free!

free! 11 hours of video training + 27 custom brushes!

make money!
promote
your art
The skills you need
to go global online
Loish, Ross Tran and s!
more share their secret

be a better
Plus!
21
ePic sci-fi
sketches
FROM SCOTT
ROBERTSON

Learn from mlanie delon

as she uses Photoshop to
light and paint a portrait

art & advice traditional art

beginners guide
to using fusion 360 from pencil
lose yourself in
Jc parks sublime art to painting
control Values and Create art with coloured
colours in photoshop pencils and watercolours

step in sketchup!
3d modelling plan & build a fantasy castle step-by-
 Editors letter

Welcome to EDITORs ChOICE Three of my top

picks this month

28

Hello artists. Did you like the

cover? Im always happy when
Mlanie Delons art returns to
our front page. We just love her
style and I know that lots of you
do, too. Do you have a favourite
Tell us what you think!
artist who youd love to see on I always love to hear from you about what youre
the cover? Is there someone painting or your thoughts on the magazine
whose artistic process you
would relish reading about? Please let us know and 64
well see if we can get them into the magazine.
Also inside this issue, John Picacio (another fave
of ours), was kind enough to share his work space
in our Artist in Residence feature on page 26. He
tells us he doesnt keep his numerous art awards
where he works because his space is about where
hes going, not where hes been.
I rather liked this as a concept. It certainly gave
me pause for thought. We moved office recently, 3D world building
so had to sort through our belongings to work out Imagine building your own castle in real life! I can
what to take with us to the next space. It felt like dream Donglu Yu shows how its done in 3D.
a bit of an emotional upheaval at the time, but in 112
reality (and while sat in our sparkly new office, with
the benefit of hindsight) we were letting go of
things from the past we no longer needed. Just
dont ask me if Ive done the same with my hard
drive oh lordy, that remains as bloated as ever!

Claire Howlett, Editor Scraping your way to success

[email protected] Im really enjoying our core skill series on oil painting
techniques. Howard Lyon is a great teacher

[email protected] Free gift

@imaginefx worth $60!
Were giving away
facebook.com/imaginefx a copy of Rebelle
@imaginefxmagazine software with every
print subscription!
imaginefx.creativebloq.com See page 38

May 2017 3
 Subscribe and save up to 47 per cent,and get a
free copy of Rebelle, worth $60 See page 38

Contents
Your art 40
FREE SOFTWARE!

8 FXPos
The finest digital art from around
the globe sent in by you.

News and events

18 Social media skills for artists
How savvy social-media tactics can
take both awareness of your talents and
potential art sales to the next level.

26 Artist in Residence
Find out how John Picacio maintains his
drawing energy, and discover the one
thing he doesnt allow in his studio.

Your questions

30 Artist Q&A
Tips from pro artists on how to use Smart
Layers, paint reflections and more!

Features
40 Interview: JC Park
The South Korean concept artist talks
about how his best work was on a project
that never saw the light of day

50 Sketchbook: Scott Robertson Talented artists are making great

Explore the drawings of the famed vehicle
concept artist, who has a clear love of the concept art every day and so
sci-fi genre and all its trappings much of it is lost or forgotten
Games artist JC Park is in pensive mood
Reviews
92 Software 30 26
97 Training
98 Books

Regulars
3 Editors letter
6 Resources
28 Letters
36 Digital subscriptions
38 Subscriptions
48 Back issues
71 Next month Q&A: Photoshop Smart layers Artist in residence: John Picacio

4 May 2017
 Issue 147 May 2017

72 84
Workshops
56 Discover fresh portrait skills
Learn from Mlanie Delon as she uses
Photoshop to light and paint a portrait.

62 Core skills: Rebelle

Martin Hanschild shares his knowledge
of Rebelles natural media tools.

64 Use SketchUp to build a castle

Quickly develop an original building in
Values and colours ZBrush character art
SketchUp. Donglu Yu shows you how.

64 72 Control values and colours

Craig J Spearing builds a greyscale
foundation for a frozen environment.

78 Build a drone with Fusion 360

See how Jort van Welbergen uses Fusion
360 to create a 3D drone concept.

84 Rebuild 3D concepts
In part three of John Mahoneys ZBrush
series he takes his character apart.

56 Portrait skills

Create castles in SketchUp

50 106

Traditional Artist
102 FXPos
The best art created using traditional
methods, sent in by you.

106 Pencil and watercolour art

Animal illustrator Katy Lipscomb uses
watercolour washes and coloured pencils.

112 Core skills: applying oil paints

Howard Lyon reveals the many ways of
getting the medium on to the canvas.

114 First Impressions

Sketchbook: Scott Robertson Pencils and watercolours Dorian Iten reveals how passing on his art
knowledge is the best part of his job.

May 2017 5
 Resources

Resources
Getting hold of all of this issues videos and custom oVE
brushes is quick and easy. Just visit our dedicated 11 Hourrs
web page at http://ifxm.ag/digi147artist of video tutori
from pro artisals
to watch andts
workshop videos learn from!

Use 3D tools to
build a castle
See how Donglu Yu develops an
eye-catching 3D base in SketchUp,
before finishing it in Photoshop.

Get your
resources
Youre three steps away from
this issues resource files

1 Go to the website
Type this into your browsers
address bar (not the search bar):
http://ifxm.ag/digi147artist

2 Find the files you want

Search through the list of
resources to watch or download.

3 Download what you need

You can download all of the
files at once, or individually.

aDVErtisinG nExt issuE on salE

ClarE DoVE commercial sales director, FriDay 21 april 2017 sEE paGE 71!
[email protected] imagineFX is the registered trademark of
+44 (0) 1225 68 7226 Future Publishing Ltd. All rights reserved.

EDitorial CHris mitCHEll account executive ContaCt us

[email protected] pHonE +44 (0) 1225 442244
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Contributions
markEtinG House, The Ambury, Bath, BA1 1UA, UK
Alix Branwyn, Chaanah Carr, dominic Carter, david
Cousens, Mlanie delon, Gary evans, Sara Forlenza, CHarlottE JolliFFE campaign manager print subsCriptions
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nola CokEly ad production manager wEb www.myfavouritemagazines.co.uk
May, Julia Sagar, Craig Spearing, Alex Summersby,
Jort van Welbergen, donglu Yu natHan DrEwEtt ad production co-ordinator DiGital subsCriptions
liCEnsinG applE DEViCEs http://ifxm.ag/apple-ifx
amy HEnnEssEy editor-in-chief, creative & design matt Ellis licensing & syndication manager anDroiD, pC or maC www.bit.ly/r938Ln
will sHum senior art editor, creative & design GooGlE play http://ifxm.ag/google-halfprice
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ZillaH bynG-tHornE chief executive

6 May 2017
 Issue 147 May 2017

ExclUsivE viDEo tUition!

Watch our videos to gain a unique insight into how our artists create their stunning art

Katy lipscomb John Mahoney craig spearing

Watch how the animal illustrator brings In part three of his ZBrush series, the See how the artist takes a slower approach,
a wolf to life, using watercolour washes artist takes his 3D concept character building a greyscale foundation before
and pencils to create a stylised scene. apart so he can build it again. moving onto a frozen environment.

q&a videos

Alix Branwyn sara Forlenza Belinda leung

Learn about Photoshops Smart layers and Understand perspective and make the Look to the Old Masters to see how
how they can help you paint repeated right colour choices in order to help paint you can paint a dense forest scene,
designs and patterns, such as snake skin. a convincing-looking cobbled path. without it distracting the viewers eye.

training

sara Forlenza Alix Branwyn nick Reynolds

Understand how to use Photoshop layers Think about how light interacts with The games environment artist shows how
and the nature of glass, in order to paint anatomy, to help you create a scene where to make in-game objects that look the part,
a realistic reflection in a window. light glows within something else. in Creating Props For Games, Vol 1.

May 2017 7
the place to share your DIGItal art

Alayna Lemmer
Location: US MEDia: Photoshop WEb: www.alayna.net 1 St LEvin
Steampunk city! I painted
this after attending Gen Con.
Alayna loves to paint environments, and draws inspiration from It was a great convention
the scenery surrounding her home in Seattle. Theres just and it inspired me to try
something about painting wispy clouds and mountains, she says. something challenging.

8 May 2017 Email your submissions to [email protected]

 2

2 MyStic vaLE: vaLE of Magic

ELixir of LifE carD
For this piece, AEG wanted to depict an
elf woman pouring out an elixir to help heal
the forest. It was a challenging piece, but
I think it worked out.

Alderac Entertainment Group

3

3 DoMinion aDvEnturES: fightEr

Part of a series of five cards showing
Rio Grande Games

the evolution of one woman throughout

her warrior life, starting as a lowly page
and ending as a champion. This middle
piece shows her as a fighter in her heyday.

Email your submissions to [email protected] May 2017 9

1

10 May 2017 Email your submissions to [email protected]

 June Jenssen
Location: Norway MEDia: Photoshop WEb: www.junejenssen.squarespace.com

Once an in-house game artist, June is now a freelance illustrator.

I love browsing through Instagram, Twitter and deviantART, she
says. Lots of inspiring artists come up through social media.

1 thEr
A character portrait that
pushed me a bit out of my
comfort zone. I put on some
heavy metal and tried to
channel my inner goth.

2 PoLyMorPh
As a long-time fan of
World of Warcraft, I painted
this homage to all mages and
the poor recipients of the
polymorph spell.

3 LEt LingEr
This was inspired by a
song called Let Linger. I
played around with the
lighting a lot in this piece.

Email your submissions to [email protected] May 2017 11

 Neil Branquinho
Location: England MEDia: Photoshop WEb: www.artstation.com/artist/neilbranquinho 1 RunnER avEnuE
Heres one of a series of
cyberpunk-inspired images.
Concept artist Neil was lucky enough to meet a personal hero, I was going for that density
Syd Mead. The best advice he gave me was try to make your art of information; the hustle and
your own, and put your own stamp on what you do, he reveals. bustle of a future dystopia.

12 May 2017 Email your submissions to [email protected]

2

3 4

2 ocEan outpost
I love anything with
an epic feel. Ive been a big
3 Lava RaiDERs
This is based on a
thumbnail pen sketch I did
4 tEch-cop
Syd Mead has a way of
placing objects into a scene
fan of Star Wars since I was while waiting for a train. Its to give them a story and
a child, so this is my homage my attempt at capturing that make them believable. This
to the alien planets of that romantic, adventurous feel painting was my attempt at
imaginative universe. the best sci-fi art has. achieving a similar vibe.

Email your submissions to [email protected] May 2017 13

 Vagelis Petikas
Location: Greece MEDia: Photoshop WEb: www.behance.net/vpetikas

Vagelis is a Greek illustrator and graphic designer. Im inspired

by anything that captures my imagination, from music and
cinema to street art and surrealism, he says.

1 2

1 thE GathERinG
This is a relatively
straightforward depiction of
an aggressive wolfpack.

2 MEDusa
Medusa was a Gorgon,
described in Greek myths as
a winged human female with
a hideous face and
venomous snakes in place of
hair. Those who gazed on her
face would turn to stone.

14 May 2017 Email your submissions to [email protected]

3

3 shaMan
This was inspired by native American
shamanism. Shamans are intermediaries
between the human and spirit worlds. Theyre
said to treat ailments by mending the soul.

4 KitsunE
Kitsune is the Japanese word for fox.

According to Yokai folklore, all foxes can
change into human form. In some tales they
use this to trick people, while other stories
portray them as faithful guardians or friends.

Email your submissions to [email protected] May 2017 15

 Georgi Minkov
Location: Scotland MEDia: Photoshop, DAZ 3D, MODO WEb: www.georgiminkov.com

Freelance illustrator and concept artist Georgi was born in

Bulgaria, but moved to Edinburgh to study in an atelier and learn
about the basics of art, traditional drawing and craftsmanship.

1
1 on a QuEst
This was inspired by the
Witcher universe. I used a
character concept I already
had, and then painted a
scene with dramatic lighting.

2 PrincEss MononokE
Heres a tribute to my
favourite anime. I used photo
bashing, an imported DAZ
figure rendered in KeyShot
and a lot of painting on top.

3 sLEEPing bEauty
Part of a personal
project and is an introduction
to the world the character
inhabits. I focused on the
contrast between her and the
overgrown environment.

4 thE aWakEning
A portrait from the
same personal project. My
goal was to portray the
characters immortal beauty
as she awakens from an
enchanted dream.

Do you want to see your art on these pages? Then email five pieces of your work and a short explanation
about each artwork, along with a photo and a few details about yourself, to [email protected]

16 May 2017 Email your submissions to [email protected]

 4

May 2017 17
 Artist news, soFtwAre events

At the core oF the DigitAl Art community

How to make social

media work for you
Going viral Savvy online behaviour can take awareness of your art and potential
sales to the next level. Julia Sagar talks to pro artists to find out how
With over two billion active users work should be your main focus.
worldwide, social media offers a powerful Second, its impossible to invest time
channel for artists to connect with in every platform, so dont sign up to
audiences, build awareness and increase them all pick two or three primary
sales. But the choices are legion: channels and become an expert in
Facebook, Instagram, Twitter, YouTube, those spaces. Which ones? Read on
GooglePlus, LinkedIn and thats before as we explore the leading platforms,
you consider creative communities such with tips, tricks and techniques for
as Behance, ArtStation, Tumblr and so on. increasing your social media reach
Which options are best for getting
your work out there, and how can you Drive traffic with facebook
optimise your social media presence? Choosing the best platform for your
To help you, weve put together the work is a numbers game. Despite
ultimate social media guide for artists. reports of millennials moving away
First, some basics. Successful social from Facebook, it remains the most-
media strategy is built on brilliant used social media site among all ages,
artwork, so creating the best possible with 1.65 billion monthly active users,

Facebook posts showing my newest

artwork generate a lot of interest. But its
not an ideal social network for sales
on average. Baby boomers are driving
its current growth. According to a
recent report from Pew Research
Center, 79 per cent of online
Americans use Facebook with 76 per
cent checking in daily compared to Iris Compiet created short tutorials and tips, as well as
the card Justice for
Instagram (32 per cent), Pinterest (31 global art project 78 new artwork. Via these tactics, she
per cent), LinkedIn (29 per cent) and Tarot Carnival. has been able to successfully
Twitter (24 per cent). But with ever- crowdfund her first artbook, smashing
changing algorithms and Facebook her 20,000 funding target to reach
increasingly wanting a slice of sales, almost 250,000.
how effective is it for artists? Facebook posts showing my
Ive built a sizeable following on newest artwork particularly generate a
Facebook, says Dutch artist and lot of interest, she says. However, its
animator Lois van Baarle, aka Loish, not an ideal social network for sales.
whose page has over When I post a link to my online prints
1.2 million likes. She shop or where to buy my book, only
One of Ross Trans favourite
YouTube episodes sees him taking recommends building about a tenth of my followers end up
on Jinx from League of Legends your profile by regularly seeing it because Facebook wants you
(http://ifxm.ag/rossjinx).
sharing process videos, to pay to boost these posts.

18 May 2017
double sharp creating
the fun thinking smarter art
Design a character with Find out how artist How to use Photoshop
Corel Painter and Clip John Picacio maintains Smart layers to help
Studio Paint Pro and his drawing energy, reproduce patterns
you could win a and discover the one is among other
mentorship with a thing he doesnt allow indispensable advice
professional illustrator in his Swiss-Army from pro artists, in
and concept designer. knife of a studio. our Q&A section.
Page 25 Page 26 Page 30

Industry InsIght
IrIs
CompIet
The Dutch illustrator on how she
got 30,000 Instagram followers

How effective is Instagram?

Since May last year, my Instagram
has grown from 1,600 followers
to almost 30,000. Its built
awareness about my work and
Ive even got some jobs out of it.

Whats the most youve

benefited from Instagram?
My Faeries of the Faultlines book
was born on Instagram. I began
sketching daily mermaid sketches
for #mermay and faeries in June
for #junefae, and my Instagram
exploded. I regularly post work
from the project, which is going
to be launched on Kickstarter
in June. Ive also just launched
www.faeriesofthefaultlines.com.

Which is your most effective

social media platform?
Instagram. But my personal
Facebook page, too. Ive got some
contacts out of that which have
proved very valuable, in terms of
knowledge rather than financial
gain. I use an app called If This
Than That to post directly from
Instagram to Twitter, Tumblr
and Facebook. If you use the
right hashtags or post work
consistently around the same
time, it does work.

Can you give any tips for getting

more from Instagram?
Show youre the one doing the
art show your hand while
sketching. It requires some
acrobatics to take a picture, but
it makes you a person and less of
a perfect artist who does magic.
Also, I try to engage with people.
Its important to be real.

Follow Dutch illustrator Iris

on Instagram as she prepares
Lemonade, by Lois van to launch her Faeries of the
Baarle, aka Loish, who Faultlines book.
has over 1.2 million likes
on her Facebook page. www.instagram.com/iriscompiet

May 2017 19
 ImagineNation News

By posting new work

like this piece, Squeeze
on Instagram, Loish
has seen a boost in print
and book sales.

Haus, by Loish. Using social

media to help artists learn and
connect can be very rewarding.

Follow other artists,

and use Instagram to
have fun yourself, says
Ilya, who created this
piece More Books.

