AS ata oee bee eatesiay operas cea nr sea a dralvinG? ee ie sane) yf yoden (aa aka cA Tasik Cheye, sa© 2010, 2011 Walter Foster Publishing, Inc. Artwork © 2010 Mike Butlus. All rights reserved. Walter Foster is a registered trademark. Project Manager: Elizabeth Gilbert Designer: Shelley Baugh Production Design: Debbie Aiken Production Managemont: Lawrence Marques and Nicole Szawlowslei Digital edition: 978-1-61059-861-3 Softcover edition: 978-1-60058-197-7 This book has been produced to aid the aspiring artist. Reproduction of work for study or finished art is permissible. Any art produced or photomechanically reproduced from this publication for commercial purposes Is forbidden without ‘written consent from the publisher, Walter Foster Publishing, Inc. ml a IFANTASY UVDERC ROUND Weve fa Pyave ZONBIESabet S. Producing. Wo Se 5 Ghaptex(J: Zomble Basicay. JG 6 Bombe Hphomat tee ee tee we 8 Anatomy ofa Monster... ........-.---- 12 Focusing on Featurese 0... eee eee “4 Zombie Byolution 4. 0. ee ee ee le Survgmbtacteey. oh es 8 Setting the-Stages.. 6... ee ee eee 19 Chapter 2/\Drawing Zombies... ee 20 Drawing Mapétials 79 «+. 55.5 +++ ees 22 Zombie Beauty Queen... ..........00- 24 kamen eye 5 ff. MR. ss os 6 ge els ww ewe 32 Teenage Zombie Killer... ............-. 38 Snowboarding Zombie... 6.1... ee eee 44 Misty GraveZombie. ..........52-005 50 ATMO, ee eee 56 Chapter 3: Painting Zombies... ......-...-- 62 Painting’Materials............-+..0.. 64 Wicked Zombie Portrait ...........-0-5 66 Zombie Goth Girl . 2... 1. ee ee ee ee 7 NopdsohBaoll gerbe. a bene ete 78 ZoeabiePet\ oe et ee ewe 84 Midnight Snack. 2... ee ee ee 90 Chapter 4: Zombies & Digital Illustration. ...... . 98 Digital Illustration Materials. ..........-.-- 100 Zombie Romencay . 6. 6 0 oe ee ee wee 102 Vooddo Queen)... eee ee eee 108 OREO Se SeE ce of ess wits) Jai aisle (deus) © he 116 Great Zombie Apocalypse... .....-.---.-- 122 The Nightmare Ends... .......--0--0-- 128Chepter |: Zamfi e fasics. The Nightmare Begins + They were humans once, these beasts that populate the cinema screen, the modern novel, and the occasional nightmare. They lived, they laughed, they loved, they died—then a legendary plot twist came along: they didn't stay in the grave. They ae eee e e@ ‘They became zombies. Risen from cometerias and tombs, these are the walking dead. if this myths ouster hoops you awake Megat Oigeeeacee tecaliss it contalne aivera of all the scarica lenepae las weenie J Kaa been lcaed ingsthen& la Preakenstcels Att Oa y ‘outands of youre. Syathed in tattered bualallEHEie, (he scmble MER fecbsae ois eclactivs sxatlocies cf anceateal MINES wasn, gE (az cf daaiiz Te hes walked Varough tha 0 Alem ices ot % ocHkAa N $A Snpland, Germany, Romania, Iceland, Brasil) Made Wert ees Ee. BD sad tue United Gates before reaching the cae eatameeen SE George Romero's 1968 film, Night of the Living Dead. You might think these creatures fret launched tato thd pully ares the 1932 movie, White Zombie, starring Béla Lugosi, or tae 1936 film, Revolt of che Zombies, But in truth, the macabre roots of the zombie legend beyan long, long ago, in an age when all our iiclesteec off tal valepers, ofa saea gad pemes ercet in four of the capricious gods they worshipped. Back to the Past ‘The zombie legend began with legendary beings: the gods of ancient Greece, Egypt, and Sumeria, In the ancient world, it was believed that only a god could travel the distance from death to life. Like forbidéen fruit, this was not the stuff of mortals. In Greek legends, love drove Orpheus on | his journey to the underworld, where he tried to rescue his dead wife, Eurydice, He almost succeeded in bringing her back but failed by disobeying Hades' orders and glancing back at his wife before she crossed into the upper world. ‘A somewhat similar Egyptian love-story-wrapped-in-myth tells of the god Osiris, murdered by his brother Set, then magically resurrected by his sister and wife, Isis. As time passed and this story was retold, it metamorphosed, firstgranting immortality to Egyptian kings, and then later, in the New Kingdom era (Ith century B.C. to the 11th century B.C) to all people who knew and performed the proper rituals This is the twisted path legends often take, changing slightly with each retelling. As time passed, stories began to spread throughout the world about others who had returned from the dead. From the Sumerian tales of the god/king Tammuz rescued from the underworld by Inanna to the Hebrew Old Testament stories of Eitjah and Elisha raising children from the dead to the Celtic ceremonial slaying of an aging king in the belief that his spirit would then | inhabit a younger king, death was now scen as a door i that could swing