADDING WEIGHT TO YOUR LINESApart from certain art styles or production requirements, giving your linesdifferent thicknesses helps to add depth to your drawing. In general, drawingthinner lines of elements closer to the light source and thicker lines for thosefurther away can make your art pop. One example when it’s not necessary toadd weight to your lines is for animation production, when production time islimited and the consistency of lines between frames is more important.4 ROTATING AND FLIPPING THE CANVAS 5 CHECKING THE DEVELOPING ARTWORKTo achieve clean and smooth-flowing lines, it’s usually better to clean up As mentioned earlier, during cleanup we tend to zoom in andcurves correctly in a single stroke. Most painting software enables you to focus on the finer details of the artwork. We end up takingrotate and flip the canvas freely to adjust the angle at which you tackle those localised decisions on how certain strokes would be cleanedcurves. Flipping the canvas as you draw is also a good way to check the without bearing in mind context of the whole image. Thisbalance of the image if you’ve been staring at your artwork for too long. might result in, for example, a well-drawn hand that’s clearly out of proportion when compared to the rest of the body. Therefore, it’s important to zoom out occasionally to check everything’s still on track as you clean up your sketch. August 2018 67

Workshops APPLY TAN HUI TIAN’S COLOUR THEORY TIPS TO YOUR FIGURESArtist 1 BEYOND COLOUR THEORYPROFILE Colours convey mood and meaning, and you can use it to direct or misdirect the audience. AtTan Hui Tian its most effective, just the colour palette can bring to mind the object. It also serves as aLOCATION: Singapore bond when different objects share the same palette, such as the historical significance of theTan is a senior illustrator red, blue and white stripes in Pan-slavic flags.with CDS. She comes Beyond basic colour theory, the science offrom a graphic design colours and its everyday usage can be usefulbackground, and her information. For instance, knowing that inwork emphasises a European culture, royalty is represented bystrong design sense. purple, while in India, deep red and ochre symbolise grandeur and wealth, can be useful in creating culturally specific characters.2 CONCEPT AND USABILITY 3 BUILD A PALETTEWhen I create a character design, form follows function. A I use tools like Adobehierarchy of information applies to colour design, too. Areas of Kuler and ColorLovershigh contrast will attract more focus, and bright colours can for inspiration – you canindicate narrative significance. I try to go from a macro use Kuler to create aoverview before tackling details. Here, the characters are twins palette from an existingworking as bodyguards. They share a black, green and white image. Before decidingpalette, but also have spots of pink or cyan to differentiate on a palette, explorethem. I also try to ensure that no other in-universe characters options with a characterhave a similar palette. The narrative theme is dark, and colour sheet (usuallytherefore the general colour palette reflects that and is muted. with flat colours). Also, keep in mind the usage and context of the Before settling image. If, say, it’s meant on a palette, as a final asset in an explore options environment, make sure with a character it contrasts against the colour sheet main environmental colours. I tend to use a neutral white light for shading, so that it’s easy to adjust the character art in different lighting conditions afterwards.68 August 2018

Artist insight Character art tips 5 HOW TO CHANGE YOUR COLOURS Tips for colourising elements that are already rendered… A Separate out elements Make sure all the different parts of the character are on individual layers for ease of editing. If I want to change a character’s hair from black to pink for instance, I’ll use Photoshop’s Curve tool to brighten it first.4 COLOUR PSYCHOLOGY B Try out different hair looksAND SYMBOLISM To do a gradient colour on her hair, Ctrl-select the hair layer, and then place a solid gradient on a new layer.People perceive colours differently Duplicate the gradient layer multiple times, and play(think of viewers who might suffer around with Color, Overlay and Screen blending modes.from chromophobia or experiencecolour blindness). But there are C Making adjustments by handgeneral meanings and physiological I use Color Balance, as well as a separate layereffects associated with colours. For set in Screen mode, to finalise the colour change.instance, I tend to avoid fully Sometimes, when there isn’t enough tonal informationsaturated colours such as CMYK for the colour change, I’ll paint them in as needed.magenta, because it gives me aheadache! There are someexceptions when a ‘pop’ aestheticmay be preferred. In my example, thecharacter is a heiress who’s revealedto be the main villain of the gametowards the end. Her smaller statureand weak body makes her anunexpected villain, but theimpression of vulnerability is furtherenforced with a predominantly pinkand white palette, which signifiesinnocence. Whereas, the impressionof inner darkness is supported by thepresence of a darker palette. August 2018 69

Workshops DEVELOP A STORY FOR YOUR CHARACTER WITH HO WEI RONGArtistPROFILEHo Wei RongLOCATION: SingaporeSelf-published webcomicartist Ho Wei Rong hasspent the past decadedeveloping andresearching comicprocesses, which he hasused to bring his debutwebcomic, ExCo. 1 CREATING A FOCUS: THE ONE-LINER The key to creating a good character story is to have a strong centre to build your story around – the selling point that your readers can instantly recognise. It should be easily described in one succinct line. I use this one-liner to provide direction from which I develop the rest of my character’s story. Something as simple as “a girl with a love of stationery and humanity thrust into circumstances beyond herself” can be enough to form the base of your character’s story.2 COLOUR CODING 3 CREATE A DISTINCT SILHOUETTEWhen differentiating characters, the Bodies come in all shapes and sizes in western comics. However, for manga,quickest and most visible way to do so is most body types and sizes fall within the same general categories, onlyby the use of colours. Colours can tell a differentiated by gender. In trying to create a distinct silhouette within thestory on their own, whether through the stricter rules of manga, I often fall back on two specific areas: hairstyle andmeaning of individual hues, or the unique design elements. I use contrasting hairstyles for my differentrelationship between certain colours. I use characters, which allows for the variation in silhouette demanded forpurple for a character with royal poise distinction. Where available, I also add unique shapes and objects to myand wit, and red for a go-getter type with clothing design to further set the silhouettes apart.a childish lilt. And the contrast betweenred and blue enables me to create a storyof contrasting opinion and values.70 August 2018