One of many
illustrations from Iris
In the past few years, organic understand your audience. Which
Compiets Faeries of reach has dropped by 49 per cent. posts do they best respond to? Once
the Faultlines project.
Paid-for posts can be a relatively you know who they are and when
inexpensive method of expanding your theyre on Facebook, you can tailor
reach, but there are also some creative your posts accordingly.
tactics that can help increase your
following organically. Facebook is still increase reach with instagram
giving video top priority, for example, Instagram is the most effective
so try natively uploading a 30-second platform for me, since it doesnt have
video for your next artwork (a sped-up the same limitations on post content
screencapture, for example) with as Facebook, continues Lois. I can
a call-to-action at the end and a link reach many more followers through
to your website. my Instagram posts, and it has led to
Always avoid direct sales language a boost in print and book sales.
and links in your updates. Not only is Ilya Kuvshinov, the
this annoying for followers, Facebook Tokyo-based illustrator,
will penalise you unless youve paid for agrees. He has over
an advert. And make full use of 840,000 Instagram
Facebook Insights to better followers and says the

20 May 2017
 Artist news, software & events

Promo art for Ilya

Kuvshinovs ChromatiQ
manga-comic project.

platform isnt just great for increasing and also integrate less-popular
awareness of his work, its also hashtags as well, so that youre more
boosted his Patreon following likely to appear at the top of these
converting his audience into paying search feeds.
fans. However, Instagram posts dont Another way to increase your reach
allow you to insert clickable links, he is through tag a friend posts, or by
says. If you want to send people giving something away for free.
somewhere, you have to ask them to When I reach a certain goal say,
check out the link in your profile, which when I hit 30,000 followers for
isnt as effective as having a link to tap example Ill have a
in front of you. giveaway, says
Algorithmic changes have hit Netherlands-based
Instagram feeds in recent months, illustrator Iris Compiet.
but some basic rules still apply for Ill run a share contest

People seem to love seeing work- Red is a print by Ross

Tran. At conventions,
many customers say:
pictures, so give them a glimpse into
your world.
in-progress pictures, so give them Ive seen that piece on
YouTube/Facebook!
before purchasing sell with Pinterest
a glimpse into your world a print.
According to Shopify, some 87 per
cent of Pinterest users have bought an
growing your following. and the winner, picked randomly, will item because they saw it on Pinterest,
According to entrepreneur then receive an original piece of my while 93 per cent have used the site to
Neil Patel, hashtags are art work for free. plan a purchase. With over 150m
more important on Iris credits Instagram with increased monthly users and growing fast,
Instagram than all other sales of her self-published sketchbook. Pinterest isnt just a significant traffic
social media platforms. But better still, she says that posting driver to your website (second only to
You wont need to worry about images from the project also led to Facebook), the platform can increase
hashtag fatigue on Instagram, he says new commissions from big-name your sales too with the right strategy.
in his article, How to Build a Killer clients who saw the work. So how can artists get Pinterest to
Instagram Following. Instead, treat Limit posts to three a day, tops, work harder for them? In short: with
them like keywords: include relevant, though, she advises others. But try some savvy SEO. First, create boards
popular hashtags with your updates to post daily, at around the same time. that your target audience wants to
(Webstagram has a useful list of these) People love to see work-in-progress follow, and add keywords to their

May 2017 21
 ImagineNation News

top tips
Five golden
rules For
social media
strategy
Apply these tips to each of your
accounts for social media success

1 Create a strong profile

Provide as much professional
information as possible,
including your name, expertise,
website, online shop or Patreon
page, and links to all social
media and creative communities,
such as deviantART.

2 Share engaging content

Always post crisp, high-
quality images of your work.
Engaged followers are best, so
share relevant, valuable content.
Establish trust by replying quickly
to enquires. Remember, the more
comments a post has, the more
itll be shared.

3 Post frequently
The ideal frequency depends
on your audience and what you
have to say, so experiment for
each platform. (Engagement rates
on Facebook are 18 per cent
higher on Thursdays and
Fridays). Never post for the sake
of it, though. Keep it meaningful. descriptions. Not only do boards Faeries of the Faultlines or increase sales, Pinterest is a must
was so successful
rank on Google, this will help the right for Iris Compiet that for artists.

4 Cross-promote people find your work. Furthermore, she recently launched

Different platforms have give every pin you share an engaging

a Patreon page.
twitter: call to action
different strengths, so use them but strategic description, not Should artists still have a presence on
in tandem. Want to increase your forgetting to include keywords and a Twitter? The platforms revenue is
YouTube subscribers? Do what call to action. Just make sure you down and shares have slumped. But
Ross Tran did and create a teaser include your own voice as well: monthly users rose three per cent in
video to upload natively to if you go keyword mad, Google will 2016, and opportunities to make
Facebook. Looking for more penalise you. money still exist.
Patreons? Share a tutorial on To increase visibility, pin every new Hashtags are important, but require
Instagram and link to Patreon. artwork or blog on to all your relevant a different strategy to Instagram. Dont
Pinterest boards not just one of go overboard, though: according to

5 Ditch the hard sell

The best way to increase sales
is not to sell. Dont turn people
them. And post regularly: Kissmetrics
recommends scheduling between
five and 30 new pins throughout each
marketing agency Lynchpin, tweets
with hashtags receive twice as much
engagement as those without, but
off. Grow your audience day. However, dont just pin your own tweets with one or two hashtags have
organically and, as long as theres work. Share relevant content from 21 per cent higher engagement than
a clear link somewhere to your other people to increase the chance those with three or more. One benefit
work, sales will follow. Help your of your pins appearing at the top of
followers spread awareness for
you by giving them what they
someones feed.
Finally, make it easy for others to
Be yourself. People
want: visual eye candy and
engaging conversation.
share your work by adding the Pin
It button to any image on your site.
subscribe to you because they
Whether youre looking to drive traffic relate to you and like you
22 May 2017
 Artist news, software & events

Another of Iriss paintings from her successful

Faeries of the Faultlines project.

Ilya shared this promo piece for

ChromatiQ through social
media and deviantART.

of Twitter is that its users are among

the most responsive to a call to action,
so theyre more likely to visit a link.
However, tweets become lost quickly,
so create a few different versions of
each one and schedule them at least
six hours apart, or over different days.

connect with Youtube Rosss Korra YouTube

video put him on the
receiving around 3,000 new YouTube getting shorter because more and
With YouTube ranked as the most map. People always subscribers, 3,000 new Instagram more content is being shoved in our
popular platform among UK adults quote that video and followers and new Facebook fans. My faces, he says. Just accept it and
then buy a Korra print.
online (85 per cent use it, says London Patreon hit at an all-time high about learn how you can be a player.
agency We Are Flint, rising to 96 per $3,400 a video. He recommends utilising YouTubes
cent of 19-28 year olds), it can make This isnt just a shining example of an Trends tool. Often when a new movie
sense to have a presence on it. artist getting the most from YouTube: or character comes out and I create a
One artist reaping the benefits is its a top-class lesson in cross- video, it performs better. Find hot and
Ross Tran, who boasts over 100,000 promotion to fully harness the power trending topics that appeal to your
subscribers. In January this year, his of social media. And thats the point. audience, to help grow your numbers.
Korra YouTube episode Used cleverly, social media should However, his last tip is crucial to all
was a hit. I uploaded an connect the dots, linking your different artists, whatever platform you choose.
additional 1.30-minute online presences together and Be yourself, he urges. People
teaser video to Facebook, channelling your audience in whichever subscribe to you because they relate
which got almost direction youd like them to go. and like you. Remember: your
600,000 views and a few thousand When it comes to YouTube, Ross has experiences, vision and stories are
shares, he says. This led to me some key advice: Attention spans are unique to you. So share them.

May 2017 23
 get your
binder today!

Featuring
artwork by
wylie
beckert

This sturdy binder will store and protect 13 issues of ImagineFX.

Prices start at 9.99, which includes delivery!

order your binder at http://ifxm.ag/ifx-binder

 Artist news, software & events

The Stag King is one

of the many original
designs that Harvey
Bunda has concepted.

For this artwork Harvey draw

the proportions of a human
head and torso, before
applying the robotic details.

Character art
challenge
call for entries
Art contest Design a character to win one-on-one
mentorship with a professional concept artist
If youve been sitting on an amazing contest categories, theres plenty of
character design, DrawCrowds Epic room for artists and illustrators to let
Character Contest is the perfect their imagination run wild.
opportunity to share it with the The contest will be judged by
world. Running from now until 14 representatives from Corel, Smith
April, this competition is looking for Micro, DrawCrowd and
original creations made in Painter Wacom, along with pro
and Clip Studio Paint Pro. illustrator and concept Harveys worked for the The winner will also take home a
likes of Lucasfilm, Volta
Were excited to be kicking off the artist Harvey Bunda to and Mattel, as a concept Wacom Cintiq 13HD, Painter 2017 and
Epic Character Contest alongside find the overall champion. artist and illustrator. its Manga brush pack, ParticleShop
some of the biggest The ultimate winner will receive an and its Fantasy brush pack, Clip Studio
names in our industry, exclusive one-on-one mentorship with Paint Pro, Poser 11 Pro and a
says Chris Pierce, product Harvey, who reveals: Ill break down subscription to ImagineFX. Two
manager for digital arts my personal sketch and paint runners-up will be awarded prizes that
at Corel. workflow using Clip Studio Paint Pro include a Nintendo Switch, a Wacom
Painter and Clip Studio Paint Pro and Painter 2017 while offering insights Intuos Pro Small and Painter 2017.
are both powerful art apps in their own on how the winner can improve their This is a unique chance for artists to
right, Chris continues. But when own portfolio and character art. show off their abilities and explore
artists combine these tools, theyll Painter and Clip Studio Paint Pro, so be
discover a new way to ink and colour
thats a real game-changer.
When artists combine sure to head over to the DrawCrowd
site at http://ifxm.ag/epic-comp to
Submissions will be judged on their
wow factor, creativity, and
these tools, theyll discover a read the full details and contest rules,
where you can also download trial
composition and layout. With no new way to ink and colour versions of the two programs.

May 2017 25
 ImagineNation News

I like to collect originals from artist friends. Heres an oil painting of a

diving helmet by Greg Manchess. Below that, behind the Batman
Black & White statues, are two Jeffrey Alan Love originals.

Im working on a series of artworks

inspired by Loteria, the Mexican
game of chance. A giant pin board
dominates the studios western wall
and helps me organise my design
thoughts. This board is constantly
changing with new bits pinned daily.

John Picacio
Looking forward Find out how this artist maintains his drawing
energy, and discover the one thing he doesnt allow in his studio
My home studio is like an Inkpot Award. Yet, as proud as I am
a Swiss-Army knife. of them, I dont want them in my
Its an all-in-one workspace. Theyre displayed
workplace, archive, elsewhere in my house, and even
library, thinkspace, Heres a detail shot from though I believe that true creatives
print factory and sanctuary. However, my ever-evolving can work anywhere through any
Loteria design process
theres one thing its not, and thats board. Shown here are a conditions, I want my studio to be
a trophy room. sketch, notes and final about where Im going, rather than
design for my El Venado
Ive been fortunate to win Hugo Loteria Grande card, where Ive been.
Awards, Chesley Awards, Locus inspired by Leigh Most of my work is heavily graphite-
Bardugos novel
Awards, a World Fantasy Award and Shadow & Bone. based, and my final works are
combinations of traditional pencil
drawings and abstract acrylic
paintings, layered together in two dedicated drawing areas helps me
Photoshop. So my main drawing table to defeat fatigue.
and my Mac desktop are opposite I also keep a tabletop easel on the
from each other. main drawing table. When I switch
Bridging between them, on the back and forth between projects, I can
western wall, is a giant pin board thats post a drawing and let it breathe,
currently filled with process work for creating a punch list for improvement
my ongoing Loteria series. When I while working on something else.
need to take a break from my main This room is where I spend the lions
drawing table, Ill move over to a lower share of my days and nights, but the
Aeron chair and a smaller drawing best thing about working where I live
table, facing the eastern wall. Having is my six-year-old has an open-door

26 May 2017
 Artist news, software & events

This is part of a suit of armour that I acquired for reference material when I was illustrating the 2012 George RR A table easel fills the right half of my large drawing desk and I often set
Martin A Song of Ice and Fire calendar. Next to it is a figure of The Spectre, one of my all-time favourite comic artworks aside here so I can figure out how to make them better while I
book characters. Id love to cover-illustrate him someday if DC ever launches another Spectre book. work on something else. Heres the final graphite drawing for La Corona.

Early in my career I experimented

with shadowbox assemblages.
Heres my triptych illustration that
became the covers for Jeffrey
Fords Well-Built City trilogy. Lots of La Sirena won the 2013 Chesley Award
people thought these were digital. for Best Product Illustration, and a
Nope theyre all oil painting and banner of her now resides behind my
found objects, housed in a drawing table. The final graphite
hand-built, custom-made box. drawing for La Pera is in the works here.

Heres another original work from an artist that I

admire: Vincent Villafranca. Hes a brilliant bronze
sculptor and this bust features moveable goggles!

policy to visit any time day or night.

Its where I heard her utter her first
word as a baby, and its where she
can dream with Star Wars figures
while I dream my next piece of story
art into reality.
John is an award-winning book and product
illustrator, who has worked for the past
20 years creating artwork for clients such as
Penguin Random House, Tor, Simon & This is a reference model of the Invisible Mans head
Schuster and many more. You can see his that I fabricated when I cover-illustrated Jess Nevins
The Companion to The League of Extraordinary
work at www.johnpicacio.com. Gentlemen, Volume One. It makes a handy bookend.

May 2017 27
 ImagineNation

Your art news thats

YOUr FeeDBacK & OPInIOnS grabbed our attention
contact the editor, claire Howlett,
on [email protected] or write
to ImagineFX, Future Publishing, ImagineFX has had some design tweaks recently
intended to make the magazine easier to read.
Quay House, the ambury,
Bath, Ba1 1Ua, england articles. Due to your font choice,
Follow us on twitter: background images and colours,
www.twitter.com/imaginefx articles such as Iris Compiets Artist
tell us your thoughts on Facebook: in Residence are unreadable. I would Anand
www.facebook.com/imaginefx love to continue to read the magazine
Post your art or photos on Instagram:
Radhakrishnan
and I was glad to discover I wasnt the
www.instagram.com/imaginefxmagazine only person challenged in this way. If
@an_anandrk
you could do something to improve
Meet other artists! things, that would be great!
Pencil to finish of
I have a question and Eric, via email
something I did a few
unfortunately no one is months ago.
able to give me a proper Claire replies Im sorry to hear you
answer. So here goes. Im also had trouble reading the magazine,
just starting out in this Eric. Since Darren contacted us, weve
form of art (I started had a look at some of text design
drawing 10 months ago, choices and decided to change some
working in Photoshop of the fonts and text sizes. I think the
four months ago) and Im magazine is much improved because
trying to track down some conventions Londons Industry of it. I hope that you agree. If anyone
Workshops is great for
where I can meet up with some senior meeting fellow artists. has comments, please get in touch.
or experienced digital artists, either in
France or the UK. Do you know any of Video problems
them? Or is there a website where I can First of all, thanks for a great magazine. Liam Kelleher
find the location of such conventions? At 55, Im a latecomer to art and I learn @liamkelleherart
Thank you very much and good job something from every issue. I do
on the magazine! however have one complaint. The First digital painting
Hugo Benard, via email videos often have playback issues following @imaginefx on
even on an iPad Pro with fast fibre
the Cintiq Companion
Claire replies Hugo, I really enjoyed broadband. But even more problematic
the Industry Workshops (www. is the lack of commentary on most of
completed :)
industryworkshops.co.uk) event in them. They fly along and are really
London last year, so I would keep an hard for a newbie to follow. I would get
eye out for them this year. Theres also so much more from them if techniques
IFCC (http://ifcc-croatia.com) a were explained. More beginners
great art festival in Croatia in May, articles, especially Photoshop or Clip
and Trojan Horse Was A Unicorn Studio Paint ones, would be great too.
(https://trojan-unicorn.com), in Meanwhile, keep up the good work.
Portugal in September. These events John McGuigan, via email
will give you access to pro artists, like-
minded event goers and inspiration by Claire replies Thank you for your Calum Alexander
the truck load. Good luck! comments, John. I agree with you Watt
about the videos we would love more @calumalexanderwatt
Text too small audio. We do try to get the artists to do
I agree with Darren [a letter in issue audio, but some of them are just too Pose created for
145 regarding ImagineFXs size of text]. DID YOU MISS shy. Sometimes theres a language issue, animation model sheet. A
Sadly, for me, the pages work in strong OUr ISSUe On too. Furthermore, we compress the little vacuum-bot on the
natural light, but anything else is too cOMIc art? video for the iPad editions and have wrong end of a foot
Turn to page 48
much trouble. And because 99 per cent not noticed any lag or received any
to see how you
of my reading isnt in strong natural can get hold of other complaints with these. Was it a Just finished something that you want us to
light Im reduced to looking at the particular video that was affected? Has shout about? Then tag us on Twitter or
this and other Instagram, or find us on Facebook!
pictures rather than reading the past issues. anyone else had similar problems?