both ways. Unfortunately, once it began to swing open, what walked through wasn't always friendly. Common Ancestors ‘Today, those of us living in the Western world view ghosts as insubstantial and without substance. But this wasn't always the case. This particular viewpoint of spirits didn't become popular until the Victorian era. Before that, the returning dead were believed to be corporeal creatures with the ability to do harm or good—although they seemed to opt for harm more often. In Romania, these creatures were called moro! (benevolent spirits), or strigoi (malevolent spirits). When believed to be departed family members, these emissaries of the returning dead were often invited into homes and given a meal. This particular wraith is a common ancestor to both vampires and zombies. In Iceland, the Vikings believed in draugars, corpse-white or coal-black creatures who returned from the grave with malicious intent. Many of the Sagas of Icelanders from the 9th to the I4th centuries A.D, like the Laxdoela and the Byrbyggia and the Grettis, include tales of dead men coming back for vengeance or sport. It was believed that the Graugar could eat the flesh and drink the blood of their victims. ‘During the 2th to the 15th century, both England and Germany joined in on the telling of tales, with medieval ghost stories written by monks, courtiers, and churchmen. English writers included William of Newburgh (1136-1198), a Yorsshire canon who wrote that ghosts attacked people and drank their blood, and the 14th-century monk of Byland Abbey who wrote of James Tankerlay, an infamous ghost who returned from the grave to attack his former concubine. Walter Map (1140- 1210), courtier of King Henry II of England, wrote some of the eazliest vampire stories, while his conternporary, William of Newburgh (1136-1198) wrote of medieval revenants, corpses that returned from the grave At this point, the door to the world of the dead no longer swung open on occasion, It had been left ajar. These ghosts and spirits of written folklore had physical bodies—they could eat meals, Grink alcohel, and get in fights with humans. Like disobedient children, they refused to stay in the tomb at night, preferring to earsuse and stir up trouble. Consequently, their rotting bodies were often exhumed, then burned, staked, or chopped in bits, sometimes replete with a ceremonial beheading, similar to what we associate with vampires today.Cannot Rest in Peace By the 1800s, ancther phenomenon began to stir the imagination and, subsequently, found its way into the pages of literature: Catalepsy, a physical condition that produces muscular rigidity and an appearance similar to death. Today, doctors believe catalepsy is associated with catatonic schizophrenia. Unfortunately, this condition went undiagnosed and untreated in the 19th century and because of it many sufferers went to an early grave—while still m alive. Tormented by this fear, Edgar Allan Poe wrote The Premature Burial and The Fall of the House of Usher, This affliction also found its way into stories by Alexandre Dumas: The Count of Monte Gristo; Arthur Conan Doyle: The Adventure of the Resident Patient; and George Eliot: Silas Marner. Real tales of catalepsy circulated as well. In the late 1800s, a woman named Constance Whitney perished, or so it seemed. While still in her coffin, a sexton tried to pry off one of her rings. He accidentally cut her finger with a blade. At this point, she woke up, gave an audible sigh, and then Went on to live for several years. A similar tale arises from Northern Ireland, where the body of a wealthy woman was exhumed by thieves. While attempting to steal one of her rings, the “dead” woman revived. The terms “undead” and “back from the dead” began to take on new meanings. The line between life and cath was blurring, setting the stage for the final act in this monster's journey. — Voodoo In the late 18th century, a Haitian slave uprising and a spirit-based belief system known as voodoo worked together to create an atmosphere of danger and dark magic— the perfect ingredients for the zombie myth to flourish, This belief system traveled from the tribal villages of Africa to the sugarcane plantations of the Caribbean, assimilating many Catholic customs along the way. It took roct in Haiti (then known as Saint-Dominguc], an island where the slaves coon outnumbered their owners by 10 to 1, Ultimately, voodoo became a political device with “priests"— or houngan—urging their followers to war against their owners, For some time, the Caribbean plant: ‘owners worried that their slaves might rebel—a fear that manifested itself in Haiti in 1791. In this uprising, two different island voodoo traditions, Petro and