Artist insight Character art tips 4 TELLING A STORY THROUGH THE USE OF STRONG VISUALS When introducing a character, it’s important that both their personality and abilities are displayed within the first few frames. To that end, in battle comics I ensure that their introductions enable them to fight an enemy. I use this approach to establish the character’s verbal tics and choice of actions, as well as the powers and capability that they’re able to display. For a comic set in everyday life, I use a mundane daily task or scene for the same function, showing how the character approaches a problem that would be immediately familiar to the readers. I quickly decide what purpose this character will play in my overall storyline 5 BEGIN WITH AN END IN MIND It’s relatively easy to create a character’s personality and traits. What isn’t easy is creating a role for the character. I begin this task by deciding what purpose this character will play in my overall storyline. I use something vague, but directional, like “background character in the second arc”, or “mid-stage villain boss for the hero’s first battle.” This influences my choice of colours, elements and extravagance of design. After all, a throwaway character who appears in the background of two chapters will be much more subdued in design than one who has a major role in the hero’s development.August 2018 71

WorkshopsGravity Sketch, Tilt Brush & ProcreatePAINT AN ICE QUEENIN WARM COLOURSPauline Voß reveals how she illustrates a proud queen, using virtualreality to create and light a 3D base, before painting her in ProcreateArtist I created this image as Calanthe when she had to rule a reality, using Gravity Sketch and Tilt an entry for the Gwent kingdom at the age of 15. At this Brush. This meant I had a customPROFILE art contest run by CD point I only had 22 hours left to enter reference for the composition with Projekt Red. The task the competition. consistent, accurate lighting. I usePauline Voß was to illustrate a personal projects like these to character from The Witcher that I feel that I’m painting at my best experiment with new media. VR isLOCATION: Germany hadn’t appeared in the Gwent card when there are no uncertainties in like entering a whole new world game. I had played the game and my planned composition. Doubts where creation is simply magical!Pauline, also known as read the books, and couldn’t wait to over a character’s anatomy or a vagueSkadivore, is a freelance get stuck in. lighting setup slow me down So now with a decent reference inillustrator and visual Because I love strong, female significantly. That’s why I need to place, and with the clock ticking,artist. Magical objects characters, I decided to paint Queen have solid references to hand. For this I had to paint my ice queen inand female characters scene I built a 3D base in virtual Procreate as quickly as possible…are the subjects she likesto depict in her art. I create…A 3D MODEL IN VR, READY FOR PAINTING 1 Pose and composition 2 Being organised 3 Adding vibrance I build a rough 3D model in VR and I start with outlines and add flat local Once I’ve finished all the renderinglight it. I use the default posing model of colours to areas that are on different layers. I add random colours on a separate layer toGravity Sketch and then import it into Tilt I don’t always take this approach, but it’s achieve a neon mother of pearl look. ThenBrush for detailing and custom lighting. useful for simplifying iterations when doing I blend them in on a lower saturation. So,When I’m happy with the composition I save client work. I also use mirroring to ensure for example, the hair isn’t just white butan image that I keep open for reference. my figure’s proportions are correct. appears white while being very vibrant.72 August 2018

Artist insight Ice queenAugust 2018 73

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A REGAL WARRIOR Artist insight Ice queenFrom dark to light PROCREATE DEFAULT BRUSH:I establish my local, low-contrast colours, DAMP BRUSHand ensure that they all sit roughly within thesame palette. Then I paint on the main light The base of my paintingssource layer and play around with the is usually created withcolours, while adding secondary light the default simple hardsources or bounce lighting. edge Round brush, called Airbrush inStorytelling elements Procreate. But one key element in my ProcreateCalanthe is a queen, but she’s also a fighter. art is how I smudge myThe bloody scratches imply she was in an strokes. For this I use thealtercation before she put on her dress. Her Damp brush, which isinjuries are minor because she’s a skilled also part of the app’swarrior – or perhaps it was a training session! default brush set.The dagger has a lion on its shaft becauseshe’s also called The Lioness of Cintra. Final touches I touch up the face, make sure the proportions are correct, add details such as light hitting single hairs around her head, create tiny reflections in the eyes, paint individual lashes sticking out, fix her makeup and so on. I want to really bring this young queen to life.Creating atmosphere Leading the eyeA strong sun beam coming through a When looking at a picture, thewindow in summer will highlight tiny dust eye is naturally attracted to areasparticles dancing in the air like magic. I enjoy of high contrast first, and thenadding this feeling to my paintings. When wanders around the image. Anthis kind of light hits metal or other shiny image is often pleasing if the eyesurfaces, the bounce light is so strong that it is guided through the imagecreates a halo around the object. intentionally. Value contrasts, depth blur (doesn’t have to be Gaussian – loose strokes work 75 very well, too) and strong lines are good tools to lead the eye through the painting. August 2018