28 May 2017
 imaginenation artist q&a

Struggling with a painting technique or get your

topic? email [email protected] today! resources
See page 6 now!

Mixing flat design elements and

line-work can give an interesting
contrast with highly rendered
illustrative work, and create more
areas of visual interest in the piece.

Alix Branwyn
Alix is a Seattle-based
illustrator working in
the games industry.
Her art is primarily
fantasy and horror, with a focus
towards the dark and creepy.
www.alixbranwyn.com

Belinda Leung
Previously a lead artist
in games, Belinda is
now a London-based
freelance illustrator
and concept artist who specialises
in designing for films and games.
www.belindaleung.com

Sara Forlenza
As a freelance
illustrator living in
Italy, Sara works as a
cover book illustrator
and app artist. She also works on
digital card games and RPGs.
http://ifxm.ag/s-forlenza

Need our advice?

Email [email protected]
with your art questions and
well provide all the answers!

30 May 2017
 Your questions answered...

Before applying line work textures and

repeating patterns, the piece has a few
Step-by-step: Using Smart
layers to quickly add
areas where visual flow would be
improved with additional detailing.

design elements

I start by developing a repeating element in a

1 separate PSD file on a transparent background.
This piece will be placed in a way that will spoke
outward around the figures head in a circle, so
Question I design a tapered vertical image with that in mind.

Im pretty clueless about Photoshops

Smart layers. What are they good for?
Aaron Wallis, England

Answer
Alix replies
when incorporating standard layer while still maintaining
repeating designs and their ability to be modified in their
patterns into an original format, and they save
illustration, few tools will transform information such as the
be as useful or as powerful as Smart scaling and rotation for more precise
layers. Smart layers enable you to measurements for future tweaks. in In my main file, I create a new folder specifically
create a separate layered pSd that can short, theyre an incredibly valuable 2 for these elements. I then create a new layer,
be embedded into your original pSd, tool for many aspects of design. and select Convert to Smart Object. I right-click the
enabling you to create a large-scale in my example, i use an almost layer and choose Replace Contents to select the
design element that can be resized completed design in photoshop as a design PSD. I can now move the image into position.
without losing fidelity. base to add some design flair. in this
copied Smart layers function as case, ill be using Smart layers to
instances: when you update one of create a repeating spoked design
them it populates the changes around the figures head to frame her
through all of them at once. they can and add some additional visual
also be warped and transformed like a interest and texture.

Artists secretlines
Get lazy with your
in Photoshop
When creating line work
iev e smooth,
it can be tricky to ach
s with sha rp tapered
unwavering line 3
After the design elements are in place, I apply a
a mo use plu g-in called Lazy layer mask to the folder that holds all of them. I
ends. I use
ezumi.com)
Nezumi Pro (www.lazyn mask out areas of the piece where my rendered
rp line s and
to help pull clean, sha figure will overlap the background designs and use a
my wo rkf low .
greatly speed up textured brush to soften some of the hard edges.

May 2017 31
 ImagineNation Artist Q&A

Question
How can I paint a dense forest without it distracting the eye?
Tatiana Rogers, Australia

To stop the eye from becoming

Answer too distracted, I keep my areas
of high contrast on the focal
Belinda replies point and use contrasting
angles to lead the viewer
Forests have been the around the image.
quintessential subject for
many landscape painters
throughout art history, and
no doubt theyve caused many
headaches, too.
when choosing a classic,
challenging scene such as this, i like
to look at the work of the old masters
to see how they tackled these
problems. i often find that their
solution was a good composition and
the simplification of values and
shapes. in this case i look at work of
russian master, ivan Shishkin.
effective compositions have a clear
focal point and a flow that
intentionally leads the eye around the
image. in this sketch, i group my
values into lights, mid-tones and
darks and i compose my image
starting from big to small shapes.
to draw the eye i place my smallest
shapes and areas of highest contrast in
Artists secret
r temperature
Make use of colou
the focal point and keep the contrast
comparatively low everywhere else. i re have an amazing
make the distant trees a similar value Shifts in colour temperatu
e and life into areas
to the atmosphere, so as not to draw way of breathing atmospher
A hea vily green
the eye too much, whereas foreground of monotonous colour.
brough t to life with subtle
objects are close in value to the woodland can be
es, giving it an organic
shades of yellows and blu
Areas in the background and
ground, which helps to bring them foreground are painted with low
y of light in nature.
closer to the viewers eye.
contrast so they dont distract the eye. feel that emulates the pla

Step-by-step: Advice for illustrating a forest

I block out the general values, bearing Still staying relatively loose, I start to I add some colour variation by using a
1
in mind where I want my focal point. I 2 define some of the bigger shapes in 3 Color Balance layer to create cooler
use a textured Soft-edged brush to create the image such as the overall foreground tones in the shadows and warmer colours
an organic-looking underpainting to work silhouette, mid-ground and background. in the highlights. I also pick out some
upon, which helps create the randomness At this point Im deciding what contours smaller shapes within my scene and use
you see in nature. Keeping the colours to give the trees, to create an interesting the Lasso tool to develop sharper edges in
simple helps to focus on the values. rhythm and avoid too much repetition. the focal point, to help draw the eye.

32 May 2017
 Your questions answered...

Step-by-step: Take into

account the nature of glass
when painting a reflection

The focal point will be a reflection of the figure,

1 so I place it in the middle. On a separate layer
I draw the perspective lines. Getting the reflection
and the perspective correct can be the difference
between a successful image and a failed one.

In the finished
artwork we can see
how the candles red
light is predominant
in the glass reflection.
I start on the background. I paint the girls
2 reflection on a new layer, without factoring in the
Question transparency effect. Then I select the Layer dialog

Help me paint a reflection in a window and I set the blending mode to Screen, so everything
thats dark in the layer become transparent.
Christina Baer, Germany

Answer
Sara replies
digital painting techniques dark background on the other side of
make it possible to depict the window is what makes the
reflections in glass in a reflection possible in the first place.
relatively straightforward Some aspects of the background will
manner. certainly, its much less emerge in the reflection as part of the
laborious than taking the traditional image, and so its important not to
media approach. and its all down to overdo the transparency effect. i keep
the use of layers. in mind that glass is a glossy surface,
when painting the reflection of a but also fragile. elements such as dirt,
person in a window, remember that erosion and cracks will give it an even Now I adjust the Opacity and Fill settings in the
its not a mirror, which produces a more realistic look. 3 Layer dialog, which affect the level of reflection.
sharp, well-defined image. a window i begin by laying down the sketch, Then I add weathering effects to the glass: I create a
works differently because of the starting with the environment, which new layer and paint dirt with a light grey and a
transparent nature of glass. as such, a i paint on the glass surface. scattered brush. I depict cracks on another layer.

May 2017 33
 ImagineNation Artist Q&A

Step-by-step: Discover
how to give a creature a
convincing internal glow

I want to maintain a humanoid base anatomy

1 that will occlude the light on the creatures
insides. To begin, I take some photos of a life-size
skeleton model and use it to draw out the placement
for the internal anatomy on top of my sketch.

It can be nice to keep some areas of

flesh that are unaffected by the inner
glow, such as the extremities, to give
the interior lighting more impact.

I plot out a Multiply layer with a dark fill of the

Question 2 bones in front of a core light. I set the Opacity to

Can you help me create a light glowing 35 per cent and use a layer mask to erase out areas
the opaque body forms will cover, and soften the

within something else in Photoshop? edges on the bones that would recede back in space.

Sarah Davis, US

Answer
Alix replies
The main challenge here is hotter, regions of interest. In the case
determining how the of all internal forms, anything closer
anatomy will interact with to the surface will have sharper, more
the light. Planning out defined edges pressed up against the
your internal structures before you skin, while the further away they are
start painting will enable you to create the more fuzzy their edges become.
a more believable effect. Bones and In my example created in
large solid muscle forms will largely Photoshop, I also used a contrasting
prevent the light from passing lighting scheme cool light cast on to While most of the lighting effect is created with
through, creating a dramatic pattern a creature with a warm internal light 3 rendering of the spaces that are more
within the shapes the light creates. to accentuate the forms with cool transparent, I also use an Overlay layer to create a
Skin, which will mostly be surface highlights that read well next stronger glow effect in areas that are closer to the
translucent, will create brighter, to the warm inner glow. light source, and spaces that have thinner flesh.

34 May 2017
 Your questions answered...

Question Putting a costume in context

can help to sell the design, so

How should I approach a character costume brief? I paint a quick tundra-like

background with colours
sympathetic to the clothing.
Ernest Summers, Canada

Answer
Belinda replies
Dependant on the media I paint a mage
costume inspired
that its for, the costume by the cultures of the
design approach can be Arctic circle and the
contrasting browns
very similar to character and blues of the
design in the games industry, or to tundra landscape.

fashion design when used in films.

However, every project should start
with a good understanding of the
brief and the story in which the
costume and character are set.
In this quick demonstration, Ive
given myself the brief of designing
the costume of a female Arctic mage
and from there, I start researching
the cultures of the indigenous people
who live in the Arctic circle, such as
the Inuit and Yupik. Getting an idea
of the culture in which a character
exists gives me more visual cues to
integrate into my designs, such as the
kind of materials they use and their
roles in society.
Instead of silhouettes, I begin with

Artists secret
line sketches over a posed
mannequin, to rough out the flow
and weights of the material. And Cultural research
steeped in
because Im inspired by the Arctic Costumes and clothing are
Tundra, I borrow colours from these a goo d und erst and ing of the
culture, so
p to ground
landscapes to influence my design. story and the brief can hel
wo rld it belongs,
Hopefully, the final result reflects the your design into the
earthly hues of an icy world bereft of teri als use d, and the
such as the ma
trees, but rich in tough flora. shape lan gua ge and era .

Step-by-step: Designing an Arctic Mage

First, I research on the cultures of the Next I paint over my lines with a I want my mage to have the colours of
1 Arctic Circle and their lifestyles. I 2 silhouette and block in positive and 3 the Arctic Tundra: rusty browns and
create a reference sheet that I keep open negative shapes to give some visual oranges of wintery flora, against the icy
as I work and, instead of silhouettes, I start interest based on the initial line-work. In blues and white of snow. I overlay some of
with line drawings over a posed figure to this case I keep the number of iterations these colours over my thumbnails, and
get an idea of the flow and weight of simple, but this stage can go on infinitely. take a couple of my favourites over to the
materials, and where fabrics overlap. Keep an eye on the time! next stage where I working up the details.

May 2017 35
 essential art
resources
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and more are available
with your digital
editions!

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36 May 2017
 Your questions answered...

Question
Can you help me paint a cobbled path?
Melisa Bengtsson, Sweden

Answer The path needs to be less defined

Sara replies in the central part of the image,
where its hidden by fog, so
I choose to paint a cobbled I reduce the details in this area.

path leading through a

grassy valley between some
monoliths to give the
image an otherworldly appearance.
During the sketch stage I decide on I put down all my colours over my sketch. This
enables me to check that all the tones and hue in
a one-point perspective and lay down the illustration are working well together.
the meandering shape of the path
between the other elements of the
scene, such as mountains, sky,
meadows and the alien columns.
Then I start with basic colours and
gradually add details. The cobbled
path will be the most detailed
element and so itll be the last thing
I paint in my artwork, and only when
Im happy with the composition,
colours and atmospheric perspective.
After creating the shape of the lane I
paint it with the dominant colour a
bluish-grey which becomes more
et
Artists secrbb
saturated as the path enters the Paint multiple co les
time will
foreground of the scene. Painting cobbles one at a
nsi dering
I use a scattered brush and a darker take time and effort. Co
bru sh bas ed on
colour to lay down some brush creating a custom
e pat ter n, per haps
strokes that will simulate the rough a suitable ston
ed by gat hering up som e
texture of the soil. I also add touches achiev
sea rch ing
of warm brown to act as contrast, and references, either from
photos
light green to imitate moss that can online or taking your own
grow between cobblestones. of cobbled pat hs and stre ets.

Step-by-step: Illustrate realistic-looking cobbles quickly

I create a new layer and paint the In the Layer palette I reduce the value The path is almost finished. Now I add
1 cobbled path with a brush I 2 of the Fill option to zero, which 3 some more details, such as tufts of
specifically created for this project. To removes the cobbles temporarily. Next, I grass that grow between cobbles, cracks,
avoid having the cobbles look too similar, I double-click the layer to access the Layer imperfections and grit. As a finishing touch
vary the shapes and forms of the stones Styles menu. I select Bevel and Emboss, I select a soft Round brush and choose a
using the Eraser tool. Then I go to the Edit and the cobblestone reappear with an light grey. Then I enhance the atmospheric
menu and select the Transform tool. I embossed effect. Among the various perspective with small brushstrokes,
choose Distort and adjust the layer so it options, I choose a direction and colour reducing the Opacity to 50 per cent where
matches the perspective of the image. for the lights and shadows. the path disappears from view.

May 2017 37
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May 2017 39
 Artist Portfolio

Artist Portfolio

JC Park
The South Korean concept artist tells
Gary evans that his best work was on a
project which never saw the light of day

J
C Park planned to be an JC wanted to work in comics. But
engineer. At least, thats the when he graduated, a decade ago, the
career his parents imagined for comics industry in South Korea was
him. The South Korean didnt struggling. Meanwhile, the video
get the grades for engineering games industry was expanding rapidly:
college. He eventually completed a PC bangs (LAN gaming centres)
major in digital cartooning and began were growing in popularity and
working as an illustrator and concept MMORPGs were attracting tens of
artist. Hes since built up a huge millions of players. That was when
portfolio of mechs, vehicles and JC landed a job at one of the countrys
spacecrafts, with designs so intricate, best game developers.
so beautifully engineered, that even The games industry was growing,
his parents must be proud. JC says, because of games like
Lineage, an MMORPG made by
Artist NCsoft. I sent a basic portfolio to
ProFiLe NCsoft and the company invited me in
for an interview. I was really lucky.
JC Park Since I was seven years old, I
LoCation: South Korea
Favourite artists: Craig Mullins, Daniel
enjoyed doodling for friends or family.
Dociu and Feng Zhu When I drew something they were
soFtware used: Photoshop really happy; however, that wasnt
web: www.j-circle.net
my dream job it was just a hobby,

40 May 2017
Interview JC Park

I sent a basic portfolio

to NCsoft and it invited
me in for an interview.
I was really lucky

robot market
When I painted this futuristic
market I used some photo references
for the texture on the side pillars, as
well as for the overall composition.

May 2017 41
Artist Portfolio
the wanderer
The vehicles of the Star
Wars universe have clean
shapes and simple colours.
Here, I gave the vehicle a
basic shape, and then
worked up the details.

I thought. I liked arcade games receives feedback to see if their

such as Tekken, sci-fi films like The unknown Planet concepts are in line with his overall
I took inspiration from Ridley
Terminator, and fantasy stuff Scotts Prometheus to paint a vision. Once he gets the nod, JC can
mission on an uncharted planet.
Dungeons & Dragons, for example. I wanted the foreground character finalise them, before passing it on to
All these factors encouraged me to to look both curious and anxious. the 3D artist, UI designer or level
work in the games and film industries. designer. I think concept art, he says,
There are a lot of talented artists in must help the overall production of
South Korea, so I was lucky to break game, so I should be thinking about
into the industry and meet all these the final 3D result, too.
skilled people. Not all projects run this smoothly, of
course. JC created concepts and
Just Part of the ProCess illustrations for another NCsoft game,
JC worked his way up to senior concept Steel Dog, which was never released.
artist, a position he held on AION JC says he learned just as much from
another of NCsofts hugely successful this failed projects as he did the more
MMORPGs. When working on a game successful ones: This was one of the
like this, JC usually receives a brief best projects in my game career. I
from the game designer. He gets to worked with one of my best directors,
work on creating some concepts. Mr Hwang, who had really creative
They then bring in a 3D designer to Concept art must help the ideas, a positive drive. Ive never seen a
discuss whether or not his concepts are
practical. Its at this stage, JC says, that
overall production of game, game like this before. It called for really
creative concepts. Unfortunately, this
he must make the most amount of
compromises to his ideas. Next, the
so I should be thinking about project was cancelled.
A quick look at JCs ArtStation or
team speaks to the game director and the final 3D result, too Facebook pages shows what a prolific

42 May 2017
 Interview JC Park

PraCtiCe makes awesome!

JC explains how a lunchtime sketch grew into an epic piece of concept art

starting out with the ComPosition basiCs before working uP elements in the Painting
I drew this during one lunch break. I did it to practise scale, distance and developing a strong I added the sky and desaturated the colour. Then I began to work on each of the characters,
silhouette, and I drew it pretty quickly. I wanted to do something simple it was just a bit of fun. almost as if they were separate images, and then decided who would be the focus of the image.

to an ePiC finish
Then I looked at the
position of the figures.
The viewer should notice
the visual flow: how it
moves from in front of
the characters to the huge
beast and the background.

artist he is. When hes not working on a

freelance project, hes spending time the big reveal
A moment of crisis at sea was
on a personal project. And when hes the starting point for this painting.
I imagined an attack by a huge,
not working a personal project, hes mysterious creature, but only
planning his next piece. wanted to show its tentacles.
Im constantly thinking about what
my next my drawing is going to be,
JC says. Im also always gathering
references, so when I do have time to
draw, I can get to work straight away.

sPeed is key
JC often works late into the night.
Sometimes he draws while watching
the TV or listening to a podcast. He
doesnt have a dedicated workspace.
Instead, he sets up his Wacom and

May 2017 43
 Artist Portfolio

dragons eye view

In this concept I wanted to
show a vast landscape and a
castle town on the cliff. Its a
fantasy world so I added
dragons in flight, with the
knights in the foreground.