Rada, joined forces, targeting the petit blancs and the plantation owners, These uprisings continued until 1804, when Haiti became an independent republic. Fear played a large part in the 15-year revolution, and as a result, zombie myths began to circulate throughout the Caribbean and France, Outrageous stories were told about how the local Haitian houngan employed dark magic to raise the dead, thus ‘creating their own soldiers to war against the militia, Rumors of cannibalism spread ei Teall ias well. Initially, these rumors were created to ‘cause animosity toward the local Creoles and to help quell the rebellion. Oddly enough, these rumors were the labor pangs that would give birth to the monster that now lumbers across our modern cinema, The Zombie Slave ‘Voodoo legends continued into the 19th century, claiming that either a bokor, a houngan, or a mambo could raise the dead and make then do their bidding. Since that time, stories have been told of mindless victims found years after their supposed deaths, stories like the Haitian tale, later proven false, of Felicia Felix-Mentor, allegedly found wandering about in a trance-like state 30 years after her burial. Or the tale of Ciairvius Narcisse, who supposedly died in Deschapelles, Haiti, on May 2, 1962, and was later found, alive, in a village in 1980. Narcisse claimed that a bokor had given him a poudre. After this, doctors declared him dead, Narcisse was buried, and later “resurrected.” Drugs given to hhim on a regular basis had allegedly numbed his senses and turned him into a zombie, after which he was sold as a slave to work on a sugarcane plantation. Hoping to discover a new medicine, Dr. Wade Davis spent years investigating the various zombie powders used by bokors, then recorded his findings in The Serpent and the Rainbow and The Passage of Darkness. Davis concluded that a drug, or several drugs combined, had caused Narcisse's condition. His theory, based on samples collected while in Haiti, stated that bokors combined tetrodotoxin (from pufier fish), toxins from marine toads, various lizards and spiders, human remains, and sometimes even ground glass to create the powder used in their rituals. Despite Davis' research, the drug used to turn Narcisse into a zombie was never scientifically documented or proven. Nonetheless, by this time, zombies had already achieved a level of notoriety, becoming the monster muse for both screenwriters and novelists. In 1929, W.B. Seabrook led the pack with Magic Island, a steamy voodoo tale set in turn-of-the-century Haiti, A flurry of movies followed that captured the essence of the voodoo zombie slave: Waite Zombie in 1932; Quanga in 1936; Revolt of the Zombies in 1936; and I Walked with a Zombie in 1943. Then the mood changed in 1968 with the cult classic film, Night of the Living Dead, when George Romero introduced new elements: cannibalism, science fiction, and the zombie apocalypse. Heavily influenced by I Am Legend, the 1954 vampire novel by Richard Matheson, Romero's tale no longer relied on voodeo or sorcery to raise the dead. Likewise, today, the modern zombie often bears the scars of science gone wrong, with resurrection caused by anything from outer space radiation to toxic gas to an incurable virus to a mysterious cell phone signal. Like the birth of Mary Shelley's masterpiece, you can almost smell the electricity crackle as new ideas emerge. The legend continues to change with each retelling, as new books and movies grant the undead zombie new abilities—now he's agile, now he's intelligent, now he wants equal rights, At this point, the zombie-returned-from-the-dead can be worked into almost story or portrait, From Jane Austen and Seth Grahame-Smith’'s Pride and Prejudice with Zombies to Max Brook's World War Z, the grave is the limit. It's time to start digging.t Arafony of a Mongfer Classic zombies Walk with a shuffling gait, all limbs stiFF, movenent awkward, laborious and slow. The stumbling corpse out For revenge may have originated in Boris tarlof F's interpretation of another monster in the cult-Favorite 1132 movie: The Mummy.ccugng 0 the Features Every zombie starts asa normal human, then suiftly transforms From gorgeous to grvesone, To create your ovn undead monster, remenber to pay close attention to the bone structure oF your character. As the stin decays, all sorts of st-eletal anatomy, sagging Flesh, and broken bones will be exposed Eyes Eyes say a lot about a person, or creature, so use this as an opportunity to express the true nature of your character. Begin by drawing a ball—this will remind you to “wrap” your lines and values around a 3-dimensional form. For an attractive human ‘eye, the iris will remain centered in the white when it