Professional Documents
Culture Documents
Artist insight
BECOME A
BETTER ARTIST!
Get to grips with fundamental skills you need
to improve your art. 40 unmissable tips on
colour, tone, anatomy and lighting
o become a great artist, you
need a solid grounding in
the basics. Theres no point
trying to be a comic artist
for instance, if youre knowledge of
anatomy isnt all that. Similarly, how
could you ever expect to be a concept
artist without an understanding of
Rebecca
Kimmel
COUNTRY: US
Rebecca
Kimmel runs
the Artistic
Anatomy and
Figurative Art
forum on CG Society.
Her website has become
a valuable resource for
artists studying life
drawing. Artists of all
levels are welcome to
take part in workshops.
http://forums.cgsociety.
org/forumdisplay.
php?f=177
92
June 2007
Philip Straub
COUNTRY: US
Philip Straub
is Art Director
for games
company
NCSoft. Hes an expert
in colour theory, and has
worked with Universal
Studios in the past.
www.philipstraub.com
Marta Dahlig
COUNTRY: Poland
Marta Dahlig
was born in
1986. She is a
talented artist
and freelance
illustrator, and is a
regular contributor
to ImagineFX.
www.marta-dahlig.com
June 2007
93
Workshops
TOP TEN
COLOUR TIPS
Art Director Michael Dashow shares his favourite tips
for effective use of colour in your artwork
1 CONTRAST
Colours on opposite sides of the colour
wheel stand out against each other.
Use this contrast to call attention to the
focus of your painting. Balance intense
colour with more muted other colours
in the background.
2 COLOUR VARIETY
Objects in nature incorporate a variety
of colours. Paint natural objects with
many similar colours. Especially keep
this in mind when painting skin. Areas
where the blood is closer to the
surface show more reds. Areas around
the eye reveal more purples.
3 COLOUR MOODS
Choose colours that best convey the
mood youre aiming for.
Strong reds get the pulse
going, and impart a sense
of drama or danger. Cool
blues and greens have a
more calming effect.
5 DRAMATIC SKIES
8 SIDE LIGHTING
Rather than just using a single light
source, consider adding more light
from a different direction. The
additional light helps round out the
forms more, and can also have an
exciting colour impact.
10 TEST IT OUT
94
June 2007
6 POSITIVE/NEGATIVE
2 SHADOW If an illuminated
object is more or less opaque,
when the light is obscured by
that object, the resulting shadow
is a darker version of the objects
colour. By virtue of shadow, all
objects of nature assume form
or shape.
3 HALFTONES Halftones
that utilise texture and colour
should be used in the area where
light affects the surface of an object
and should be made brighter than they
appear. Those that describe form
should be applied to the shadow area
of the object and should be darker.
4 FORM Its possible to have form
without line, and to have
line without form, but
usually where one exists so
does the other. Id argue
form truly defines the
shape of an object.
9 BACKGROUND, MIDDLE
GROUND, FOREGROUND
10 LINE
June 2007
95
Workshops
6 SHADOWS
8 GOLD EXPLAINED
3 COLOUR CHOICES
4 CONVEXITY
Sketch an objects most convex places
(red lines). After you choose a light
source, mark the highlights
(white lines). The most
convex areas are going to
be the most highlighted,
and will also create a slight
shadow (blue lines).
10 TEXTILES
Different textiles react differently to
light. Silk highlights are bold and
strongly separated from the shadows
with a fast, smooth transition. Linen
highlights are much more diffused
and the transition is seamless.
5 REFLECTED LIGHTING
One of the crucial things for a painter to remember is that all objects interact with
each other by reflecting light rays that fall on them back on to other objects. In
practice, you can easily implement this effect by adding some extra coloured
shades with a low opacity brush (see arrows below for examples).
Here you can see, by following the arrows, how the dress
interacts with the skin and the skin with the dress. This was
done by adding some extra shades with a low opacity brush.
96
June 2007
TOP TEN
ANATOMY TIPS
Learning to draw anatomy is a lifelong process. Rebecca
Kimmel offers some wise words to get you started
1 BASIC SHAPES
6 SKETCH ANATOMY
2 LIFE DRAWING
7 MASTER COPIES
8 IMAGINE
4 STUDY GESTURE
5 TIMED POSES
Draw and paint in timed
exercise sets of two, five, ten
or 15-minute poses. Usually a
rendered drawing turns out to
lack the life and vitality that a
fast sketch captures.
Remember that you are half
of the life in a life drawing.
June 2007
97