44 May 2017
 Interview JC Park
Im always gathering
references, so when I do
have time to draw, I can get
to work straight away

May 2017 45
 Artist Portfolio

with a LittLe heLP

From his art Friends
Discover why JC thinks online art communities are both
crucial to his work and his continual self-development
When I started getting more follows The skills I have, my abilities, are
on ArtStation, thats when I felt my never enough. So every day I
work was going in a good direction. feel thankful to the online community
I got the same reaction from my and the companies who contact me,
Facebook page. Indeed, several because they encourage me to
companies contacted me through become better. I try to pursue
Facebook to offer freelance work. more creative projects, and do work
This was all relatively recently that makes everyone happy. I hope Ill
almost four years ago. be doing this for the rest of my life!

following my hand
This was done during a busy period of work
I treated it as a bit of relaxing down-time.
I simply let my hand take the image forward.

online enCouragement
With over 12,000 ArtStation followers and 6,000 plus Facebook followers,
its no surprise that JC says, I felt my work was going in a good direction.

MacBook on the dining table in the During the early stages of a project,
living room of his house, which he speed is key. JC carries a pencil and
shares with his wife and children. sketch pad with him, so he can quickly
I prefer a laptop to a desktop, he says, get down any ideas he has while on the
because I like to be able to move my move. If hes working on a particularly
workspace easily. It means I can take it detailed concept or illustration, he
with me when I need to go on trips. might begin a project with a paper
Sometimes I work in a nearby caf. sketch, but usually he draws directly the star wars If something isnt working within a
Thats really good for a diversion. onto his tablet in Photoshop. It means Sometimes I draw fan art project, JC says, then I take a breather
while mixing in my own
In May 2016, JC moved to Hamburg, he can easily modify, rotate and layer design ideas. Someone for a few minutes go out for a walk, or
once asked me, Whos
Germany, where he now works for images. He uses a large brush and a the guy at the front? Well,
search the internet then I go back to
online games company Goodgame mono colour grey or dark brown. hes just my character! the image with an idea of how to fix it.
Studios. He also works as a freelancer, At this stage, hes concentrating on the
not just on games, but also creating overall composition as he adds simple imPressive storytelling
art for everything from animations colours. Next, he gives the images JC uses Pinterest to gather references.
and feature films, to cover art and depth and lighting, then starts to work Sometimes, hell take a collection of
TV commercials. in more detail. images and combine them into a
single, new image. Occasionally, if he
So many talented artists are making really likes a picture, hell recompose it.
I could be watching a film or TV
lots of great concept art every day, and programme when inspiration hits, he
says. I try to remember what it was
so much of it is lost or forgotten that fired me up. Sometimes the image

46 May 2017
 Interview JC Park

seaside town
I rarely use custom brushes, but I wanted
to try them for this piece, focusing on
traditional painting techniques. It wasnt
easy, and took me a long time to complete.

is so clear it comes quickly, but its not sure everything fits together properly,
always easy to maintain that positive and to create something thats
feeling right up until the works done. beautifully engineered.
So I try to finish a piece very quickly, Im focusing on more realistic
usually within three to four hours. concepts built around good
JC is currently creating concepts for a storytelling, he says, so every day
mobile role-playing game, and is I try to be more creative with that aim
hoping to work on a AAA console in mind. I want to create concept art
game in the near future. His dream that endures for the audience and for
job? The next Star Wars film. His style me, too. So many talented artists are
and his meticulous attention to detail making lots of great concept art every
seems a good fit for the franchise. day basically every moment and
The artist says that his style has so much of it is lost or forgotten. When
numen village changed in recent years, but I reflect on my experiences of the art,
I wanted to emphasise the villages small size, underpinning everything he does is its something that has strong
hence the huge head of a creature on the hill.
the desire to tell a good story, to make storytelling at the heart of it.

May 2017 47
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48 May 2017
 Back issues

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May 2017 49
 profile
Scott robertson

tson
location: US

ber
Scott has authored or

Ro
co-authored 13 books on

Scott
design and concept art.
He frequently lectures
around the world for
various corporations, and colleges
t,
oncept artis
through his workshop brand, SRW, in

d vehicle c addition to taking on the occasional

of the famend all its trappings

freelance design job. His studio is

ketch boo k a
based in Los Angeles, California.

k into the s ci-fi genre

www.drawthrough.com

Take a pee s a clear love of the s

who ha
ScI-fI
truck 5
This is the style of
sketch I like to strive for
in my sketchbooks. Nice
line quality and line
weight control.

Inktober
artwork
I almost always start with a light Copic
marker rough-in, then finish over that it
with a ballpoint pen or other ink
pens in this case.

50 May 2017
 Sketchbook Scott Robertson

Nice line
quality and line
random weight control
ScI-fI helmetS
No specific design brief
thats my ideal
here, other than to sketch
fun helmets. Done with
Copic marker and a Pilot
sketch style
HI-TEC pen.

May 2017 51
 truck
drawIng
demo
Recorded this one for
my YouTube channel,
Scott Robertson Design.

form StudIeS
When I just feel like exploring forms and silhouettes,
sci-fi concept space ships are a good subject, because
they can be almost any form you like.

52 May 2017
 Sketchbook Scott Robertson
motorcycle Mechs of all
tutorIal demo
This sketch is part of a two-part tutorial on
sorts are a fun
how to design a motorcycle for my
Gumroad account. default, sci-fi
subject that
I like to sketch

mech
walker
In addition to space
ships, mechs of all sorts
are a fun default,
sci-fi subject that
I like to sketch.

autonomouS
racer
Quick initial concept of an
autonomous racer, I wonder if they
are going to be fun to watch
in the future?

Do you want to share your sketches with your fellow ImagineFX readers? Send us an email with a
selection of your art, captions for each piece and a photo and bio of yourself to [email protected]

May 2017 53
 The number one destination
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 get your
resources
See page 6 now!

Workshops assets
are available
Download each workshops resources by turning to
page 6. And if you see the video workshop badge,
you can watch the artist in action, too.

Advice from the worlds best artists

56

This issue:
56 Discover fresh
portrait skills
Learn from Mlanie Delon
as she uses Photoshop to
light and paint a portrait.
62 Core skills:
Rebelle brushes
Martin Hanschild shares
his knowledge of Rebelles
natural media tools.
64 Use SketchUp
to build a castle
Quickly develop an original
building in SketchUp.
64 72 84 Donglu Yu shows you how.
72 Control your
values and colour
Craig J Spearing builds a
greyscale foundation before
taking his adventurer into
a frozen environment.
78 Build a spy drone
using Fusion 360
See how Jort van Welbergen
uses Fusion 360 to create a
3D drone concept.
84 Break up and
rebuild 3D concepts
Part three of John
Mahoneys ZBrush series.

May 2017 55
 Workshops

Photoshop
discover fresh
portrait skills
Mlanie delon explains how she uses light and avoids detail becoming
too distracting, as she paints a figure inspired by the carnivals of Venice

Painting a portrait can I draw a few quick pencil sketches soon be the case when theres a lot of
Artist
profile be a difficult task,
especially when you
and colour thumbnails, with the idea
of a mysterious colourful lady in
it. So I start with basic, classic
lighting: a main light coming from
Mlanie delon plan to add a lot of mind, to find a strong composition. the top and the rest in shadow.
location: France clothing details and At this stage I know the light will be However, during painting I decide
Mlanie is a freelance jewellery. You can quickly become a key part in this painting; this is to change some elements, including
illustrator specialising lost in your work! So before starting always the case in a portrait piece. the light. The image was too dark and
in fantasy subjects. She
is a digital painting
anything, have a basic rough idea of Light is how the character stands out the composition too boring. When
instructor at CGMA. the final image. Here, I want to depict it brings volume, life and intensity Im not satisfied, I never hesitate to go
www.melaniedelon.com (with the help of the ImagineFX so it must be carefully worked. The back and change the elements I dont
team) a kind of Venetian carnival- light is challenging here, mainly like. Sometimes I even restart the
get your inspired costume but without the because of the amount of detail. entire illustration. For me, thats just
resources
See page 6 now!
mask, because we want direct eye Indeed, I dont want the detail to a part of the painting process and
contact in this illustration. become too distracting, which can its often for the best!

Make use of
line drawings
When I have to paint
specific decorative
elements such as
patterns, lace or as in
this instance the crown,
I always create a line
drawing to follow while
painting. It acts as a
Create colour thumbnails
guide for keeping the
Assemble some concept sketches 2 Then I scan the pencil sketch and do some quick
design unified and
consistent. I usually draw 1 The pencil sketch is an important step. I always do colour thumbnails. I pick a harmonious colour scheme
directly on the painting
so that I can be sure
a few of these before starting the real painting. It helps me and start to mix those colours, to see whether they work
the line art will suit my visualise where I want to go. I can quickly add details like well together. The challenge when there are multiple
character or the element the crown, or think about what kind of costume I want for elements is to develop something consistent; I find doing
in question.
my character. Its a good base to start from. a quick colour sketch really helpful in this respect.

56 May 2017
In depth Portrait skills

May 2017 57
 Workshops

Adjusting the composition

4 At this point I change the composition and go for
a classic dress instead of a neck ruffle collar. The dress will
be covered with colourful patterns and some hints of
Laying down colour blocks golden embroidery. I always use a big, Round, soft brush
3I start the face in huge blocks of colour, to quickly get everything placed to sketch patterns, because I need to blend colours quickly
correctly. I try to develop a lot of colour variations in this area because its the focal at this early stage. I find it helpful to ensure all the details
point of my painting and so it needs to be realistic and feel alive. I mix some red and work as a whole and are well integrated; the soft brush is
pink for the eyes, mouth and nose to help achieve this effect. ideal for achieving this.

resources

photoshop
custoM brushes:
soft

My favourite brush. It has

the perfect level softness
to develop quick colour
blends on the canvas.

texture

I use this when I need

to paint more precise
elements or textures.

detail textured

Developing the carnival-esque crown

5 This portrait is carnival inspired, so my character will be wearing an outlandish crown with feathers. I start with a
I use this Round edge pyramid shape made up of many little baroque-style curves. I visualise my idea on another layer and start to correct the
brush to paint the many previous shape based on this. I want the crown to be completely gold, so I pick a colourful yellow/brown to paint the
tiny details on show.
base. I dont work up the light yet before starting that, I need to refine the entire crown and add some texture.

58 May 2017
 In depth Portrait skills

begin small,
then work up
I always start my
paintings in a small file,
something like 1,000
pixels at 72DPI. At this
low level of resolution,
I cant start working on
the details, which helps
me stay focused on the
general shape, volume
and light. I increase the
resolution progressively
(150, 200 and finally
300DPI) when I feel that,
for example, the colour
base is perfect and wont
be changed.

Defining the facial features

6 Now I start to add more details to the face. I work the eyes, add eyelids and eyebrows this is an important step
because its now that I decide what expression and attitude I want for my character. I choose to try to make her look
mysterious, so her eyes will have a lot of makeup. I use some deep, dark violet to paint the eyelids. I never use pure
black for shadows or creases, because that will only make other colours look muddy. Always colour your shadows!

Giving the skin a sense of texture

7 Im happy with how the face looks and I can now start to work on texture. For this I use my scribbling technique. I add colour variations
and volume all over the face with a one-pixel, Hard-edged brush. I work the light and shadows, but also on some details such as the eyelids. This
is a long process but I like the final render once its smoothed it adds a lot of tiny texture or grain. A speckled brush also gives this effect.

May 2017 59
 Workshops

Revising the composition

9 I decide Im not happy with the composition: it
needs to be brighter because its appearing on the cover.
Designing the costume So I decide to change it. The characters position was too
8 I want my character to be colourful, so I create a specific pattern for her dress stiff, so I move her slightly to the side to develop a more
with turquoise and red. I keep the design simple because I dont want it to distract natural pose. I also change the crown and the light on the
the viewer too much. I also refine the ruffles and crown. I leave the feathers very upper part of the composition, opting to add more red
dark and blurred they arent the main decorative element and must stay discreet. instead of yellow, and bring in more light there, too.

10 IUpdating costume elements

now take the opportunity to change the ruffles I found the previous design 11 Paint a lace collar
I decide to add lace fabric to increase the delicate
too boring. I also quickly sketch some more rounded curves to give a sense of look of my character and add some mystery. Lace is
lightness to the dress and character. I bring in a degree of transparency, which will intricate, but its easily done: I use a textured brush to
help an object look either very light or fragile. I approach the crown in the same roughly draw some curves and flowers it doesnt need
way, painting thinner, longer, baroque curves to break the heavy style of the to be precise. I add a few dots of light on it to create some
previous one to help produce a more feminine, delicate look. volume so that it doesnt look too flat and unrealistic.

60 May 2017
 In depth Portrait skills

Get some
perspective
If I need to gain a fresh
take on my work-in-
progress, I simply flip the
image. I do this regularly
because it gives me
a fresh look at the
illustration, especially
if Im working on the
same element for hours.
I encourage you to do
the same because its
also a useful way to spot
any mistakes and quickly
correct them. Youll find
the command in the
Image menu>Image
Rotation>Flip Canvas
Horizontal, or you can
use the Ctrl+T shortcut.

12 Add more life to my carnival queen

I accentuate the colour of the characters lips and cheeks, picking a deep pink/red to do this. Red and pink are the
perfect colours to add life to a character, especially on the face. Then I select a very small, precise brush and create some
long, curvy eyelashes to give her eyes a more dramatic and mysterious look. I always blur the extremities to make them
more natural. And finally I add some beauty spots here and there on her face this quick extra detail is particularly
effective when you want to create realistic-looking skin.

13 Introducing texture to the crown

Now I need to add more texture to the crown,
especially on the feathers. I use a basic Round edge brush
(with Hardness at 100 per cent and Opacity Jitter set to 14 Making some final adjustments
Now its time to add some extra light coming from the top. I choose to use
100 per cent), and then paint some little brush strokes all a pink colour close to the one in the background, to retain some unity and bring in
over the feathers, to create a myriad of colour variations a colourful glow all over the crown and feathers. I use a big, Round, soft-edged
that mimic the texture of their real-world counterparts. brush to create this special effect, and adjust the layers Opacity if I go too far with it.
I do the same on the crown to emulate the appearance of I repeat the same process on the face, this time picking a pale blue to contrast with
old, slightly tarnished gold. I dont want something clean. the background colour. Finally, I use a Brightness/Contrast adjustment to slightly
Including flaws helps to achieve more realism in the scene. correct the general contrast of my illustration. And were done!

May 2017 61
 Workshops

Core Skills: Part 3

using brushes
in rebelle
Martin hanschild continues his series on Rebelle, the natural media
painting program, and looks at more of the softwares painting tools

Last issue we looked Watercolor); and Dry media brushes, on how you use all of Rebelles other
Artist
ProFile at the basics of the
Watercolor tool.
such as Pencil, Marker, Pastel and
Airbrush. Theres the Eraser too,
features, such as Canvas Wetness,
brush textures and so on.
Martin You could say that this which is dry by default but has some Here Ill introduce these remaining
hanschild tool is the best thing special features, as youll see. painting tools, point out their specific
location:
Czech Republic
in Rebelle certainly, its the one The parameters for all of Rebelles attributes and behaviours, and
I use most often. However, there are tools are set to predefined values demonstrate the range of effects you
Martin is a 2D and 3D other painting tools in Rebelle that to start with, and they work fine out can achieve with them on the canvas.
character designer
who works in Prague for are well worth exploring. of the box. But you can tweak them Rather than a step-by-step tutorial,
motion art house Eallin. They can be divided into two according to your preferences. You I want to give you some tips and
www.hanschild.com
basic groups: wet media brushes can always reset them to the defaults. advice to help you better understand
(including Acrylic, Ink Pen and Remember that the results depend Rebelles painting tools.

Dry Media Brush strokes with a high

Loading value totally cover
the canvas texture.

Pastel Marker Airbrush Pencil

Here you can reset the properties

of the selected tool to its default.
Wet Media

Acrylics Ink Pen

Brush stroke
preview. You can change
If you want to bring back some brush textures to
of the canvas texture, start achieve different
Comparing painting tools painting on a new layer. impasto effects.
1All tools have a Pressure parameter for controlling a
brushs pressure sensitivity, and a Size setting to control the Working with the Acrylic tool
size of your brush stroke. The maximum size is always 100, but 2 Youll find the same properties for the Acrylic brush as for Watercolor,
the actual size is different for each tool. Dry media tools dont but of course it works in a different way. Colour spread is reduced, and it
have a Water parameter, and Pencil and Pastel will dry a wet occurs more slowly on the canvas. If you increase the Loading and Pressure
canvas. You wont find an Opacity setting, as in other painting values youll have a thicker brush with a lot of mass, producing an impasto
programs, but theres a Loading parameter that controls the effect, which totally covers the canvas texture. For better colour blending,
amount of colour loaded on your brush. especially with a high Loading setting (close to 100), switch to Dirty mode.