looks at you, leaving just a bit of space between it and the bottom lid. For the zombie eye, move the iris so far up that only the bottom half shows. Then, draw in extra creases and wrinkles on the top and bottom lids, showing that the zomble has been missing his beauty sleep. Also, for a gruesome touch, you can add additional fluld and goo leaking from the inside of the eye. For a more ‘wicked zombie, simply pull down the top lid, narrowing the inner cantius into a skinny slit,ands As the flesh of the hand Ddegins to disintegrate, you'll find that the ligaments and bones create a network of Jong, thin lines. Keep the fingere curled and the tipe pointed for good measure. ‘When drawing the zombie facial features, start with a generic drawing of a human face. For example, a normal nose has a bottom that typically runs parallel to the floor. In contrast, when drawing a zombie, give it a severe pug nose by pulling the nostrils up high and flattening the apex. For the zombie's mouth, pull the lips back to reveal crooked and deformed teeth.. Zompie Frofirfion The classic Zombie no longer dominates the landscape in monster lore. Today nev! Variations continually spring up, lite corroded Inks in an evolutionary chain gone awry. Tattered skin and exposed bone may always be in vogue, but the rest of the zombie pactage is open For interpretationNs. every good Zombie story, there comes a point Where running away From the monster Syst ion’t enough. The bad guy needs +o be destroyed. Unless You set him on Fire, this undead creature ull only return to the crypt iF his head is blown of F, evt of F, or crushed That means your protagonist will need an arsenal oF guns, Knives, or hatchets iF he hopes te live. Here we see some of the more effective weapons that have been used to dispatch the local zombie over the years. As with any drawing, start off with the simplest of shapes that represent the subject, for example, circles, cylinders, and rectangles. Keep the following three things in mind when creating believable weapons or gadgets: + Number one: Keep the lines crisp and clean. + Number two: Always imagine the forms are solid masses so that you can shade and add value accordingly. + Number three: The perspective must be accurate, As long as the perspective is correct, you can exaggerate the foreshortening, making the drawing more dynamic.effing the Bacl-ground elements play a major role in mating your Zonbie illustration look. real. Spooky details, lite a menacing tree or a creepy seider, help to male Your imaginary World more real. Tombstones and crypts, the resting places that all zombies have Forsaken, provide visual reminders that these creatures have Supernaturally risen From the grave. Tree Next, we're going to create a tree that would look perfect on a zombie's front yard. Begin with some simple linear shapes for the trunk. We're going to draw a very human- like form, reminiscent of the trees from your childhood nightmares. Once you're satisfied with the line drawing, add some organic curves and folds to the tree, similar to what you would find on a long robe. Leave the branches bare and keep the ends sharp, like claws. We want this tree to have a form similar to that of a headless zombie. ‘ step four 1's extremely important :o keep your pens sharp, espetaly when drawing at this size and when wsing vellam paper. It's best 9 ase an lectric sharpener that produces very sharp tips (preferably toa I6-dopres Pulat). Next, ase 600i sandpaper to farther sharper the pene. Ts also Creates wchiesud olgn wes nts 8 aetes bo cy fh width of yon Iie as you drav. 4 Step Five Next, ast adding tone and detat to the structure on the somble aide of the vixens face, making sure that i Toes tellevabie.deen aetag err os a cig a gh ie cs oictres ear eget, uy cst Corsica Tea ey eae ocr ececaee ar diet ere aly hors, yet wall-dergnad shaper Books: Mabie tslands 1929 by W.8, Seabrook The Rising; City of the Dead: boty by Brian Keene Gels2006 by Stephen King World War 2: 200? by Max Brooks ihe Zonbio Survival Gutdes2003 by Max Brooks Zonbie Haikus 2008 by Ryan Mecum Pride and Prejudtee and Zombtes: 009 Monstor Island; Monster Na ttons Nonst: ‘The Restless Dead: 2003 by Hugh b. cave Arrow Comtes: tmage Comics: The Walking DeegStep Ton This my stucto step, On the left, Thave both may referenet material and the beginning stages of the drawing, Tork off the ‘mie screen, and refer (9 the original as T work. {Step leven Next using te levels tool (page 191), darken tha ppl Tastee by about 20%, Ths immediatsiy tives the mid value we need within ppeicg cof tae darkening the actual drawing. ‘Thales the erseoe tal it a set edge (page 101) to bring fut the highlights ‘Note aye aed epole of rtlng ash