WorkshopsCore skills: Part 5USING TEXTURESIN PHOTOSHOPThis month, Mark White takes a look at how to quickly embellishyour paintings with textures, and what they can do for your workArtist Texture is often what Here, we’re going to be applying a It’s not just paper textures that you blurs the lines between simple noise and canvas texture, can add to your artwork. You mayPROFILE traditional and digital which will look and feel a bit like want the illusion of a film texture for artwork. Often it’s easy paper. We’ve created a simply chalk more realistic pieces, or even a wall ofMark White to tell the difference and charcoal drawing to use it on so some sort for a street art effect in your between the two if your digital that we can see it clearly, and it’s urban sci-fi composition. There areLOCATION: England artwork doesn’t have any kind of going to help add a little more shape plenty of pre-made textures online canvas behind it, but by applying and tone to the image. This is why that you can insert into your workMark is the techniques your own textures in Photoshop, you texture is great; without some kind of and change the blend mode of.editor for our sister title can help to give your artwork a little texture behind this picture, it looks Okay, let’s see how much of aPhotoshop Creative, more realism. rather obviously digitally drawn. difference a texture makes…where he writes tutorialsusing Photoshop andPhotoshop If you wish to add a colourful tint to your texture, create a new layer, fill with colour and Alt/Opt- click to clip it to your texture.Using black and white makes Creating a new layer overa subtle grey colour from a your painting means that wedistance; this means that can apply the effect toaltering the blend mode will blend it with the layer below.display the texture cleanly. GET YOUR RESOURCES See page 8 now! 1 Add noise to become the basis of your texture Start by setting your foreground and background swatches as black and white by hitting D. Create a new layer then go to Filter>Noise>Add Noise. Choose an amount of 400 per cent, check the Monochromatic box and make sure you choose Gaussian, before you hit OK.76 August 2018

Adjust your Core skills Photoshopcustom texture You don’t have to useTweak your texture by Linear Light; experimentclipping adjustments to with Color Dodge for ait using clipping masks. more dramatic effect, orYou may wish to edit Overlay and Soft Light forthe tone, brightness or a more subtle look.exposure of the texture. Reducing the Opacity can help to lessen the effect slightly without taking away from the actual noise. Press 4 to set the layer at 40 per cent Opacity. You can also drag horizontally where it says Opacity in the Layers palette, to change the Opacity. 2 Adjust the Blend mode of the texture Because we want to blend our noise texture in a little with the digital artwork that’s sitting on a layer beneath it, this is the stage where we’regoing to change the Blend mode. Set the Blend mode to Linear Light in this case, and reduce the Opacity to around 40 per cent. Photoshop will show you how the blur looks when applied over your actual picture, as well as in the preview. Use the slider Use the Magnifying to alter the glass icons to zoom blur, or simply either in or out of enter a value. your image as a whole, to see the blur in action. 3 Blur the texture layer for a more subtle effect Now we’re going to apply a blur to the noise to just smooth it out a little. Go to Filter>Blur>Gaussian Blur to apply your blur, and choose aradius of around 3-5px before hitting OK. You can see in the preview dialog how it will affect your work before you apply it. August 2018 77

Workshops There are other canvases available from the drop- down menu, including brick. Use the Invert option to display you a reverse of what you’re applying. Hold Cmd/Ctrl to bring up the Default button, below the OK button. Clicking this will revert your changes back to the values that were originally set. 4 Set up a canvas texture Next up we’re going to use a canvas texture, just to give this image a more believable base. Go to Filter>Filter Gallery and choose Texture,then Texturizer. Choose a Scaling value of 200 per cent and a relief setting of 10, with light in the image coming from the top, before you apply. Choose a strength of 5 and leave all other options free to smooth out the texture a little after you’ve sharpened it up slightly.If the texture now By sharpening andlooks too prominent, smoothing the texture,reduce the Opacity you’re blending it furthera little further. into the picture, while making sure it looks crisp. 5 Sharpen and smooth your texture Finally, duplicate this texture layer and go to Filter>Other>High Pass. Set your value as 5px and click OK, before setting the layer to Overlay. Merge this with the layer below, set to Linear Light again and then go to Filter>Noise>Reduce Noise to further smooth out the texture.78 August 2018

CREATE THE ART OF THE FUTURE www.3dartistonline.comES EVERYI SSUE DOW Available NLOAD FRE from all good newsagents and supermarketsE RESOURC ON SALE NOW:> Inside ZBrush 2018 > V-Ray Masterclass > Houdini FX TechniquesTUTORIALS INTERVIEWS INDUSTRY INSIGHT BEGINNER ADVICE EXPERT GUIDES BUY YOUR ISSUE TODAYPrint edition available at Digital edition available for iOS and AndroidAvailable on the following platforms