62 May 2017
 Core skills Brushes in Rebelle

Combine the Ink Pen with

the Watercolor tool.

combine tools
Rather than using tools
as standalone steps in
your painting process,
why not experiment by
combining them for
more interesting results?
For example, I love to
put together watercolour
strokes with thin, sharp
and sketchy lines drawn
with the Pencil, and the
fuzzy lines of the Ink Pen.

Use the Wet tool to You can achieve this look by using
diffuse Ink Pen lines. the Wet tool on your drawing.

Using the Pen and Pencil tools on a wet canvas

3 The Pencil tool doesnt have a Water parameter, but you can use the Wet tool to dampen your artwork and
produce an effect close to watercolour pencils. The Pencil also dries a wet surface and can stop or slow down the
spreading of colours through the canvas, which can be used in a creative way. The Pen simulates drawing with ink
pen, and it dries faster than the Watercolor brush, even if you draw on a wet surface.

With the Pastel tool, using lower The Eraser is not only for
Pressure values will bring out the removing mistakes. In this
paper texture. I typically use quick sketch I rendered the
values between 15 and 40. light with the Eraser

Choose different
paper to change
the look of the If you reduce the values
Pastel tool. of Pressure and Softness,
then the Eraser will lightly
scratch the painting

The Eraser isnt just for handling errors

5 The Eraser has some specific settings of its own. A lower
Softness value leaves the paper texture more visible, while a
higher value leaves erased parts cleaner. By default, the Eraser
completely dries the erased area, but if you turn on Keep
wet then the tool cleans colours, the erased area retains its
wetness and colour continues to flow.
Quickly fill up the canvas with the Airbrush
4 For one reason or another, I never used to work with the Airbrush, but exclusive subscriber offer!
Ive subsequently realised that it has its uses. This brush has the biggest size
receive a free copy of rebelle when you
compared to the others, so its great for quickly filling big surfaces. And if you
subscribe! see page 38 for more details
dont like its basic texture, use your own to create interesting structures.

May 2017 63
 Workshops

SketchUp & Photoshop

use sketchup to
build a castle
donglu Yu shares her process for quickly developing an eye-catching
3D base in SketchUp, before taking the artwork to finish in Photoshop

64 May 2017
 In depth SketchUp building

Ive used a range of Ill explain the main functions I use SketchUp, youre no longer bound
Artist
pRoFile techniques for my
digital paintings.
in SketchUp to speed up the painting
process that later takes place, and
with licence-purchasing issues.
In the second part of the workshop,
donglu Yu However, its always a how to understand a complex scene Ill take the basic passes I get from
location: Canada challenge to pick the from every possible camera angle. SketchUp and bring them into
Donglu is working at WB best angle for a complex scene by Another great advantage of the Photoshop to start the painting
Games Montral as the starting off with black and white software is that its completely free to process. Ill also explain a few
lead concept artist on a
secret AAA project.
sketches. Moreover, Im not a fast use. And you can download it easily important digital painting notions
http://ifxm.ag/donglu-l modeller, and attempting to make a no matter which studio employs you. along the way, such as value
3D base has always slowed me down. If youre a 3ds Max user and your structure, applying textured
get your Two years ago, I started to studio is offering Maya to its brushstrokes, adjusting colour
resources
See page 6 now!
experiment with SketchUp. I was
surprised at its simplicity and how
employees, it would be very hard to
convince the producer to buy another
temperature, painting over photo
textures, adding character for scale
easy it was to learn. In this workshop, software licence just for you. With and so on. So, lets get started!

May 2017 65
 Workshops

Make use of SketchUps core tools

1 My goal with this software isnt to master it Add recognisable architecture
completely, but rather to concentrate my energy on getting 2 To speed up the modelling process, I use real-world architecture references to
to grips with the essential tools that I need to accomplish help me place the windows, arches and towers. I crop some photos that I took at Las
the modelling process quickly and effectively. The tools Lajas Sanctuary, in the Columbian city of Ipiales. To apply the textures, I click the
I use the most are the Line, Arcs and Rectangle tools, the object faces, then select the small folder icon within the Material panel to browse to
Push/Pull and Offset tools and also the manipulation the texture I want to use. Placing this rough texture pass on the basic 3D volumes
tools, such as Move, Rotate and Scale. helps me decide when Im ready to continue with a more detailed modelling pass.

Modelling a simple base

3 Heres the model Im making in SketchUp. As you can see, this isnt a fully completely 3D scene. Some structures are floating in the air, and
the edges can be worked on a little bit more. But this is more than what I need as the base of my painting. Dont fall into the trap of making
everything perfect in 3D. Were making concept art here, not a 3D final product.

66 May 2017
 In depth SketchUp building

resources

photoshop
custom bRushes:
laRge textuRed
bRush

I use this for painting

large spaces, such as the
sky and the ground, to
add some textures.

haRd tRiangle bRush

This brush is ideal for

painting opaque and
sharp edges, resulting in
clean silhouettes.

Vegetation bRush

Use SketchUps various Styles mode

4 Styles dictates how your model will be displayed in SketchUp, a bit like the filter effects on images in Photoshop, if
I use this for painting the
vegetation. It can create
I have to make a comparison. You can view the model as line art, brush work, simple textures and so on. For my painting a nice framing device for
my paintings, too.
base, I need two Styles: line art style and the simple style. Ill use them as passes to guide my painting process.

Enhancing the shadows SketchUps Scene Management tool

5 Shadow is a powerful tool to create interesting 6 This is where I save the different camera angles that Im happy with. Being
compositions. In my previous approach to thumbnail able to examine your scene from 360 degrees is probably one of the biggest
studies, it was always a challenge to imagine the lighting advantages of having a 3D base, compared to traditional thumbnail sketching. Not
scenarios. However, it becomes simple with the Shadow only you can rotate your camera freely, you can also easily adjust the field of view.
setting in SketchUp, which enables you to pick a specific This makes it possible to use a wide lens and telescopic lens. In the Scene
time zone, date and time of the day, to see the effect of the Management window, you can click the different thumbnails to switch between the
shadow and light on your model. saved camera angles and to pick the best option for the painting.

May 2017 67
 Workshops

make use of
the navigator
I love to keep my
Navigator window open,
because it provides me
the visual of my painting
in a thumbnail size. It
tells me if the changes
Im painting are
effective. Otherwise, Id
have to constantly zoom
in and out of my canvas
to check if my painting is
still solid in terms of
composition and value
structure. Keeping the
big picture in mind
prevents you from
getting bogged down in
the details too early on.

Spreading colours
8 Its important to let the 3D passes work as a guide
Moving into Photoshop for you, without allowing them to limit your creation
7 Now after all the hard work Ive done in SketchUp, process. I reduce the simple texture layers Opacity and
Im bringing the passes that I need into Photoshop. Just in create a new layer on top of it. I then use my textured
case there are many passes to be imported, you dont need brush to spread colours freely on the canvas. As you can
to open each of them and drag them one by one into the see, I dont even let the colours on the basic texture layer
painting window. Photoshop has a great function for this: dictate my palette. Im using a light purple/blue tone to
simply go to File>Script>Load Files into Stack bring up the colour vibrancy in the painting.

Overlaying the 3D layer

9 At some point during this freestyle painting process, I realise I need my 3D base back to give me more guidelines for the architectural
structures. So I duplicate my simple texture layer and overlay it on top of my painting. I adjust the Opacity of the layer, to blend it with my image.

68 May 2017
 In depth SketchUp building

10 Value adjustment and adding depth to the scene

I take a step back from the painting and analyse my value structure. I plan to do a backlit lighting scenario, so I brighten the sky to pop out
the castles silhouette. I also apply a fog layer at ground level, which gives the foreground more breathing space and the image greater depth.

Bringing in photo textures

11 I apply photos to the top of the painting to add more details to the main castle structures. Here are some
cathedral photos that I took during my trip to Mexico; the architectural details are ideal for the upper part of the castles.
I cut out the parts that I need and use the Transform tools to distort the perspective so they fit nicely with my painting. dont jump
into detailing
Many students show me
their art and when I ask
how long theyve worked
on it, their answers vary
from 40 to 60 hours. Yet
the art isnt up to the
quality youd expect
from that length of time.
Thats usually because
they spent hours
polishing details, without
getting the composition
and value structure of
the lighting right. Always
look at the effectiveness
of the big picture first,

12 Painting over the photos and worry about details

later. Quality doesnt
Im being careful with this photo integration part, because I dont want it to destroy the nice brush feel that Ive equate to the level of
developed so far. I use a small textured brush to continuously paint on top of the photos so they can blend better with detailing. It depends on
your understanding of
the rest of the painting. During my career Ive developed my own process for this stage: photo-bashing, painting on top the whole image.
of the photos and erasing part of the photos. I repeat this cycle for as long as its needed.

May 2017 69
 Workshops

Relax during
the 3d stage
The purpose of the 3D
base is mainly to give
you a thorough
understanding of the 3D
volumes, along with the
chance to explore all the
possible camera angles.
Theres no need to be
overly accurate with the
modelling and the
texturing, because
youre not producing a
final 3D map. Any
modifications you need
to do can be easily and
quickly handled in
Photoshop later on.

13 Developing edge contrast

I love to keep the brush feel in my paintings, but how can I do it without the impression of losing details? The
answer is edge contrast. Every important form, object and character in my art needs a clean silhouette. The silhouette
can be painted with textured brushes, but its value needs to maintain certain contrast levels with its surrounding
values. This ensures the viewer can distinguish the forms without being distracted by the brushstrokes.

15 Final adjustments
I always finish my painting with a few adjustment
layers, to tweak the contrast, colour temperature and
brightness of the scene. I also like to apply a subtle

14 Adding life and hinting at a story

We are almost finished. At this stage, I love to add some characters to show
chromatic aberration in the image (simply to go Filter>
Lens Correction> Custom, and play with the
the scale of the scene and hint some vague storyline at the same time. I add a dragon Chromatic Aberration sliders). I click OK once Im happy
to further enhance the fantasy theme of the painting. I also add some birds in the with the result. I hope you have enjoyed this article and
sky an old but effective trick to bring in some life in large-scale compositions. have learnt a few tricks to speed up your workflow!

70 May 2017
 Next month
!
Fresh new skills
s us
Jana Schirmer tell
ng
her art secrets usi
Procreate!

Painting
revolution!
The amazing and affordable painting
tools that are leading the charge
against Adobe Photoshop!
Including: Procreate, SketchBook Pro,
ArtRage 5, Black Ink, Rebelle AND MORE!

All this and more!

Dragon fight! Tell a story Future of art? Studio space
Trent Kaniuga shares How to capture the We speak with the Rodney Matthews
his process for an epic essence of a story in artists creating reveals the space
dragon scene in one cinematic shot, brilliant new worlds where he creates
SketchBook Pro. with Pascal Campion. in virtual reality. his iconic art.

Issue 148 on sale In the uK Friday 21 April

2013 Applibot, Inc/Legend of the Cryptids

May 2017 71
Workshops

72 May 2017
 In depth Values & colours

Photoshop
control your
values & colours
craig spearing takes a slower approach, building a greyscale foundation
before taking his adventurer and her pet into a frozen environment

Jumping directly into greyscale painting). A fully rendered leads to looser edges (and happy
Artist
ProFile a full colour piece can
be daunting, especially
greyscale foundation helps establish
the direction of the light source(s),
accidents). This technique works
equally well in traditional and digital
craig spearing for a beginner. Colours placement of lighter and darker mediums, making the transition
location: US can become muddy, values, highlights and shadow cores, from sketch to finish much easier.
Craig graduated from values can get lost, and the whole leading to a value map that will make I tend to carry my traditional
the Rhode Island School painting can turn into a confusing, the final image more dynamic. Using background into digital, avoiding
of Design in 1992 and
illustrated childrens
frustrating mess very quickly. selections and photo filters on the stamp brushes or dozens of effect
books before moving Slowing down, taking it step by step, greyscale offers infinite possibilities layers. Nothing wrong with those; I
into gaming art. His and preparing for colour to add base colour without altering just prefer a more hands-on approach
clients include WotC,
Paizo and Mage Wars.
methodically will result in a better the values, similar to applying emulating actual paint. For the most
www.craigspearing.com realised finish. transparent oil or acrylic glazes. part I work with one brush on just
One of the most effective ways to Once the desired overall palette is one or two layers, reserving Color
control the value and colour is to achieved, flattening the image and Dodge and Screen layers for magical
start with a grisaille (monochrome or doing final brush work on one layer or flame effects at the very end.

Get your
resources Overall value blocking
See page 6 now! 2 Next I fill the background with 50 per cent grey,
Lay down a contour drawing and block in the initial values. I keep it loose at this
1 On a transparent layer over a white background layer, I use a basic Round stage, not getting into too much detail, thinking about
brush to do the contour drawing. The brush is black, set to about 20 per cent the direction of the light sources. The primary light source
Opacity. This looks a lot like pencil, and keeping it light and transparent will is coming from the left, and the secondary source is from
prevent it from becoming too dark over the next steps. her staff (because I love rim light).

May 2017 73
 Workshops

Supporting cast
4 On to her cat. Looking at numerous reference
Go directly to the subject photos (always use reference), I define the greyscale
3 I stamp the visible layers into one greyscale layer (Cmd+Shift+Alt+E), and on her pet. Its a hybrid between a tiger, a lynx and a saber-
start to define the shapes and values. At the beginning I go directly to the subject toothed tiger a fantasy creature, but with a real-world
of the image first; all other elements need to support her visually. Once shes locked vibe. The edges are too sharp, but at this point Im focused
in, I save a selection around her to prevent painting over the character. on value relationships. More on softening edges later.

opening up
your edges
When a very bright light
source hits an object,
our eyes perceive edges
in a different way than a
dimmer light source. The
midtone colour becomes
more saturated, and the
highlight grows brighter
as the light ricochets off
the surface. To achieve
this, use a soft brush
and the midtone colour,
at about 30 per cent
Opacity, with the brush
in Lighten mode. Run the
brush along the highlight
to open the edge.

PhotoshoP
custom brush:
the go-to brush

Background and finishing greyscale

From Kekai Kotakis
5 Next comes working the background details to establish an overall value map, making sure to have lots of
brush set. I use it for counter changes light on dark, dark on light to move the eye around. I tend to make the final greyscale a little
almost everything.
dark, because it usually lightens during the colour process and I dont want it to become too chalky.

74 May 2017
 In depth Values & colours

Finding a base palette

6 Using Image>Adjustments>Photo Filter (and making sure to click the option to Preserve Luminosity), I add a 5 per cent cooling filter to
the greyscale. This sets a cold tone, and will affect all the colours that may be added afterwards. Then I duplicate the layer and add a 5 per cent
warming filter to the bottom layer. Erasing out portions of the top layer then brings out the warm, much like painting a glaze.

softening
textures
Think of hair and fur as
having shape and mass,
not just as individual
strands. Painting every
strand separately can
lead to a sharp vibrating
look, like the hair is wet
Refining the palette Finishing the background or frozen. After painting
7 Using the same two-layer erase technique, I slowly 8 I stamp the visible colour layers into one (Cmd+
hair or fur, select the
area and soften it (Filter>
amp up the colour, adding varying warm and cool hues Shift+Alt+E) and start the final render on the background. Noise>Reduce Noise).
This can also be done
until the image looks balanced. Its easy to oversaturate It works just as well to start on the foreground, but I with a Soft brush, going
at this point, so I avoid going over about 10 per cent on find its easier to soften or harden edges over a finished over the strands and
the colour fills. It also helps for pre-saved selections, to background. To keep the palette intact, I Alt-click with slightly blurring any
sharp edges.
add colour exclusively to one area. the brush to pick colours from the image.

May 2017 75
 Workshops

10 and the final cat render

Making my adventurers coat green was intentional,
Final adventurer render because I wanted the warm colour of the cat to contrast
9 Continuing the colour pick method, I finish the adventurer. For facial features but not be as warm as the staff light. I look at my big cat
in particular, using a soft-edge brush set to 50 per cent Opacity helps to smooth the references again, for accurate fur direction. Side note: her
transitions between the midtones and the shadow core. I double-check the values hand is resting on his back as a sign of affection. Hes a
by converting the colour to greyscale, to ensure areas lit by the staff are brighter. travelling companion, not a pack animal.

limit your
colour palette
Pick an overall hue for
a painting. This can be
done with a filter or a
brush set to Color mode.
Mix a little of that hue in
with all the other hues
you paint with. This
will set the tone for the
palette. Use contrasting
colour sparingly, saving
saturated colour for
focal points. Most
printers have a gamut
Adding atmosphere to the environment
range. Routinely convert
your image to CMYK to
11 On a new transparent layer I use the Gradient tool, in Normal mode, set to about 20 per cent Opacity, with a light
ensure that it stays blue colour picked from the image. Dragging up from the bottom edge, this creates some atmospheric fog, emphasising
within that range.
the icy feel. Selecting just the background, I drag another gradient to lighten the bottom a little more behind the figures.

76 May 2017
 In depth Values & colours

12 Making the staff glow

On an opaque layer filled with 100 per cent black, I use Flame Painter (http://ifxm.ag/flame-p) to create glow for
the staff, and the Smudge tool to soften the edges. Double-clicking the layer brings up blending options, and I set the blend
mode to Screen, making the glow transparent. This is an easy way to make transparencies on an editable opaque layer.