over the sear ad coat Tha geval pact about ading deine ial fe that you can be experimental; your changes are not permarest, 9 long as you don't save 0~ SS as Step Twelve Une the eraser tool to pal ot stsinge of flak on the zombie ide of the face You can als fase the eraser some energy and textare fn ta alr and sky ‘thus giving a to our zombie > Stop Fourteen Again Using the dedge tol, Mow fat the background — fnly uae a muck bigger ameter this time Tis will bring the zamnbze forward and provide « more exciting contrast ‘Once al thie i te blur tool 10 act the edges and create ‘an almost photographic ‘quality. In this Tustration, 904 of the drawing wae doe atonal whe were spent on the computer Sheen a Ceri Ret letegyae athe ‘aig ane trig ot ) etigulgte ote tye ree an theiprteaba eee ‘ja te sir erent rs Glaser, P ZOMBIE LAM | whether part of the on-going legend oF actual historic Fact, the possiblity oF « Haitian law! against creating zombies certainly adds Fuel to the Foltlore Fire. Supposedly put nto effect in 1655, the Haitian Penal Code, Article 2G, made its way into the book, White — Zonbie: Anateny oF a Horror Film by Gary Pon Rhodes. Below is 0 quote: “havtian Penal Code: Article 244. ¢ shall also be qualified a5 Sr attenpted norder the employment which moy be made against any — person of substances wich, wethout causing actual death, produce Mlethargic cona more of less prolonged. WF after the person had been buried, the act shall be considered murder no patter what result Fallows.”You can accomplish o lot with a little help From Your Friends. Here ve see 0 Zombie escaping From the grave, watched over by a crowd of Nis undead pals. This black and white illustration vill Focus on how to erente a dynamic composition. Materials * Gessoed two-ply white illustration board (6.5" x 11") + Black indelible felt pen + Lamp black gouache + Permanent white gouache + Colored pencils: black, white, & 30% er + #5 brush + #00 brush + #2 pencil + Old toothbrush ‘Step One This ie the thombaail for ou next ction te WHEE Gl bs focsge ynamie cempesiticn ‘tap Two This prec invelves a fan and quek techniqns, On @ gessoed boar, start the drawing with a #2 pencl, sing on the eorapeattion of the thurmbeal (You can tranaer this acetchs see “Transferring a Drawing" on page 25.) ‘Step Taree With your Hine drawing in place, vas the back fat pen to @ over the drawing, making Rise your lines ane shapes are excting and fal of enarryjes have changed. I{A Step One We begin the pine by working (ut the aketch on tracing paper. > StepTwo Once youre happy sith your concept, tranala the srnage orto vellum paper, See MTranefersing « Drawing" cn page 25) Then, create linear sketch ‘sing a black colored pene. Orce suing emocth and consistent strokes. Te add more cepth ‘2 these shadowy areas, start patting in sotie darker ecceata Fee ‘example, focus on the eye sockets, {he ieee ofthe mctthe and corners of the eyes. Note: Always keep your pencil sharp when eg oe Pale a a lnather 20 or 20 shests of vellum Seder you illutration to give ‘your panel, a slight tounce aad the Araving a Yereary" toxtare. Teenage Zon C Kifer Cy Buk Fy the Vampire Slayer has nothing on this teenage high school student, ready to single-handedly take on a Zombie horde. This 6 a heroine Worthy oF er oun graphic novel, and her innocence makes a nice contrast with the monsters she battles. Materials * Black colored pencil 30% cool gray pencil ‘+ Multimedia vellum paper (9" x 12") © Tracing paper (15" x 20°)Step fone For 2 sept Fo ey conte tite dwn he rater wee woe ‘of the tine from sf tit i ese rm The ine ring the energy of sa erg 4 breaks 9 with her: in chines and Wis breath malls worse *han ee voc zee even HF YOUCE fants Xo. ge OF cat. But your ont ign’ de08. cpaaoareee°C032939) and “yoommmnpreeh™ in Nigebra. Doesnt even conenber what xo bury Your 2284 1. eke starts t2 say XNA Wwe, 4.tte con't cemenber the anstlers higedra €. one oF Wi 4g, Ghe starts to hans drool when you walk ae te che brent into io SO act widnigh’ Fingers Falls of F while e's writing notes put wah a a rerent ecowd. + and tries x0 ent YU" \ttle brother0 Whoa vein iG Zaomfi a Every teenager loves extreme sports, and the Zombie teen is no exception. This illustration Focuses on how +o convey energy, body language, and dynamic composition. Materials * Black colored pencil + Kneaded eraser + #2 pencil + Multimedia vellum paper + Computer eystem and Photoshop® (optional) step one We boris this project with a rough lise rain of 4 zombie mowboander Step Two With sharp 62 pancl, create the sketch forthe final draving on vellum paper ‘Note that the original sketch has been changed; now the akull is staring off Into the distance, instead of facing the viewer