Workshops80 August 2018

In depth Paint over a 3D basePhotoshopHOW TO PAINTOVER A 3D BASEFollowing on from last month’s workshop, Scott Zenteno takes the 3Dfoundation into Photoshop and turns it into a fully rendered illustrationArtist Here, I’ll be revealing First I use value to direct the lighting effectively, it doesn’t have a tone or how I take a 3D model and set the mood, then drop in mood to it. I’ll be flattening some ofPROFILE to a finished painting. colour and refine the look of the the shapes and reinterpreting the In my process for video architecture, providing a variety of design work to avoid tangents andScott Zenteno games and theme forms so that the space isn’t too bring the focus to the valuable areas; parks, once a space is modelled it’s repetitive. Finally, I build out the in this piece, the mech and the largeLOCATION: US my job to do a PoV (point of view) details of the set to tell the story of umbrella-like structures. Detail is one shot that captures the mood, form what’s happening within it. of the strengths of 3D, but for anScott’s an environment language and story moment. image like this the atmosphere isconcept artist who Once those three elements are It’s important to keep in mind that more essential. Grouping some of thespecialises in theme park chosen, it’s all about utilising every the 3D model is a base and not a shapes into silhouettes help to createand video games design. artistic decision to emphasise them. restriction. Even though the space is a more painterly, impressionist look.In his spare time he rendered and communicates depthenjoys writing music. GET YOUR RESOURCESSee page 8 now! 1 Initial value considerations 2 Basic colour mock-up Using just the Lasso tool and a large Soft brush, I’m able to create hard and I always want to challenge myself to explore newsoft edges efficiently. I chose a lighting scenario that showcases the mech’s scenarios, so I try to approach colour abstractly. I createdimensionality and highlight some of the more interesting architectural elements palettes that might seem crazy or illogical, and then tamein the environment. In addition, I want to contrast the lighter parts of the mech them with atmospheric elements that make colours feelagainst the dark environment. believable. The purple tone adds to the sci-fi feel, because it’s not a colour usually seen in nature. August 2018 81

WorkshopsOrganisingbrush setsTaking an orderedapproach to your brushpreset layout will savetime across yourworkflow. I place mygeneral brushes at thetop of the dialog andmore situational at thebottom. I also have setsfor specific brush uses,such as nature brushes,foliage brushes andblock-in brushes. 3 Building noise 4 Key architecture To mass out non-focal areas, I drop photos in using This phase is all about rendering. I want to define Multiply, Overlay and Screen layers. It’s important to the repeating objects because they’re the iconic forms in control the use of photos to prevent them from the space. Since there’s already a soft sponge of light dominating the way I create the image. All I want from implied on the forms, I use a Hard brush to sculpt the the photos is texture information and colour jitter. light and shadows. Adding bright atmospheric perspective mist helps to make the architecture pop.RESOURCESPHOTOSHOPCUSTOM BRUSHES:SOFT ROUNDThis Soft brush is used tocreate soft transitions,when set to a large sizeBASIC ROUNDHere’s a classic Roundbrush with no Spacing. Ithas a tapered Opacity.HARD ROUNDI used this brush as a 5 Hard shapes over softsketch and pencil tool I select the Lasso tool again and add billboards of light to justify the use of colour. I also backlight the city toand never resize it. clearly silhouette the architecture against the sky. I decide to change the design of the cylindrical architecture to break up the evenness of the design, and direct the viewer’s focus on to the bottom third of the composition.BASIC ROUNDTEXTUREDSimilar to Hard Round,but its texture makes itbetter suited for blending.82 August 2018

In depth Paint over a 3D base 6 More wreckage helps to break up the environment The brief was about the last mech standing. To tell that story and break the symmetry of the environment, I include wrecks to add variety tothe scene. Since most of the city comprises cylindrical and circular forms, I want to establish that the mech is boxier and is a military model. 7 Lighting the mech and refining its appearance The lighting comes in from the top right, and so to delineate the complex forms I need to focus on the light and shadow sides. To quickly andconsistently create the mech’s look, I take a previously painted section and transform it to fit each of the joints. Then I paint over the shapes.August 2018 83

WorkshopsBreak objectsinto shapesIt’s good to start bythinking of things in theirgraphic shapes. I like toview elements in layers,almost as if the imagewere made out of papercutouts. Anothertechnique is visualisingthe image in threevalues. Use the shapesthat are made out oflight and shadow todirect the viewer’s eye. 8 Maintaining control of values as the painting develops I always reserve my lightest lights and darkest darks until later in my painting process, so that the image still has room to grow. When an image features extreme levels contrast early on, it leaves very little opportunity to push the values. I like to have my highest points of contrast also be my highest points of interest. 9 Breaking up the forms 10 Lights indicate life in the city Everything in the image is in place and the rest of the process is now about At this point I turned the image ‘on’. Previously, therefining. Smaller shapes help to emphasise the scale of objects in the distance. I split city showed no signs of life, but by adding lights itthe blockier buildings into smaller shapes to add variety to the cityscape. indicates the presence of people in the buildings. The size of the lights also creates a sense of scale. Just as with photo textures, it’s important to control the lights and only use them where they enhance the image.84 August 2018