13 Create a glow with Color Dodge

To brighten the glow, I duplicate the Staff Glow
Screen layer and slide it under the previous layer, set its 14 Apply finishing touches with fresh eyes
After sleeping on it, I go back the next day with fresh eyes and add a few
blend mode to Color Dodge and reduce Opacity to 50 per finishing touches whiskers on the cat, metal highlights, softening or hardening
cent. This takes just the brightest values and burns out the relative edges. This is a dangerous time, when an image can get overworked, so
background colour, giving the glow more of an inner light. once it has a polished look (without zooming in) I call it done.

May 2017 77
 Workshops

SketchUp Pro & Fusion 360

build a spy drone
in fusion 360
Artist Jort van Welbergen uses Fusion 360 to concept a drone,
profile then gives tips on getting the most from the free software
Jort van
Welbergen
location: Italy
Fusion 360 is relatively software such as Maya or 3ds Max. It In this workshop Ill show you the
A Dutch freelance
concept artist, currently
new, really exciting also directly interacts with both CNC process that I used daily to make the
living in Rome, Jort and most surprising milling and 3D printing machines, props and even vehicles of the space
specialises in hard of all free CAD which enables rapid prototyping of simulation video game Star Citizen.
surface and environment
design with a strong
modelling software, whatever objects you want to model. Ill show how I solve realistic
preference for realism which has gained a lot of interest This makes it very interesting for problems using this new software,
and believability. from the entertainment industry. you the film industry for instance, where and how I take a concept from a
http://ifxm.ag/jortvanw
can get it from http://ifxm.ag/f-360. concept models can be printed on set quick sketch to a fully working,
CAD software is used to design and be used the next day. It also realistic end product.
machine parts; its Boolean based means that mechanical parts are far I hope I can get you excited to try it
and uses methods that are quite easier not just to make, but also to out for yourself and see what type of
different from polygonal modelling run multiple stress tests on. creations you can come up with!

78 May 2017
 In depth Fusion 360

navigation
tricks
Navigation in new
software can be initially
frustrating. Fusion 360
works with the middle
mouse button mostly.
Hold it down to pan.
Hold Shift and the
middle mouse button to
rotate. Hold Ctrl, Shift
and the middle mouse
button to zoom. Hold
Shift and click the middle
mouse button to set the
camera orbit point.

Doing research and where to look Getting reference is crucial, but obtaining the right
1 Every design starts with a brief. For this ImagineFX reference is even more important. As a concept artist its
design I wanted to create a realistic reconnaissance drone, your job to provide new and original ideas. Therefore, you
used by a fictional private defence force. It has to be should research as much as possible on everything related
portable, easy to repair and operate, and consist of high- to what youre designing. Make sure to watch videos of
end modular parts. Most of all, I want to make it feel as if things being taken apart, for instance, to gain a better
it could be built straightaway by a film studio workshop. understanding of whatever youre trying to create.

May 2017 79
 Workshops

Import into Fusion 360

3 I upload my chosen blockout into the cloud of
Sketches and iteration Fusion 360, so I can bring it in and start modelling on top
2 Fusion 360 is precise and accurate, but for the early sketching stage I prefer to of it. I also bring in a scale model, so I can easily see if, for
use SketchUp Pro. I mainly work in cylinders and boxes and try not only to arrange instance, the buttons and bolts are the correct size. I tend
them in a visually pleasing way, but also take into account how a device will be used to create a new project for every new design, so I can easily
how would it be assembled, how would it fly, how would it land, and so on. find all the parts without being distracted.

Modelling tips
The Model tab creates
standard solid Boolean
objects. The Path tab
enables you to create
Fusion 360 workflows
5
sub-division surfaces,
modify them and weld
Block out in Fusion 360 My main workflow is working from sketches and
these together to make
solid objects. The Sculpt
4 I tend to remodel everything in Fusion 360 using with the timeline, which is the default. This enables you
tab makes it possible to boxes and cylinders. I start by copying my initial blockout to reuse and adjust the steps you take. I use the Sculpting
create soft body shapes
that can be turned into
but quickly separate the parts of my drone. From research I workflow for organic shapes such as the props, which is a
solids. Try combining all know I need components such as a battery, computer and form of Sub-D (sub-division) modelling. I try to use
three to create fantastic motors. Here I used a two-part frame: a flight frame of patterns a lot and will keep working in one component for
and creative designs.
carbon and a component frame out of 3D printed plastic. as long as I can to keep things organised early on.

Fusion 360 tools

6 Working from sketches I
extrude forms, adding and
subtracting shapes to suit. I also use a
lot of split body commands to create
cut lines and flush components.
Finally, I use the Chamfer and Fillet
tools for the round edges and faces.
These simple tools, when used
correctly, can yield great results.

80 May 2017
 In depth Fusion 360

Finishing the blockout

7 Once Ive blocked out all my main shapes and a
mocked-up body that will serve as a guideline, I split up
my main components so I can start detailing them out The frame serves the features
individually. This is especially useful for parts that Ill 8 The first thing I do when detailing is rework the frame. Its really only there
reuse, such as the propeller arms. Furthermore, as your to support the components that go into it. Make sure you dont have excess material,
models become more complex, Fusion 360 tends to get and try to use light reinforced structures wherever possible. Build the frame around
laggy. Splitting things up is the best way to deal with this. the features and keep in mind where bolts and cables will be attached.

Keeping things organised

9 Ive already mentioned that I split everything up into components. I then use a new main assembly where I bring
these all together and update them every time I save a new version. This will enable me to look at the bigger picture. Its
a bit confusing at first and not as fast as working in regular modelling software, but this is just the way Fusion 360 works.

dynamic
sketching
Sketches are dynamic in
Fusion 360. This means
that if you update a
sketch that you used for
an extrusion, the

10 Enhancing the bodywork The smaller details extrusion will update,

The bodys main function is to protect vulnerable 11 Every motor needs power, and every part needs
too. If you gave that
extrusion a pattern then
parts of the drone from the elements. I like to make it fit to be attached to the frame in one way or another. everything will update.
Working from sketches
as tight as possible over the frame and parts while still I really like getting this deep into a design, although its in this way will enable
maintaining an aerodynamic shape. Be sure to hollow not always needed. I try to think about all my parts in a you to change features
it out too, and add a way to connect it physically to the logical way, taking into account the effects of weight, and implement feedback
extremely quickly.
frame. Intersecting geometry is physically not possible. material and force on the device.

May 2017 81
 Workshops

Beginners guide to
using Fusion 360
Want to try Fusion 360 out for yourself? Jort van Welbergen shares
his enthusiasm for the software and some quick tips to get you started

1 WorK From SKETchES 2 populaTE your ToolBar 3 WorK In rEal-ScalE

draw the profiles you want to extrude in it takes time to search through all the Always try to work in real scale or half
sketches in the top left corner. there are menus for your favourite tools. so hover scale. one thing CAd doesnt do well is
sketching tools for complex shapes such as over any tool in the menu until a small scaling. You can save yourself a lot of
centre slots and polygons. in sketch mode, arrow appears. By clicking this arrow you trouble by working to true scale. there are
a toolbar appears that enables you to make can move the tool to the shelf above, so plenty of free models online, and almost all
lines perpendicular or parallel, for example. that it becomes easily accessible. of them will have been modelled this way.

4 understand patterns and linked 5 aDDIng anD SuBTracTIng

actions in fusion 360 this is whats more commonly known as Booleans and
By holding down either Ctrl or Cmd you can apply the action is the main power of CAd. usually, you add or subtract
youve currently selected to other surfaces or edges. try to from a profile sketch. You can also use the Modify>
group as many of these tools so theyre quick to adjust later Combine tool that gives you options to add, subtract
on if you have to. in addition, make use of patterns as much or intersect. in addition, make use of the Keep tools
as possible. theyll greatly speed up your creative process. options. Booleans can also be combined with patterns.

82 May 2017
 In depth Fusion 360

6 travel the tiMeline

the timeline is a tool in its own right.
right-click and select edit Feature to
change any previous step. Clicking will 7 SplITTIng BoDIES
highlight the edited surface. dragging the often designs consist of multiple parts that sit flush in the same shape. this
big line backwards will enable you to go effect is created with the Modify>split body tool. this needs either a profile
back in time and add new changes in sketch, or a profile surface from the Patch modelling mode. You can split with
between. You can even choose Create> several profiles by chaining them with the Ctrl or Cmd key. And if you bevel
Pattern with features in the timeline. these split edges then you can create a photo-realistic effect.

8 coMponents and asseMblies

You can create components by right-clicking a body in the top left area and selecting Create Component.
two or more components form an assembly. Copy-pasting or patterning components produces instances
that work both ways. Work on one and see the other updates. Mirrored items dont work in this way.

May 2017 83
 Workshops

ZBrush, Photoshop & Keyshot

break up &
rebuild your
3d concepts
In part three of John Mahoneys ZBrush series, he
concludes events by taking his character apart

This month, Ill show that your characters never have to be

Artist
proFile you how to take any
ZBrush or OBJ
finished you can continually revisit
them and change them at will.
John Mahoney character and make it Here, Ill show you my method of
location: US into a more interesting, cutting apart my character in a
John has worked in many
eye-catching image. Ill use the methodical way. Ill add a variety of
leading entertainment principals of cubism and futurism to mechanical inner workings with
companies including break apart a figure, to create a much default Insert meshes. The workshop
Lucasfilm, Disney and
Blizzard. Hes recently
more complex presentation. will also cover adding basic
produced Zentropa, his This is one of the key techniques accessories to enhance the concept
own graphic novel. I use to help me think outside of my design. Then Ill move into
http://ifxm.ag/j-mah
own box. Once I start moving pieces Photoshop, taking multiple renders
get your and parts around, other parts of my
brain click in and improvisation
from ZBrush and stacking these
elements in Photoshop for some
resources
See page 6 now!
takes over. The beauty of ZBrush is interesting mixing and matching.

Segmenting an original character

1I start with my characters head and select the head Subtool first. I duplicate the head, go to
TrimRect and cut the first head in half. I then select the copied head and cut the reverse side in half, so
I have two halves on separate Subtool levels. I hit the Transparent button to show which level Im on.
Now I can decide what I want to add to the inside of the split head.

84 May 2017
In depth Rebuild your 3D concepts

May 2017 85
 Workshops

Dividing the waist and adding parts

3 I go through the same process with the waist. Once
Adding a skull inside the head divided, I add hoses to resemble mechanical parts. To do
2 I select the ZBrushs skeleton, mask off the skull and then go to the split this, I select the brush InsertCynendrExt, to draw hoses
masked parts, placing the skull on a separate Subtool. I go back to my female figure, and give my character a robotic look. I divide her leg-
select Append, then click the skull, which appears as a new Subtool in my female pelvis section, cut off part of the pelvis and add more
characters Subtool menu. I select the skull, then resize and move it into my figures mechanical parts. I can add as many mechanical parts as
head. I configure bones to fit my cartoon head using the SnakeHook brush. I like, although I try not to get carried away!

improve your
visual vocab
How do you make your
art stand out? The key is
to expand your visual
vocabulary. Go to an art
museum and seek out
the most unusual thing
you can find there. Do
some sketching and note
likes and dont likes
about them. Dig through
old book stores looking
for something different.
Look at artworks that are
outside of your job
description. If youve
Dividing the chest and arms
never seen it before and
youre seeing it today,
4 I cut off one of the arms and can now reposition it, like a mechanical doll. I add a hose inside the arm area, then
then youre expanding create an opening hatch for the chest. I picture this being where you could plug her in for recharging. I duplicate the
your visual vocabulary.
chest area, cut the hatch area on one chest, and then copy and cut the opposite section on the other chest copy.

86 May 2017
 In depth Rebuild your 3D concepts

Adding test tube

5 Maybe shes looking at a floating test tube and a bizarre creature thats inside it? I find an insert piece in the Insert
mesh brush that looks like a sci-fi test tube. Once positioned, I duplicate it to use as glass later on. I use the TrimRect
brush to cut to the middle area. Next I use the CurveTube brush to draw intestine-like shapes inside the test tube.

Rendering the test tube

6 I have a full test-tube shape on one Subtool layer
and the tube with the creature on another. I select the test Exporting multiple renders
tube Subtool and select Display properties>BPR render 7 I go to Materials and choose any that look suitable for my character. I select
settings>BPR Transparent shading. I click in the upper each one and then hit BPR, before selecting Document>Export. Then I go to
right-had corner of the screen and select BPR. Once Render>Render Pass Mask, and I can now export a mask here. This is the most
rendered, the test tube appears to have glass. I could pick helpful export for my Photoshop renderings. In the same menu, I export the Depth
more transparent sections, but dont want to overdo it. Pass, then stack all the renderings into one Photoshop file.

May 2017 87
 Workshops

Rendering in KeyShot
9 I go to External Renderer and choose KeyShot.
Rendering in Photoshop I turn off Auto Merge, then hit BPR, which sends my file
8 Once I produce a material blend I like, I flatten the image, then duplicate it, to KeyShot. In KeyShot I choose Materials, then drag in
tint one layer red and the other blue. I erase half of the blue layer, so the character selected materials one at a time to see what looks best.
appears to have a red light on one side of her figure. I flatten the image again, soften I choose an environment that gives me the best HDR
it with Gaussian Blur, then add a subtle layer of rust from a photograph. I finally lighting, then go to Backplate and choose a photo of a
add film grain, to give the image a 1980s airbrushed look. rusted wall, which Ive blurred in Photoshop.

tap into new

creative media
Anatomy is a fun thing to
learn, but it isnt the only
thing that can improve
your art. Youll need
many other influences to
improve your art quickly.
Look at graphic design,
study typography,
classic photography,
costume design, wood
working and dance
choreography. These are
all things that teach you
design. Design flows
through all mediums and
once you embrace this,

10 Adding sci-fi hoses

youll be getting new
ideas constantly, from all
kinds of sources. To
Once satisfied with the Photoshop and KeyShot renders. I experiment more with my character in ZBrush. I add
reach your full potential, more hoses and random insert meshes. I just scribble the hoses on, then move then into position. This is the most
no visual stone must enjoyable phase of the process. Im a great admirer of Terry Gilliams film Brazil, which depicts a dystopian bureaucratic
remain unturned.
future that comprises mostly of junk reconfigured in an artistic, creative way.

88 May 2017
 In depth Rebuild your 3D concepts

Finalising characters
11 I open a new project using the DefaultWaxSphere
and choose my final character. I really like the wax look of
this project setting. I go in and fix any tiny areas that look 12 Duplicating characters
Using the concepts of cubism and futurism, I duplicate the character, and
out of place. I add a heavy corrugated hose along the side move one copy to the side, creating a double figure. This enables me to think
of her figure and a large canister on her back that outside the box. The configurations are incredibly stimulating to my imagination
resembles a sci-fi backpack. Here I usually create a and Im surprised what the split heads look like. On my first live-action short films
turntable to record my work for my demo reel. I used to experiment with multiple mirrors, and this image reminds me of this.

dont be shy
How can you retain your
self-expression in a
world thats growing
more conservative every
day? Well, if you choose
to be an artist of some
kind, you need to
express yourself. You
dont have to be right,
you just need to be
honest about what
youre feeling the
moment you put pen to
paper. If youre shy about
a piece of art or and an
idea, do the art anyway.
Remember: you dont
have to show it to
anyone. The important
thing is you allowed
yourself to get it out of
your head. This will lead
to more things coming

14 Choosing the final image out. It will unblock doors

and put an end to
There are several images I like from these procrastination. As an

13 Composing duplicated components

I continue to play with these duplications. I thought
experiments. I choose this one based on the silhouette
and the strange connection between the large female and
artist, the worst thing I
can imagine is simply not
being able to express
I might be able to enlarge one figure, as if shes a giant the little figures. The Borrowers, a film about a boy who yourself because of the
building behind my smaller figures. But when I enlarge discovers tiny people living under a floorboard in his fears and concerns of
one figure, I like how the big head looks next to the small bedroom, is a huge influence on me. In a way, this image what others will think.
Just do it!
figures. It reminds me of the film posters from the 1970s. is a self-portrait, odd as it may seem!

May 2017 89
 Artists
Choice Award
Art resources with a five-star
rating receives the ImagineFX
Artists Choice award!

The latest art resources are put to

the test by the ImagineFX team

producT
6
on TesT s

SOFTWARE BOOkS
92 ArtRage 5 98 The Art of Rogue One
This latest update could be perfect for when Explore the character, vehicle and
you want to create a traditional-style environment concepts behind Gareth
painting, but keep the versatility of digital. Edwards standalone Star Wars film.

95 Black Ink 99 Thrill-Power Overload:

A new kind of painting program, featuring 2000 AD
non-traditional brushes with a focus on Celebrate four decades of 2000 AD
customisation and experimentation. with this in-depth, fully illustrated and
eye-poppingly honest read.
TRAining
97 Creating Props for 99 The Line Art Challenge
Games, Vol 1 Top artists from all around the world share
Environment artist Nick Reynolds shares their fantasy character sketches, which
his knowledge for creating in-game objects. formed part of a unique drawing challenge.