like the zombie. (You can transfer this sketch; soe "Trasaiernng m Deeving" on page 25.) itl Teall i> Step Taree Begin working on the tcl, Shade in all the shadow areat fd take sure the shapes are clear and well-designed. Exaggerating the size and the thapes on the sill wil emphasize its wicke expression. [Ais add some quick litle nicks sdlecraiches 19 slow Unt IPs besa ‘hroagh some tough times. Then, sake the bale 1k sist ke ‘rips of sme t convey a sense of movement. Next, start patting consistent, and clean. You don't want this area fo distract the viewer, Once Photograph « model to make sure the folds of the fabric lock realistic. ‘Step Four This ic the stage where the drawing really arte to got exiting. At thie pint the personality emerges, almost as if che characteris jumping out at you The fact that the image breaks the frames gives the drawing 2 dynamic exergy. Remember, you don't have to coafine yourself to four exrers intend, use them to your i lho act es Ue eede'lac ss cry Wa Us pense oy Vas ics Ke Fosse et arise the zombis's crouching position by pushing his body bck into a darker valus, Now, ‘ave on tothe intricate design ofthe anowbard, Just because the snowboard designe lok intricate dosen't mean ‘hey wl take a long ime. AS long as you keep Your Hine qualty clean and varie, andthe shapes strong ard attractive, it will appear that you spent more time than you actually did.. Mighy Grave you just can't Keep a good man dowin—especially when he’s a Zombie. Here We See the decomposing monster returning From the grave. Special ef Feets, created With an airbrush and Photoshop®, add ust the right touch oF supernatural light ané Fog Mare black + Small acrylic paintbrush ‘+ Raw white illustration board (8.5" x 11") + Black colored pencil j * White colored pencit + Black charcoal pencil e + Kneaded eraser * Workable spray fixative i. + Airbrush (optional) 4ASep One Begin vith a shack that ergages the Computer system and Photoshop® (optional) Hon ae gee see Climbing out of the grave and off the picture toward Materials OG ae See ee esac ‘Step io On a raw white iustratin beard, bagin afresh Slap Thee To achiave the effect of @ creep, fopay grave drawing with a ack charcoal pencil (You can transfer site amiaege the charcoal with your flagers, st keeping ‘this skates see “Tranaferrng a Drawing" on page 25.) a light value of the drawing intact.“AStep Five ext, take the drawing cutie and epeay a light layer of ‘workable spray tative 10 sea it (Once itis completely dry, begin Aravieg back into the istration sing & Black colore pencil This povesiaeiD erhance (nadia ‘aay.A Stop Six Use a charcoal poncil to add the (Garx Yalues, This allows you todo a tle smote smearing. Notice that all the lines esi stare ace cectepiaty pices thelr Intensify the perspective ofthe advancing membi > Step Seven New, draw back into the Aiustzatlon ung a back colored pene. Note that I derided to open up the mouth of the sortie io eseats 0 more deperete and hungry look: Once all the detala have bees eave vith the celonel nell tales yote ‘charcoal pencil and smear a darker value ote the Sombie and the surreurding areas. Then hit the drawing with another layer of workable fixative to set it up forthe acrylicsta white colored pene, brighten up the horizon and give the zombie a separate him fro Ss4 Step Wine Zo crate the rae, fet out your alrrust ane fit it with alittle titanium white acrylic paint mined wis walers Wal the ‘excoption of the zombies face, {Gos tle whole ladtention a gat Spray. Thea, witt a small Brush, se some Payne's gray and a litle values between the mist and the best tot for creating a misty fee. However, yo can use ‘very thin washes of white paint Mending away any hare edges A step Ton Aster you'ss ‘inished withthe atrust, take a white erlored penll and redefize both the rm lighting and highlights > step Elewn To make the craving ‘somth for eat & fee envicaniaat abt more, mix a lil Lt of Mars back and 4 tof water, and ther light paint scan the iustration into Photoshop". ‘ning the dodge tot (nee page 101), uley intensity the highlights and audust the levels to create a Lit moreATM, Zam, Tis project Features a black-and-white istration that could Fit inte multiple genres: Cartoon, comic book, eraphic novel, or editorial commentary, Out Fer an afternoon shopping Spree, this suburban zombie couple is shown attempting to withdraw some cash From the local ATM. machine. Materials: peices pape peg eas eel ages eke a syria ‘ed tom tt be age cen cng ok mus ieee Taal pert ce adi + Kneaded eraser Sade crteteeeent * Black colored pencil Wo a Se | ‘Step Two Block in your drawing using a blac color pencil on tracing paper: You ca be as ‘scetchy as you'd lke at this pont; this