In depth Paint over a 3D base11 Pushing materials 12 Developing the feel of the city I create an Overlay layer, and I use white and black To build a more immersive space, I add several key elements: extremeto make certain materials more reflective and mute foreground objects, fog and smoke to soften the space between objects, and a largeothers. To achieve the water effect I select all, press Shift+ shadow across the building to the left, implying a larger object out of the frame. TheCmd>C and then Cmd+V. Then I flip the image vertically large shadow helps to make the space feel as if it exists beyond what can be seen.and add a motion blur to soften the reflection. It’simportant to pay attention to how materials ‘meet’ eachother, such as the water lapping against the muddy shore.13 An exercise in branding 14 Reapply previous stages Variety in I create three company logos and add them to I repeat all of my previous steps to enhance the story architectureelements that correspond to their form. For example, I I’ve been telling and push clarity. I bump the brightness ofgive the square logo to blockier-shaped objects like the the secondary light source to keep the viewer’s eye from New designers tend tomech. A variety of looks prevent the city from appearing drifting off the page, and group the values at the bottom make cities too though it was created by a lone designer. Cities are of the mech to maintain a clean and clear silhouette. It looks like one companydesigned by multiple architects and are rarely uniform. owns the city structures, the car designs and its products! In reality they’ll be a mish-mash of brands and companies. On any given street there’ll be at least five different brands of car on show and this product variety will be echoed across the cityscape. August 2018 85

WorkshopsPhotoshopELICIT A SENSEOF WONDERSee how Cathleen McAllister paints two witchesrunning for their class at the Botanical AcademyArtist Lately I’ve been getting addition to a detailed environment Universal. Walking up to Hogwarts, into gardening and design. If you watch animated films, even in a themepark setting, wasPROFILE growing plants. There’s you’ll find that establishing shots like so magical that I can only imagine something magical this are very important to convey the how a kid would feel entering. ICathleen about watching seeds mood of a place. Establishing the wanted to convey that sense ofMcAllister grow into herbs, healing a sick plant, environment as well as showing wonder in this piece. or seeing new leaves grow. characters interacting is a great wayLOCATION: US So I decided to try my hand at a of telling a rich story, while also In this workshop, I’ll demonstrate magical academy of botany! I wanted taking care of some world-building. how lighting, composition, detail,Cathleen is a visual to tackle an establishing shot that and characters all work together indevelopment artist shows characters interacting in I chose this composition inspired an exciting establishing compositionwhose past experience by a recent trip to Hogwarts at such as this one.includes BitFry Games,Flaunt Animation, ReelFX and StressLevelZero.She’s also an illustratorwith BookEnds LiteraryAgency in New Jersey. August 2018

In depth A sense of wonderAugust 2018 87

WorkshopsHow I create… PURELY ACADEMICA SCHOOL IN A Complex architectureFANTASY SETTING I like to work with my line work on top of my painting on a Multiply layer. As I start to block things out, I erase my drawing. Remember to only erase on a layer mask so you can keep your original drawing safe. 1 Composition sketch The importance of light Sketching a composition, whether with line orvalue, is the basis to every piece I make. For this Atmosphere is a great way to convey the lightingarchitecture-heavy design piece, I do a line work sketch scenario. For this moment, the lighting I want towith general value. In some images, I use a value sketch achieve is dewy, early-morning lighting, just asbecause the lighting and read is crucial. Here, I have a the sun is rising. I choose pinks in the clouds andsimple idea for lighting so I focus on the building sketch. a golden haze to depict a more magical-feeling sky. Pictured in the “after” image is a version with a screen layer of blue, a couple of Color Dodge layers, an Exposure adjustment layer, and a Color Lookup adjustment layer. 2 Blocking-in stage I want to keep this piece simple, with a shadowedforeground and brightly lit background castle,silhouetted by the dark sky. I plan out the values and do aquick block-in. My colours develop throughout thepainting as I start to find more colours I like. Don’t beafraid to change colours, repaint areas with poor values,and use colour edits like Multiply, Color Dodge, or Levels. 3 Detailing and atmosphere Applying texture I speed up my process by making photos more painterly, copy-pasting parts of my own art to fill blank Often I’ll want to add a photo texture to space, and creating assets that I may later warp in something repetitive, such as a brick wall. Here’s perspective. I constantly toggle to greyscale to make my process for creating painterly textures from sure the image still reads in black and white. I may use a photos. First, find a photo with a nice contrast or layer of atmosphere on Linear Dodge or Screen to texture. Then, use paint daubs to reduce the achieve more foreground/background separation. noise and detail. A hard Round smudge brush on a high Pressure setting can further reduce detail.88 August 2018 Then, I desaturate the texture and set the layer blending mode to Overlay. Apply this over a blocked-in shape to quickly add texture.

In depth A sense of wonder Quickly creating detail When working on a highly detailed painting, it’s important to use techniques to save time. Here’s an example of a chunk of trees I’ve duplicated. Because the two elements are on opposite sides of the screen, colour adjusted and slightly painted over to increase the randomness, it’s hard to tell that both of these chunks are only made from two or three painted trees. Bumblesnoot designs It took me a few sketch passes of these guys on a separate document to get the design right, before I paint it. I want to design an creature with elephant ears and a trunk, but that pollinates flowers like a bee. RESOURCESWitches on the run PHOTOSHOPI decide to have two characters running late to their class. CUSTOM BRUSHES:When designing character poses, silhouette is important. If LIGHT PENCILyou make one figure a solid grey, would her pose still read asa silhouette? To keep them from blending into their Used for sketchingenvironment, I also give them some rim light and make sure comps, architecture andto choose outfit colours that won’t blend in. sometimes figures. Has a light amount of texture and good buildup. TEXTURE AND COLOR VARIANCE Good for blocking in objects with Color Jitter to mimick a real palette’s randomness. This helps make block-ins a little more organic. SWOOPY This brush is a bit smooth, with a soft and hard edge. I like to use this to shade/render, and brush highlights into foliage, hair and so on. SOFT BRUSH WITH TEXTURE Sometimes gradients and soft brush look a little too baby-smooth, so this brush has a little texture. Good for adding noisier atmosphere. August 2018 89