RATingS ExplAinEd Magnificent Great Good Poor Atrocious

May 2017 91
 Reviews

ArtRage 5
natural talent For budget-conscious artists wishing to emulate
traditional painting techniques on-screen, this softwares hard to beat
Price 63; 32 (upgrade from 3, 3 Studio/Studio Pro, or 4); 44 (upgrade from Lite) Company Ambient Design Web www.artrage.com

mbient Designs ArtRage 5 design choices are prevalent The latest version of interface is organised to maximise the

a
ArtRage enables you to
is the perfect program if throughout version 5, which is part of pin references which space you have for painting, but its
you want to sit down and what makes ArtRage such a joy to use, can be resized and no bother to locate an option or menu
manipulated to your
start painting straight Essential options such as tool and canvas, for ease of use. when you need to.
away, but while other painting colour selection are immediately The interface is customisable: most
software boast this ability, under the visible in the interface, while other panels can be relocated from the
hood ArtRage has enough less-frequently used functions are canvas and moved to more convenient
customisable options to make it a concealed in Pods to avoid taking up locations such as on a second monitor,
professional-level experience. too much of your workspace. The and you can scale and rotate any of
The redesigned interface is intuitive the floating panels.
and minimalistic; its designed to
ensure you can focus on your The interface vanishes The tools are located in the bottom
left of the screen, with each tool acting
creativity. The interface vanishes when
you start painting near it so that you
when you start painting near much as youd expect of their natural
counterpart. They each have a number
can put down uninterrupted
brushstrokes, and reappears as soon
it so that you can put down of different useful and realistic feeling
presets available, and you can further
as you finish. These kind of helpful uninterrupted brushstrokes customise their properties by clicking

92 May 2017
 Art tools Software
Artist interview
ArtRage 5 enables you to choose
options such as how much paint is
loaded and how well it mixes.
Phil Galloway
This artist compares the benefits
of traditional and digital mediums

What are your favourite new

features in ArtRage 5?
the new Pencil tool is proving
useful and ive just completed a
full piece using only the Pencil
and watercolor tools. the new
interface is smoother, has more
options for personalisation and is
more user-friendly, yet manages
to feel like a professional tool.
the ability to be able to export
to Photoshop is a godsend the
new version makes this even
easier and swifter to utilise. im
sure the Custom brush tool could
sneak into my favourites list,
though, as i play more with it in
the coming months.

Phil Galloway is able

What would you like to see in
to put his traditional the next version of ArtRage?
art skills to work in
ArtRage, making the
Coming from a more traditional
most of the programs background in fine art im all
default brush set.
about the textures, the malleable
qualities of paint and pastels and
their interplay with each other. so
id love to see more control over
the digital mediums traits on the
canvas, such as thick impasto
paint you could push and smear
with your thumb, through to
dribbling washes and buttery
Features pastels that drip or flake down the
n Tools and brushes
mimic real-world canvas as you tilt it. im still on the
counterparts.
n Redesigned
search for an art app or program
customisable interface. that can recreate the crumbly
n Interface hides when
you approach with behaviour of charcoals, too.
brush stokes.
n Canvas Texture
affects tools. Would you ever switch
n Create multiple
views to paint different
completely to digital media?
areas of your main this is a question i wrangle with
image independently.
the Settings box if you want to start to make the most of your workspace. n Paint with symmetry.
on a daily basis. the main body
fine-tuning effects. The option is there Additionally you can use your n Import photos as of my work is digital and i love
Tracing Images.
to create custom tools if youve got a reference images to colour-pick, to n Import photos as the freedom to experiment
modified brush that works well, but make painting even faster. Reference Images. without fear of wasting paper or
n Multi-touch gestures
youll find a lot of the presets are so Tracing images work differently. to control the interface paint. However, i dont feel i
good at replicating natural media, that They appear translucently so that you and the canvas.
n Create Scraps as
could turn my back on traditional
you may not even feel the need to. can see your painting and use your floating canvases to art media: theres no digital
mix paint.
Another new feature in version 5 is brushstrokes to more creatively clone substitute for the smell of paint,
its ability to import photos or images your photos, while ArtRages System the feel of charcoal on your hands
as both reference images and tracing Automatic Colour selection samples requirements and smudging a putty rubber
PC: Vista, Windows 7
images. Multiple Reference Images can the relevant colours for you. or 8 (requires Desktop around a sheet of nice paper!
mode for Windows 8),
be pinned to your screens so that you ArtRage 5 is straightforward to use 1,024x768 screen size.
can use them as you paint, which is from the outset, with a gentle learning Mac: OSX 10.6 or later, Fine and digital artist Phil
handy in itself, but they can be re- curve. It helps you to produce
Intel CPU, 1,024x768 specialises in pencil and
screen size.
digital portraits with
sized, repositioned and also zoomed fantastic, realistic-looking results, gives expressive realism.
rating
into if you only need to look at one you a lot of customisation if you need
specific area. Again, this enables you it, and is a bargain buy to boot.
www.treebeerdstuff.com

May 2017 93
 COLLECTION FREE
Volume 1 VID
EO
DEMOS

Start painting
your best art!
17 step-by-step workshops
by professional artists
Get to grips with watercolours,
acrylics, pastels, oils and more

On sa l e n ow
Available in WHSmith, or buy direct:
http://bit.ly/pad_collections1 or call 03448482852
 Art tools Software

The more organic feel of the

tools can add interest to all
kinds of different subjects.

Black Ink You can find out what each brush is

Brush safari A new kind of paint program, with non-traditional capable of by using the sliders on the
right-hand side of the screen.
brushes and a focus on customisation and experimentation
Price 50 Company Bleank Web www.bleank.com

ompared to more traditional the planet our astronaut gets stranded

Figuring out what each
C programs like Photoshop
and Painter, Black Inks
brushes feel like taming a
on. Black Ink time, baby! The dynamic
nature of the brushes is perfect
because it puts variation and nuance
brush does can be difficult,
wild animal. Its hard to gauge if this throughout the shapes. but theres a handy preview
would offer much of a benefit during One nice feature is the brushes that
straightforward representative enable you to change colour based on preview window in the main UI that
drawing, but the unpredictability pen pressure. You choose the gradient shows you how they will behave when
of the line work can be great for you want, and as you paint, the youre choosing and you can actually
designing organic shapes and pressure regulates the location on the try it out in that little window, too.
creatures that feature a lot of gradient where youre getting your Black Inks most interesting feature
unexpected angles. colour from. You might think is the Controller Editor. It creates a
If you need to make a photorealistic mastering this would take some time, node map like the Shader Editor in
portrait of an astronaut for class, say, but it actually works great when you Maya, but instead of creating textures,
Black Ink probably isnt going to give want a lot of colour variation without youre establishing the properties of
you an edge over your usual software. repeatedly going back to the palette. new brushes. You can create nodes for
But now, suppose you need to draw Figuring out what each brush does Size, Pressure, Rotation, Add, Subtract,
the crystal-based alien inhabitants of can be difficult, but theres a handy features Distance, Dot, Noise (Triangle, Dot,
n Create new brushes Smooth or Square), Ease Power, and a
using a huge range of
controls surprising number of other properties.
n Modify your strokes Having all the nodes out on the
after you make them
n Dynamic brush tips screen can be confusing at first, but
change as you paint
n Paint directly into
just play around a bit and itll soon
the preview window make sense. You can also adjust a lot
n Brush chooses
colour based on what
of these by editing the actual code,
and where youve though it may not come very naturally
already painted
n Interactive canvas to most artists. Fortunately, theres the
fill textures visual way to do it as well.
system The learning curve is a little steeper,
requirements because the tools are unlike any youre
PC: Windows XP
(SP3), single core CPU used to. Youll want to spend a good
at 1.6GHz, 1GB RAM,
chunk of time just experimenting. We
graphics card with
support for pixel recommend browsing through some
shader 3.0 and 512MB
of VRAM, DirectX 9.0,
tutorials before you get started with a
50MB hard drive space trial version. The trial period is around
rating four hours, which may not be enough
time at Disneyland to go on all the
In the Controller Editor you create new brushes with the same sort of dynamic features as the ones included.
rides, if you know what we mean.

May 2017 95
 THE WORLDS LEADING DESIGN MAG

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 Inspiration Training

Discover how to make a

low-polygon model
look almost as rich as
the high-poly version
you create for renders.

In the first volume of Creating Props

For Games, Nick Reynolds offers a
deep-level exploration of crafting Nicks demos show
great-looking video-game scenes. some alternative
ways to present
raised detail without
adding polygons.

Creating Props
For Games, Vol 1
PROPS DUE Environment artist Nick Reynolds shares years Nicks prop is a weapon-carrying
pack mule that follows the
of knowledge as he creates in-game objects that look the part character around the game world.

Publisher The Gnomon Workshop Price Subscription only (from 40 per month) Format Streaming video Web www.thegnomonworkshop.com

reating a simple prop for occlusion map, for example, so that

C a video game might not

sound like the sort of
in-depth topic that
some light and shade information
is already worked out.
So while the base software used
Artist profile
Nick
demands over seven hours of video
training. But theres far more to it
here is the familiar combo of Maya and
ZBrush, Nick spends much of his time
ReyNolds
than you might suspect. in specialist apps including Marmoset
When youre creating a 3D scene Toolbag and Substance Painter, Nick has extensive experience in
whose visuals are being updated at up although most of the concepts are video game development as an
to 60 frames per second, every applicable regardless of tools. Youll environment artist. Hes worked
element in the scene needs to be built discover a lot of ways to use all the for Sony Santa Monica, Red Fly
for super-efficiency. At the same time, tools 3D software can offer to get Studio, Vigil Games, Red Storm
though, everything has to look great. models looking the way you want, Entertainment and Pandemic
Topics covered
In this video, Nick Reynolds drills n Normal map basics without piling on the polygons. Studios. His resume includes
into the complexity of modern games n Normal maps on Nicks been very generous with major titles such as God of War:
common forms
design and shows what you need n Blocking out his knowledge here, distilling years Ascension, Inertia: Escape
to consider as you work to balance n High-poly models
n Low-poly models
of experience into a few hours and Velocity, Thor: God of Thunder,
detail with efficiency. In particular, n UV maps sharing techniques that go deeper Force Unleashed
n Baking techniques
he explores the core technique of n In-game testing
than your typical reference manual. II and Ghostbusters.
baking, which is essentially rendering His exploration of normal maps in Hes also an
Length
visual information in advance so the 435 minutes particular will enable you to apply his instructor at the
computer or games console doesnt knowledge to any model you create Gnomon School.
Rating
have to calculate it on the fly. You in the future, rather than imitating what
might commonly bake in an ambient
hes done and then getting stuck.
www.artstation.com/artist/nreynoldsart

May 2017 97
 Reviews

The Art of Rogue One

Mission iMPossible Explore the many concepts and behind-the-
scenes insights that helped craft the first standalone Star Wars film
Author Josh Kushins Publisher Abrams Price 25 Web www.abramsbooks.com Available Now

The Art of Rogue One: A Star Wars Story by Josh Kushins and Lucasfilm Ltd. Abrams Books, 2016
he weight of expectation Ive worked on, this one probably has

T that accompanies a new

art book on a galaxy far,
far away is immense, given
had the most art, and thats all
because of Gareth, it quotes Doug as
saying. You then discover how the

2016 Lucasfilm Ltd and TM. All rights reserved. Used under authorisation
how influential the classic trilogys director worked closely with concept
art of books have been on todays artists in both the US and the UK
concept artists. Thankfully, The Art of as both the narrative and the films
Rogue One picks up the lightsaber- designs evolved simultaneously
shaped baton and runs with it. throughout its production.
Following forewords by art director The book follows the films timeline.
Doug Chiang, the films co-production Chapters chart the different planets of
designer Neil Lamont and director
Gareth Edwards, the first text in this
book lists all the artists featured, along
The books main draw is
with their job titles. You soon realise
that Rogue One was a film where
the acres of space given over
concept art mattered. Of all the films to the evocative art
Rogue One and the designs that first
appeared onscreen in each locale,
Glyn Dillon, co-costume designer on the film,
along with storyboards and imagined worked on the look of lead character Jyn Erso.
scenes. This self-contained approach
means you can easily chart a concepts joking when they reveal they drew a
development, rather than have to flick million ships before locking in the look
back and forth through the book to of the U-wing troop carrier.
see its next iteration, la The Art of While the text is comprehensive, the
The Force Awakens. main draw is the acres of space given
Anecdotes a-plenty spice up the over to the evocative art. Each artwork
text. For example, the thinking behind is captioned; mostly just with title and
the Imperial droid K-2SO was to make artist credit (though some are more
him a laid-back character, and so the detailed). And its all reproduced
designer gave him a stoop as a visual beautifully, enabling you to appreciate
shortcut to his personality. Elsewhere, the finer details and be drawn back into
This early illustration by costume concept it turns out that coming up with a the worlds of Rogue One all over again.
artist Adam Brockbank captures the Rebel ship to rival the iconic X-wing
RATing
essence of militia leader Saw Gerrera.
was tricky; the team was only partly

98 May 2017
 Inspiration Books

Thrill-Power Overload
iconic coMic Celebrate four decades of 2000 AD with this fully
illustrated and honest read, updated with six years of new material
Authors David Bishop and Karl Stock Publisher Rebellion Price 35 Web www.rebellion.co.uk Available Now

ack in 1977, few would have

b bet that a small British

sci-fi comic would become
a global sensation and
launch the careers of legendary
artists such as Neil Gaiman, John
Wagner and Alan Moore.
Four decades on and 2000 AD is
alive and kicking, and more influential
than ever. So to celebrate, heres an
updated version of its definitive
history, first published in 2009. In Thrill-Power Overload, former On a more positive note, there are
2000 AD editor David Bishop and also hundreds of illustrations, including
journalist Karl Stock describe in detail single-frames, cover art and full strips,
how the comic was first conceived and as well as a selection of rarely seen
created, and its struggle for survival artwork, all reproduced wonderfully in
over the years. Some candid full and vivid colour.
interviews pull no punches in Its not a cheap buy by any means,
Close-up of Jim Murray describing the antagonisms, the but this is must-read for any fan of this
and Dondie Coxs cover
art from Judge Dredd: industrial action and the creative unique, ground-breaking UK comic.
Lawman of the Future, fallouts that nearly led to the comics
which was based on the
Sylvester Stallone film. demise on a number of occasions. RATing

The Line Art Challenge

skeTcHbook sensATions Top artists from all corners of the globe
share their fantasy character sketches from a unique drawing challenge
editor Eric Ng Publisher Design Studio Press Price 22 Web www.designstudiopress.com Available Now

eres something you dont

H see every day. A softback,

coffee table book filled
with hundreds of line art
sketches and almost nothing else.
Fifteen international artists across
11 different countries were challenged
by the publishers to each produce 100
sketches in 100 days. This wasnt a
competition, though: the artists were
encouraged to share their work online,
and motivate and inspire each other
along the way. In the end, 850 Yes, the project could have asked
drawings were created, and theyre more from the artists: some insights
displayed across this books 226 pages. into how they created their work, and
And thats it, basically. Theres the exactly how they inspired each other
odd rare caption, and each artist gets would have been welcome. Yet if you
a double-page spread explaining who just want to leaf through hundreds of
they are and where they come from. character sketches and become
Spanish concept artist
Isra Carrion says that But in the main, its all about the art: motivated, this book will do the job.
his drawing style is a sketch after line-art sketch of original
mix of Japanese and
western influences. sci-fi and fantasy figures and designs. RATing

May 2017 99
Paint you r ow n

100
iece

p
as terp

ag
m

es!
Including
FREE VIDEO
WORKSHOPS
EVERY ISSUE!

Trial 5
issues for 5
If you like it, your subscription
will continue at just
j 11.00
everyy quarter by y direct debit
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Fun, step-by-step artist insight every month

Tips for watercolours, acrylics, pastels, oils and more
Interviews, features, news and reviews

On sale now
Subscribe at: www.myfavouritemagazines.co.uk/PDWP10
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or call 03448482852 and quote PDWP10

 get your
resources
See page 6 now!

Workshops assets are available

If you see the video workshop badge then you can watch the artist
in action. Turn to page 6 to see how you can get hold of the video.

Traditional Artist
Inspiration and advice from the best pro artists

106 102

This issue:
102 Traditional FXPos
Showcasing some of the finest
traditional artists around today.

106 Pencil and

watercolour art
Animal illustrator Katy Lipscomb
shows how to bring a stylised
wolf to life, using watercolour
washes and coloured pencils.
112 114 112 Core skills: how to
apply your oil paints
Howard Lyon reveals the many
ways of getting the versatile
medium on to the canvas.

114 First Impressions:

Dorian Iten
Passing on his hard-earned art
knowledge to others pleases
this Austrian artist immensely.

May 2017 101

 Traditional Artist FXPos

showcasing The FinesT TradiTional arTisTs

Tatiana Suarez
Location: US Media: Oil, aerosol, watercolour web: www.tatisuarez.com

Tatiana loves to juxtapose the beautiful with the exotic

and creepy. I want to create surreal, ethereal worlds
filled with doe-eyed figures, she says.

3 SwaMP
This painting became part of a group
exhibition to help with the restoration of
the Miami Marine Stadium. I wanted to
leave aside the aerosols and experiment
with a less-saturated medium.