project focuses on the process cf refining a sketch and sylaing your trokeestep rvs Concotes fon the se sie rte ‘iret. Emphasice his : aseal eee Siang mci eae Sect teats oe nee irae nee SOR, dead crane nvohied 0 YONS of catolersy nest Wicks First ‘amous Tale London. €r Another nf ian era Jad wine lived 6 Nietor perished wr 615, when Ne was exanination ot athe child's chest Vigorous © rough Kim back 4° conscions ae time Ernest Was 1s, he bad Bed Several more “ines oe Ve ended ve vith ot ieates by Wot Jeast three death certifi boy's armsSteptx Its a goxd seea to compare the seetch with your fsal the orignal layin, and to deciée whether you want to make any from time tote, Do this to ‘Tas precens will give you Step Seven Next, work on the reat ofthe ms see the silhouette of his somble gsfrend ce Aad. doall to his tattered shirt and some spiky tations to his apeGlGi apfey Ge Paintin q ZampieSPainting Materials aaa ie ah nore difFicult than drawing because, in addition to strokes and i i joae Cees color and its many aspects—saturation, hue, paint mizing, eet lowing the projects in this chapter step by step, hopefully You ou te approach color and develop Your paintings. The Focus of Re chapter will be on the on the painting aspects however, as in Chi 2 a it a oF Finishing the paintings with a Few digital tweaks. Te a | Materials Checklist / sresomplete all the paisting pecjects inthis books Yost! need to purchase the materials below. Note that the ©12¢h ‘materials needed pr each project are listed at the start of each project Acrylic paints: Mare black, Payne's Gray, viridis. ING permanent, Ruecovise doep, cemulean blue hue, cadenium ned 1h cadmium aac hve, isidescent antigue brows, unbleached HSA phthalocyanine (aka phthalo) blue, ‘Turner's yellow, light portrait pink, naphthol red light, cobalt blue, Hooker's green, burnt umber, era violet, Prussian blue, cadmism yellow medi lamp black, Portrait pink, titaninn white, and cadmium yew «Multimedia vellum paper 4 Melty ply cold pressed itustration board (15° = 20°57" = 15). ‘Masonite board (3" = 12") P ‘« #2 (HB) pencil 64 o 120 assorted box of colored pencils + Electric pencil sharpener Be S patette for mixing acrylic paints seenrnicty of aynthetic brushes ranging from #00 to #6 (very small to medium) « White and clear gesso Matte medium Workable spray fixative \._s House painting brush 1a toothbrush «Window cleaner « Blowdryer ‘sandpaper (any fine grain will do) » Airbrush (optional) Ks projector (optional) a | scomputer system, digital pen/graphic tablet, and Photoshop” | (ai optional; see page 101) 4Rerylie Paint Acrylic paint is fast-drying paint containing pigment suspended in an acrylic polymer eraulsion. ‘Acrylic paints can be diluted with water, but become water-resistant when dry. Depending oa how much the paint is diluted (with water) or modified with acrylic gels, media, oF pastes, the finiched acrylic painting can resemble a watercolor or an oil painting, or have its own unique characteristics not attainable with other media. Finding Inspiration You can apply acrylic in thin, diluted layers, ox While learning how to draw and apply it in thick, impasto strokes, paint zombies, it's a good idea to surround yourself with plent} Paintbrushes \ of visual edecclation, An vation: When using acrylics, we recommend synthetic corner of my studio is devoted to hair paintbrushes. For the projects in this reference books and props. = book, you'll want a variety of sizes, from size 00 (very small) to size 6 (medium). Also consider gathering a variety of bristle shapes. Round ) brushes have bristles that taper to a point, allowing for a range of stroke sizes. Flat brushes have bristles that are pinched into a squared tip. The flat edge produces thick, uniform lines. In addition to these acrylic brushes, you'll also want a house painting brush—a f quickly covering the canvas with large washes of color. If you own an ye = airbrush, use this when recommended in the projects, as it produces Proj P Ss incredibly soft, realistic gradations that are more difficult to achieve See with paintbrushes, large paintbrush with ecarse bristles. These brushes are perfect for Painting SurFaces You can tse acrylic paint on practically any surface, as long as t's not greasy or waxy. As a result, you have a lot of flexibility with your painting surfaces. However, it's best to paint on either canvas or ™W illustration board coated with a white gesso (a coating used to create an ideal painting surface), Remember that the brighter (or whiter) your painting surface, the more luminous your colors will turn cut! gy Colored Pencils Golored pencils aren't just for drawing; they are great tools for adding details to a painting. Working directly