MASTER PHOTOREAL CG PORTRAITS Portrait artist Ian Spriggs shares the secrets to how he creates his stunning CG masterpieces FREE MCIANTESMPAAC4KD When you sign up to a print subscription. Visit FREE3GB OF RESOURCES & VIDEONEWSSTAND FOR IOS 236 on sale now

The latest art resources are put to Artist’sthe test by the ImagineFX team… Choice Award Art resources with a five-star rating receives the ImagineFX Artist’s Choice award! 5 PORONDTUESCTTS SOFTWARE 97 Creating Stylized Characters Top industry creatives offer insightful 92 Procreate Pocket 2 lessons to bring your original fantasy and From capturing your latest sketch ideas, sci-fi character designs to the next level. to enabling you to create fully rendered artwork, this painting app aims to do it all. 97 Truth and Beauty: The Pre-Raphaelites TRAINING and the Old Masters This in-depth reference book explains all 95 Busy Skies you need to know about this influential Concept art legend Sparth invites you into 19th century artistic faction. his world to talk composition, simplicity and the rewards of image-making. BOOKS 96 The Art of Ready Player One Discover the art secrets that brought the year’s most visual innovative film to life, from initial concepts to production design.RATINGS EXPLAINED Magnificent Great Good Poor Atrocious August 2018 91

ReviewsProcreate Pocket 2 iOS Alexandra Zutto, ONLY Jacquelin de Leon and Janice Sung show what’s possible in the new version of the app.POCKET POWER From capturing your latest sketch ideas, to enabling you tocreate fully rendered artwork, this painting app aims to do it all. Does it succeed? Price £4 (free update for existing users) Company Savage Interactive Web avage Interactive released Aaron Griffin took time stepped up to the plate with version 2 The Modify menu items enables you out from this concept of Procreate Pocket that, with its to make changes to either the app or S Procreate Pocket at the art duties at Criterion freshly written underlying code, may your image. The spanner icon opens end of 2014. The iPhone Games to paint this as well be a brand new app. the Actions menu where you alter how version of Procreate was gentle river scene. the app behaves, while the wand iconwell received, with users making the When it’s launched, you’re brings up the Adjustments menu. Here,most of the app’s 12 default brushes presented with a screen asking if you art tweaks can be applied to layers orto paint on the go. want to select a canvas from displayed complete images. The S icon brings up In the years since, artists have come examples, a user-created one, import the Selection menu, and the Arrowto expect more from their creative an existing image, open a photo, or icon accesses transforming tools.apps, and so the developers have create a new canvas. New canvases can be created in various sizes up to a To start painting, select the brush on whopping 8K resolution. the top menu. You’re presented with Procreate Pocket 2 has a clean and With its freshly minimally invasive interface that makes written underlying the most of the iPhone X’s larger code, version 2 may screen, although it works well on as well be a brand smaller iPhone models, too. Basic tools new app are located at the top of the screen including a drop-down Modify menu. Two small tabs on the left control your brush’s size and opacity level.92 August 2018

Art tools Software ARTIST INTERVIEW DON SEEGMILLER The artist swaps his PC for an iPhone and Procreate Pocket 2… The Modify, Layers, and Adjustments dialogs What’s your overall reaction to are just a quick tap and a swipe away. the latest version of the app? I’m quite impressed with it. Most There are several the shortcomings are more brushes to choose from platform-related. Phone screens within each general are just too small for these aging painting style, such as eyes and I hate finger painting, the Artistic category. especially on a small screen. Getting a stylus that works on theThere are four different methods of selecting Features iPhone would help the app’scolours in the app, including the Disc shown here. usability greatly in my opinion. QThe app comes withmultiple drawing and painting tools Ready to start painting? With so 136 default brushes, What do you especially likethat are arranged in 17 individual sets. many options the number of choices arranged across 17 about Procreate Pocket 2?Each set comprises multiple brushes can seem overwhelming but really, you distinct sets. I’m pleased with the number of– there are now 136 to choose from in can start by picking a brush, a colour, QAble to import default brushes available and howthe app – and brushes can be and then just start getting creative. thousands of custom well they behave when makingcustomised and saved. With a brush Procreate brushes. strokes. That you can customisechosen select a colour using the far The app contains many more QBrushes can be the defaults and import Procreateright circle icon. There are four ways of advanced features, such as 64-bit customised in size brushes is an added pleasure. Ichoosing colours, and colour palettes colour, continuous auto-save, 250 and opacity. might find that I could fill mycan be imported, too. Click the Layers undo levels, and recording your work Q250 levels of undo. iPhone with just brushes.icon to see all the image’s layers. You in 30-second bursts for sharing online. QContinuous auto-can add or turn on and off a layer’s Overall, a product of this maturity and save tool. Any other features you like?visibility, create new layers, group quality is a rare thing. Artists who own QAble to record your Overall, I think the app is verylayers and change blending modes. an iPhone should make Procreate work in 1,080 HD video. well designed and I do like many Pocket 2 their app of choice. QTransformation tools of the features. A couple that in Freeform and stand out are 250 levels of undo Distort mode include by simply taping the screen with Scaling, Flipping two fingers, and the ability to and Rotating. record your painting process in QAble to create, full 1,080p HD. arrange, turn on/off visibility, change 18 Other than the screen size and different blending finger painting, did you run modes, and group, into any app-specific issues? merge and delete I had a bit of trouble painting individual layers. when I got too close to the left QMultiple colour edge of the screen. Sometimes my picking methods: finger would open the Brush Disc, Classic, Value Opacity or Size Adjustment and Palettes. controls and continue on with a QRange of available new-sized brush or at a different adjustments options opacity. The controls are very for colour (hue, sensitive to where your finger is saturation, brightness), positioned. But I’m not sure this is blur, opacity and noise. a problem unless you have sausage fingers, like I do! Still, I’d System like to see the app work with the Requirements Apple Pencil in a future release. iOS: Requires iOS 11.1 Don is an illustrator, author, or later. Designed for and instructor. His work is iPhone (also works on both traditional and digital, iPad and iPod touch). and a blend of the two. Rating ++++ August 2018 93