4 caiubi
I painted this piece for the third
annual POW! WOW! X Thinkspace group
exhibition, which was held in Honolulu,
Hawaii at the beginning of last year.

1 Pink Matter
I began moving in a new direction with
this painting. The eyes are getting smaller and
2 Sacrada Vaquita
This work depicts the Vaquita the most
endangered marine mammal in the world in
features are becoming more realistic. Im also the gentle embrace of a saintly figure. The use
introducing aerosol to my oil painting to of watercolour gave the piece a soft and
achieve bright hues that are tricky to celestial feel and conveyed a sense of
generate with more traditional mediums. protection for the creature.

102 May 2017

Inspirational art
4

May 2017 103

 Traditional Artist FXPos
1

104 May 2017

 Inspirational art

Andrea Sipl
Location: US Media: Oils web: www.andreasipl.com
4

Venezuela-born, US-based illustrator Andrea holds

a bachelors and a masters degree in animation,
and a masters degree in illustration.

1 FLiGht oF the eternaL dreaM

Heres the most challenging painting Ive
ever done. My aim was to make it look more
3

classical, but with a fantasy twist. I wanted the

viewer to feel like time had stopped and this
rare, intimate moment was captured.

2 FeatherS oF GeMini
This explores the themes of secret
friendships, a special connection between
women and mystical animals. I wanted to
show these two entities comfortable and yet
vulnerable with each other. 4 the Moon Guardian
I was inspired by Arabian Nights and
Prince of Persia. I wanted to try my hand at

3 SoLiS
This image was more experimental for
a night-time scene and fabric transparency.

me. Its when I started playing with

a softer and a lighter colour palette and
adding gold leaf to detailed areas.
5 auri VeLuM
This painting is part of a small series of
women and their giant Betta fishes. I wanted
their friendship to be based on protection.
The Betta fish is a living golden veil, covering
and guarding her innocence from the world.

Fancy sharing your traditional art with your fellow readers? Then email five pieces of your work and a short
explanation about each one, along with a photo and a few details about yourself, to [email protected]

May 2017 105

 Traditional Artist Workshop

106 May 2017

 In depth Pencil & watercolour

Pencil Watercolour

pencil and
watercolour art
Renown animal illustrator Katy LipScomb reveals how to bring a wolf to life,
using watercolour washes and pencils to create a stylised scene from nature

G
et ready to learn how aRtiSt inSight round brushes to detail brushes;
I colour a howling wolf catalogue your however, much of this is personal
using unconventional art digitally preference. If youre unsure about
methods and materials! I create a digital what to start with, I recommend a
Here, Ill teach you my catalogue of all my size four Round brush and a thin
works, for posterity and
approach for creating my drawings detail brush with a fine point.
just in the case the
using a range of media: watercolours, As for media, Ill be working
worst should happen.
colour pencils and more. I scan my works in at
primarily back and forth between
Ill start proceedings with a light least 300DPI as a PNG watercolours and colour pencils. In
watercolour wash and move towards file. I then crop, rotate, this workshop Ill specifically be
darker heavier marks with colour and colour correct my using PH Martins concentrated Youll also want a cup of water for
pencils. This workshop is focused on image using image- watercolours, but other watercolours cleaning your brushes between
how to colour using a variety of editing software. and inks will do just fine. My colour colours, a pencil for a primary sketch,
materials rather that how to draw. To pencil of choice is Prismacolor an eraser and paper towels.
begin, you should first select some premier soft core, but as with the If youve gathered all of your
heavy-duty paper. I prefer to use watercolour or ink, this is also very materials, clean up your workspace
Strathmore Smooth Bristol board; flexible. Last but not least, Ill be and lets continue to the workshop!
however, illustration board, a hot using a white gel pen and white Katy is famous for her
press watercolour paper or a cold liquid acrylic for finishing touches. fantastical scenes and
press watercolour paper with a Other materials that will be representations of the beauty
smaller tooth will also work.
You should also be ready with a
get your important are an artists watercolour
palette. I find disposable palette
found in feral creatures. Shes
has gained attention from Time Magazine,
watercolour brush. I enjoy using a resources
See page 6 now!
sheets very useful, but you can also National Public Radio and more. See her
range of brushes, from flat brushes to invest in a longer-lasting solution. work at http://katylipscomb.com.

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 Traditional Artist Workshop

mateRiaLS
PaPer
n Strathmore Smooth
Bristol Board
Brushes
n Size 2 or 4 Flat,
Round, and Detail
watercolour brushes
Paints
n PH Martins
Concentrated
Watercolors
n FW White liquid
acrylic
Pencils
n Prismacolor Premier
Soft Core
n Faber Castel
Polychromos
other
n Mechanical pencil
n Eraser
Refine the sketch
n Gellyroll white
Draw a basic outline 2
gel pen
n Water cup 1 I begin by drawing the basic frame of the wolfs
I continue to block out details and define shapes
into more organic forms. Now I have a more definitive
n Watercolour palette head. I find it easiest to block out large shapes when shapes for the snout, ear and fur. Its important that the
drawing, rather than trying nit-pick details when fur feels organic, rather that stiff. It can be tempting to
beginning a sketch. For example, here Ive started with a want to draw pointy triangles; however, try to keep your
circle for the head and a triangle for the ear. wrist loose and let the shapes flow naturally.

Apply a darker wash

4 After my first layer has thoroughly dried, I begin
Begin with a light watercolour wash
3 I always work light to dark when working with watercolour. This is because
adding a second layer to the wolfs fur using more
concentrated pigment. Watercolour is a medium that
I can always add layers later, but watercolour isnt a media that can be erased. In layers beautifully due to its translucency. Even when you
this step, Im starting with the lightest of my watercolour washes. I do this by add another layer, youll be able to see hints of the
thinning the pigment with a lot of water. previous layers beneath.

108 May 2017

 In depth Pencil & watercolour

aRtiSt inSight
Paint realistic fur
The easiest way to
learn how to create
believable fur is to
study photos of fur.
Notice which way the
fur flows over different
contours of the body.

Water
tip
limit your water
applications
When working on Bristol
board, limit the amount
of water you use to
prevent the paper
from warping.
Continue with light washes
5 Put down a fourth wash layer
I now start to work with lighter washes across the
rest of the wolf. In this step, Ive chosen to use a
6 After waiting for the previous layers to dry,
complementary colour (those colours located directly I continue with a fourth layer of wash. Once again I work
across from each other on the colour wheel) on the wolfs from light to dark; this layer is slightly darker and more
chest. Because Im using blue for the top of the wolf, pigmented than the previous layers. I create the illusion of
I choose a golden yellow-orange for the chest. shadows and fur with a few selective dark strokes.

Tackle the background details

7 Im now beginning to add background decoration
using a painting technique called wet-on-wet. I do this
Start on the colour pencil detail
by placing non-pigmented water on the paper in swirling
patterns. When the water is placed in the right locations,
8 After the watercolour has thoroughly dried, I begin using colour pencil on
I then apply the watercolour pigment on to these wet top of the loose watercolour base. I use the pencil to sharpen the image and
areas. The pigment will flow freely and create swirling highlight details that I want the viewer to notice, such as the fur, nose and ear. I use
patterns in the water. a dark brown pencil to accent patches of the wolfs fur.

May 2017 109

 Traditional Artist Workshop

Continue the pencil fur detail

10 I continue to add detail to the fur using colour
Introduce reflective light
9 One way I like to tie the abstract background details to the rest of the
pencils. I add the illusion of detailed fur without actually
drawing individual strands of hair. This can be done by
drawing is by adding the illusion of reflective light. I do this by adding a colour that selectively adding dark accents underneath patches of
matches the background to the edges of the wolf. In this step I add warm yellows, fur. I also darken areas such as the crevasse of the ear, the
pinks and oranges to the wolfs fur. inside of the mouth and the nose.

Colour
penCil tip
dont drop them!
Prismacolor pencils are a
soft lead pencil, so be sure
to keep them secure to
prevent dropping. One
drop can shatter
the lead.

aRtiSt inSight
Burnishing with
colour Pencils
Burnishing is a helpful
technique when using
colour pencils. To
burnish, lay down a
layer of colour pencil.
Next, take a pencil of a
Develop abstract fur patterns
lighter colour and then
firmly press the two 11 When I draw my animals, I enjoy laying down abstract patterns and details to the surface to add visual interest.
layers together. These patterns always flow with the natural forms of the animal and can either be interpreted as adornment or fur. In
this step I use a burgundy and navy blue to bring in these surface details.

110 May 2017

 In depth Pencil & watercolour

Burnish layers with colour pencil

12 At this point Ive built up many layers with colour
Place a pencil layer on top of the burnished layer
pencils. To create a smooth and polished surface look,
I use a technique called burnishing (see Artist Insight,
13 I now have a sleek and smooth layer of burnished colour pencil. At this point,
below left). To burnish the previous layers, take a lighter the fur may look too polished and artificial, which is a common problem with
pencil colour and firmly press the previous layers burnishing animal fur. To combat this, Ill add another layer of pencil detail. The fur
together with broad strokes. now features dark browns, burgundy and navy blue.

Finish the final details

14 During this step I work on finishing my final details
Adding white highlights
with my colour pencils. This includes adding some
finishing touches to the wolfs fur, nose, and ears. At this
15 In this final step, I highlight certain details with white liquid acrylic or a white
point, I use the darkest tones to pull forward areas of gel pen. This includes adding white highlights to the nose and lips, creating the
importance. For me this includes the eyes, nose, mouth illusion of wetness. I also add highlights to certain patches of fur. Lastly, I add white
and certain patches of fur. highlights to the background for a magical atmosphere.

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 Traditional Artist Workshops

Core skills: Part 3

How to apply
your oil paints
Howard Lyon continues his five-part series that will help you begin using oil paint.
In this instalment he explains the many ways you can apply oils to the canvas

O
il paint is wonderfully However, you can use oils without as long. It wont retain the peaks of
versatile. It can be adding a medium. Most of my work the brush strokes, but will level out.
applied in thick is done with paint direct from the Paintings are generally more
expressive impastos, tube. Some mediums are added to interesting when you use a variety
or thinned down and shorten or lengthen drying times; of techniques when applying paint.
used almost like watercolours. It can others change the characteristics of Its another form of contrast that
be brushed or scrubbed, knifed on the paint. Paint out of the tube is provides variety and complexity.
or scratched out, applied in washes often called stiff or short, and will Howard has worked as an
or painted in patches. There are retain your brush stroke especially illustrator and art director,
what seems like an endless variety with coarser brushes. If you add fluid as well as a fine artist for
of mediums and additives you can medium, such as linseed oil or galleries and collectors. You
work with to create different effects. turpentine, it becomes whats known can see his art at www.howardlyon.com.

Paint applied Paint applied Paint thats Paint thinned Paint applied A generous Thick paint Paint scraped
thickly with a thickly with thinned with with Gamsol, thickly and amount of paint applied with a across the canvas.
bristle brush a synthetic Gamsol and dabbed on then mopped applied delicately knife by pressing Notice how it
a short paint brush. then applied with a bristle on with a with a knife. straight down and describes
stroke. Note with a synthetic brush. Feel of bristle brush. lifting straight up. the texture
its specularity. brush. watercolour. underneath.

Note the variety of paint strokes

and paint surfaces in paintings by
Herbert James Draper (left) and
Jules Bastien-Lepage (right).

In this detail from a Bouguereau

painting, you can see how
he created a rocky dirt effect
by knifing on paint.

Different brush effects Using palette knives

1 Depending on what type of brush you use and how hard you press,
2 Palette knives arent just for mixing paint. In fact, youll
oil paint can look very different from one stroke to the next. In addition, see some knives marketed as painting knives. Really, just use
adding thinner or medium to the paint, as well as changing the angle of the whatever gets the job done. Ive used large, plastic putty
brush, will alter the texture and impact of the mark. trowels for creating rocky textures in some larger paintings.

112 May 2017

 Core Skills Apply your oils

My favourite medium is
five parts turps, one part
Damar varnish and one
part stand oil, by weight.

Ive used a rubber- Apply paint and Wipe paint off

tipped colour then subsequently using a paper
shaper tool to add scrape it off with a towel and with
a scaly pattern to palette knife. varying pressure.
this paint swatch.

Notice on the wall

how Bouguereau
scraped paint thinly
over the underlying
layer to create a
stony texture.

Painting
tiP
Work Without feAr
Take the time to see what
your paint can do without
having any expectations
in mind.

Scraping the paint Different mediums

3 Removing paint can sometimes be as effective as adding paint. Ive
4 Dont become overwhelmed by the variety of mediums
used cotton swabs, old brushes with dry paint in them, rags, knives and out there. Heres a photo of some of the painting mediums that
toothpicks to remove paint for effect. There are also rubber-tipped scrapers Ive tried. Enjoy the different effects you can achieve, but dont
sold in art stores that work well to this end. be afraid to keep things simple or simply to experiment.

artist insigHt
Let paint be paint
Oils are at their best when theyre
D A. Paint applied with a
allowed to be paint. Dont work too hard
palette knife.
to remove brush strokes and texture. Let
A B. Paint applied with the paint be a record of your actions.
turpentine and a brush.
C. Gamsol flicked into
B a thin film of paint,
creating texture.
C
D. Paint applied to tinfoil
and then pressed on to
the canvas.
E. Paint applied with
a soft paper towel.
e f
Getting creative
F. Paint allowed to drip
with turpentine. 5 Dont feel limited to just the
G. Thin paint wiped on tools you find in the art store. In the
with a cloth.
past Ive used tinfoil, plastic wrap,
G H. Paint applied to a toothbrushes, my breath to blow
piece of plastic wrap
and then pressed to paint around, fingers and other
the canvas miscellaneous tools. Norman
Rockwell used anything around
h at the time, including sand, fur
and straw to add texture.

May 2017 113

 Traditional Artist Interview

First Impressions
Dorian Iten Concept artists dont need in-depth
Passing on his anatomy knowledge yes or no?
My gut reaction is to disagree.
knowledge to others Knowledge is power. Studios hire
pleases this Austrian people who can create believable
designs. My relationship to art is all
artist immensely about drawing from a deep study of
nature. That said, if I broaden my
Where did you grow scope from simply doing a job to
up and how has this making innovative discoveries, Im
influenced your art? sure there are examples of concept
I was born in Austria, artists who are empowered by their
but grew up in a rural ignorance of classical information.
area of Switzerland. I remember
roaming the fields and climbing How much enjoyment do you get
through the forest undergrowth. out of producing teaching courses?
The tiny house we lived in was over Profound enjoyment. I cherish the
200 years old. Being a child in that freedom of developing my own
environment, I forged a deep materials and love the process.
connection with the natural world. When I edit videos I lose myself in
Books about faeries, gnomes and the work. I also like the challenge of
magic spurred my imagination. changing hats. In the morning Im
an instructor, in the afternoon Im
Youre a child, you see a painting or CeeCee an editor, the next day a marketer,
A student piece from Grand
drawing that changes everything Central Academy in New York. programmer or accountant. It always
what are you looking at? Pencil on paper, 2011. stays interesting!
I dont remember any moment like
this as a child, but I had a powerful
experience when I was 21. I had just
I felt as if my artistic Whats the most important thing
that youve taught someone?
moved to Florence, Italy, to start my
academic training. One day I visited
ancestors reached out to I think the most important thing
that Ive been able to impart is
the Cenacolo di Andrea del Sarto, a welcome me as one of them confidence. Its a beautiful thing
small museum near my apartment. when a person begins to trust in
As I walked past all the frescos, I felt studio has travelled with me to their own ability and stops relying
as if my artistic ancestors reached different cities and countries. Each on teachers and other external
out to welcome me as one of them. place changes how it looks and feels, authorities. We must dare to make
but usually my work area is very our own decisions. Only when
Did other interests vie for your organised. I like to have a few we take responsibility can we also
attention as you were growing up? original pieces by friends up on the take credit.
What was the deciding factor? walls, as well as prints of favourite
When I was 14, I launched the images from Old Masters and What advice would you give to your
first version of my website. I had contemporary artists. younger self to aid you on the way?
taught myself HTML and CSS, and First, its okay to be quiet and
enjoyed working with computers so Is your art evolving? Whats your introspective. Dont beat yourself up
much that I considered studying to most recent experiment? over it. That said, share what you
become a mediamatiker (a media/ I think its always evolving, think and feel, because the world
technology specialist). I was sometimes faster, sometimes slower. will reflect valuable information
probably on the fence until age 17, Im currently exploring a project that back to you. Second, read less and
when I found out about the atelier involves a 3D scan of myself. It do more. Third, be courageous. Be
schools in Florence and decided that might turn into a 3D print, a courageous. Be courageous!
I just had to go there. painting, a VR experience, or all of it Dorian draws, paints, sculpts and teaches.
at once. Im often pulled by many He serves as the Digital Art Program
Can you describe the place where Sylvia interests, which can be frustrating, Coordinator at Barcelona Academy of Art
you usually create your art? A student piece from Angel but right now Im appreciating the in Spain and publishes free drawing tips
Academy of Art in Florence,
For much of the past 10 years, my charcoal on paper. richness of my work and play. every Friday at www.dorian-iten.com.

114 May 2017

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