Sparth creates a futuristic Inspiration Trainingcityscape using a minimaltoolset and his command Sparth intentionallyof composition and detail. limits the number of brushes he uses, choosing a set that works together to unify the image. The foreground doesn’t have to be the focal point or crammed with detail: here it’s a framing device.Busy SkiesPURE ARTISTRY Concept art legend Sparth invites you into his worldto talk composition, simplicity and the rewards of image-making Publisher Sparth Price £6 Format Download Web here are many roads that Topics covered so gently: what would happen if you ARTIST PROFILE didn’t rely on every utensil in the T you must travel down QComposition basics Photoshop toolbox? How few brushes SPARTH to become an artist, and QCompositional do you really need to craft your image, many different types of control and what effect does a minimal toolset Veteran art director and illustratorteacher to help you get there. While QManaging values have on the painting? Sparth has contributed to thesome training videos focus largely QSimplicity and detail development of multiple videoon the process and tools of digital art QThe process of art Underpinning the various talking games and books since 1996,– use this brush, apply that blending points in this video is an exploration of including his own art book series,mode – Sparth comes at the subject Length what it means to be an artist – why we Structura, published by Designfrom a multitude of angles in this do what we do, as well as suggestions Studio Press. He’s credited ontwo-hour video. 128 minutes for how to do it. For Sparth, there’s a major games like Alone In The Composition – “the foundation of an degree of compulsion to the process, a Dark 4 (2001), Cold Fear (2005),image” as Sparth calls it – is one Rating need to capture ideas. Prince of Persia: Warrior Withinexample. While he touches briefly on (2004), Assassin’s Creed (2007),some technical aspects, he’s more ++++ Sparth’s narration style is so relaxed Rage (2011), Halo 4 (2012) andinterested in exploring the purpose of that it’s easy to let the two hours slipcomposition. His musings get to the by, simply enjoying the stories and Halo 5: Guardiansheart of why it matters: how careful perspectives this concept art lynchpin (2015). He has alsoarrangement of a picture’s elements shares. But if you take the time to created the artworkmake it possible for the viewer to repeat the video and fully absorb his for more than 100explore the world you’re creating. lessons and experiences, then you’ll book covers. Simplicity is another cornerstone discover some new paths to explore,of the Sparth approach. There’s a and perhaps connect anew with the www.sparth.comchallenge being laid down here, ever simple pleasure of making art. Not bad for six pounds. August 2018 95

Reviews New avatars are spawned on the planet Incipio, as depictedAaron Sims’ studio designed many of the here by ILM’s Stephen Tappin.avatars that populate the film’s virtual worlds.The Art of Ready Player OneGAME ON No need to don that virtual reality headset. Simply pick up this bookand start exploring the concepts behind the year’s most visually innovative film Author Gina McIntyre Publisher Insight Editions Price £34 Web he film adaptation of Ready Concept artist Kirsten Franson’s take on the T Player One was a mash-up famous DeLorean from in the true sense of the Back to the Future. word. It combined liveaction, mo-cap, animation and VR The ‘art of’ title is fully Stockhausen and costume designertechniques to create two film worlds justified here, with plenty Kasia Walicka-Maimone, as well asin one: a ‘real’ one and a virtual one. of paintings on show chapters on the VR suits, theHow that vision was put together is environments and some key scenes.the focus of this coffee-table read. Dominic Lavery painted Such paintings aren’t the whole The ‘art of’ title is fully justified here, this early version of story, though. The images here are If you’re expecting this book to bewith plenty of paintings on show Wade’s VR gear. pretty evenly divided between purely art-focused – in the narrowestthroughout the book’s 160 pages. We concept art, stills from the film and sense of the word – then you may besee concepts for some of the film’s key behind-the-scenes photography. And disappointed. While the concept artistsscenes, such as the big race, the virtual when it comes to the text, this is just as are, happily, credited, they’re hardlybedroom of visionary creator James much a ‘making of’ book as an mentioned in the text and theirHalliday, and the final showdown. And straightforward art book. paintings are not the main visual focus.there’s also great concept art for If, however, you enjoyed the film andelements that didn’t make the film, Accompanying a foreword by want to know as much as possiblesuch as an unused design for lead Steven Spielberg and an introduction about how it was made, as well ascharacter Parzival’s hair that resembles by the original book’s author, Ernest explore a great range of visuals, thena 1980s rock star, and some alternate Cline, there are detailed breakdowns you’re going to appreciate thisdepictions of how The Shining of how each character was conceived thoughtful, detailed and beautifullysequence might have played out. and an in-depth exploration of the produced book. And if you truly loved mo-cap technology. There’s also the film then you might also be willing quotes from some of the film-makers, to pay the – in our estimation – slightly including production designer Adam overcooked price. Harsh reality, indeed. RATING ++++96 August 2018

Inspiration BooksCreating Stylized CharactersGO FIGURE Top industry creatives offer insightful lessons on howto bring your fantasy and sci-fi character designs to the next level Editor Marisa Lewis Publisher 3Dtotal Publishing Price £25 Web hen it comes to an essential Freelance concept artist Varun NairW skill like character design, contributes a chapter you want to learn from on drawing engaging artists who inspire you. But faces and the same time, you don’t want tobe too influenced by their personal Kenneth Anderson, Enrique Fernandez and apply them to your own art,styles, lest all your work ends up and Stephanie Rizo Garcia, to write without being unduly influenced bylooking like a pale imitation of theirs. detailed and thoughtful chapters. the way a particular artist does things. This large-format book finds an As a result, you learn everything you Many of the projects are sci-fi andelegant way to square that circle, by need to create strong character fantasy themed, and the mood isinviting a range of pro illustrators, designs: from getting started with bright, colourful and fun from start toanimators and comic artists, including basic body shapes, facial expressions finish. In short, this is one of the best and colour theory, right through to full learning resources we’ve seen in a long The development of project walkthroughs. And with such a time, and fabulous eye candy to boot. Kenneth Anderson’s wide range of styles included, it makes aggressive alien is it easy to absorb the basic principles RATING +++++ charted from initial ideas to final design.Truth and Beauty: The Pre-Raphaelitesand the Old MastersMOVEMENT UNMASKED This insightful book explains all thatyou need to know about the influential 19th century art faction Author Melissa E Buron Publisher Prestel Price £50 Web he more you learn about art least some of their paintings from La Ghirlandata, painted by Dante Gabriel Rossetti notebook covers, postcards and the in 1873, is an embodiment of love and beauty. T history, the better an artist like. But while the term Pre-Raphaelite you become. But the is sometimes (wrongly) used to can see exactly where the movement number of truly great describe British art from the second was coming from.books about art movements are few half of the 19th century, it was actuallyand far between. So it’s a delight to a group of artists – led by William At £50, this book is certainlydiscover this informative, accessible Holman Hunt, John Everett Millais and expensive, but it’s a fascinating read,and impressively sized hardback. Dante Gabriel Rossetti – who were, so consider it a good investment in Even if you don’t know much about paradoxically, trying to modernise art your art education.the Pre-Raphaelites, you’ll recognise at by drawing on its past; most obviously, Italian art before the time of Raphael. RATING ++++ William Holman Hunt’s The Hireling Shepherd Of course, it all gets more is his comment on complicated than that, but this misguided Christian detailed volume both explains church debates. everything neatly and succinctly, and offers useful side-by-side comparisons of 19th-century masterpieces with their 15th- and 16th-century Early Italian and Dutch inspirations, so you August 2018 97

GET YOUR RESOURCES See page 8 now! Workshops assets are available… If you see the video workshop badge then you can watch the artist in action. Turn to page 8 to see how you can get hold of the video.Traditional ArtistInspiration and advice from the best pro artists104 100This issue: 100 Traditional art FXPosé Explore this month’s selection of the finest traditional art, which has been sent in by you! 104 Workshop: Character design in Copic markers Asia Ladowska blends pencils and markers to create a manga character with a nefarious streak.110 114 110 Core Skills: Watercolour Kelly McKernan shares insight into how to get the most out of your watercolour brushes. 114 First Impressions: Audra Auclair This artist reveals how many hats she has to wear as a full-time freelance creative…August 2018 99

Traditional Artist FXPosé 2SHOWCASING THE FINEST TRADITIONAL ARTISTS James Martin LOCATION: US MEDIA: Coloured pencils, gel pens, watercolour, watercolour pencils WEB: James is an illustration instructor at Ringling College of Art and Design. He’s also been part of Walt Disney Studios and DreamWorks Animation. 11 REFLECTION 2 SECRET 3 SORCHA “I was intrigued by the contrast in colour “In this piece I created volume and depth “I played with lost and found edges in thisand temperatures between the shadows and by wrapping highlighting strokes around the drawing. Edge control is the most valuablethe more monochromatic lights. For this form. The coloured pencil was used for softer artistic tool to guide the viewer’s eye. Hardcomposition I decided to simplify the shapes edges and transitions in the shadows, to help edges draw attention, while soft or lost edgesas much as possible.” convey a sense of mystery.” give the eye a place to rest.”100 August 2018 Want to submit your work? Visit

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