over acrylic paint, you can add highlights, intensify shadows, create strands of hair, and more. It's important to purchase the best colored pencils you can afford; higher quality pencils are softer and have more pigment, giving you smoother, easier coverage,Typically you'd want to put on your best Face For a portrait. Net so For the zombie; instead, a portrait provides the perfect opportunity to show OFF just how terrifying (and disgusting) he can be. With this project, you'll discover that the power of gore lies in the detals—From veins and cysts to splatters of blood. Materials + Acrylic paints: Naphthol rea light, cobalt blue, Hooker's green, burnt umber, acra violet, Prussian blue, cadmium yellow medium, Mars black, lamp black, and light portrait pink (your own preference of warm and cool colors would be fine) * Vellum paper * White two-ply cold-pressed illustration board (15" x 20") + White gesso + Workable spray fixative + Window cleaner ‘+ Inexpensive house painting brush + Palette for aerylic paints +A variety of acrylic brushes ranging from size #00 to #6 ‘+ Electric pencil sharpener “Cheap toothbrush + Blowdryer + Airbrush (optional) + Projector (optional) + An assortment of colored pencils + 600-grit sandpaper (any fine grain will do) ‘Step One Begin by brain angles. For this painting, 1 want fo jaxtapoee a traditional porwalt stance with over-the-top gore, 20 I ehsose the bonding, three-quarter ew (lar ttt). ng ponte noble head poses and {A Step Two To make this zombie to lok incredibly wished, concsnteats ‘on the torture, Using the thumbnail as relerenes, begin the draving ‘ith a black colored peel! on valli paper. For this prot, well tse @ projector to transfer the image toa gessoed istration board, recommend that you xerox two expes of your drawing. Pues one copy beste your drawing board, and place the other copy above your projection from time to time, making sure that the le accurate and not dintorted (You ean tranafer thie "Transfering @ Drawing” on page 25.)4Step Tare. Bagin the painting by placing {te following colors on your palette: Durst lumber, aera violet, aaphthol red light, Hooker's greeny Prussian Be, Macs back, lamp blac and cadmium yellow mediam, Mix a combination of Surnt ambar, ceudmiui yellow media, and nape fed light, apd then dilute it with plenty stroker and mottling ‘a blowasyer ‘After this, add a thin layer of woeksle fixative. Now the painting la ready forthe next layer of cool transparent exlor. Stop eur Next, create a mixture of Hookew's green, ‘Prusslan blue, and a te tamp black, again tig I with Using the big brush (rinsed clean), roughly sie ace th enable. Ta esese of the backgrouné will hep the warm head and body of the fd the jw. Shade withie the ear and across soft gradations of shadow give the zomble form; you car almost see him start to pop of the page. Ifyou don't have an Aitbrath, add shadows by balding up thin washes of paint softening the edges by blending in water. Gt> stepsix Tren take a 39/30 mixture of white geauo and water land ase it 1 pulat over the tackground several time, siting f up forthe net layar of tsture rotting. To get ready forthe ext Step Eight In this ste, focus 90 adding textures inthe background Begin by airbrushing or applying {hin washes over large areas with 2 ile barat umber and lamp blac. ntl it becomes semi-cpaque. Then, See eee eet panting with a very tsy amount ‘Sf window cleaner; tha ammonia ‘i eat through some of the paint and create a unique motlieg Dy applying the layer of burnt ‘umber and lamp black over the ‘hole diaseation, youl find that Jou'te tie the sombie tn withthe Background 4 Step Sevan Nest, a6 cet colons to the zombie and begin Fung op the dark raluon At thin otat, Sst experiment with the ccols against the warms aera Feo pits les peoelac tecrrceonling ©) Dit of te green mistars ‘eum Step Four wil help to harmonize the zombie withthe background> Spon Next, wel begin the process of working lp aultipe layers, ising eut-gesso (aboct 80% water and the extgesso on ‘he zombie, praying workable fcative after every couple of ayers (0 exaln the transparency ofthe undeslying colore walla building up the lights at the tame time. Once finished with the testo layers, bring outa varity of ‘ores pencils and start to draw back into the illustration Step Wine ctr gving your airbrush « quck rinse, lead # with cobalt blue and Mars black. Then, give blending with the background, ose white to add rm lght along the let edge ofthe face to separate the him from the bickgrousd and create a cense of ‘Shadow for the vim light to be effective. alang a blackompie Goth Gi! ‘Sporting tattoos, piercings, and dramatic skin tones, this Zombie Goth girl combines: ethereal beauty vith deadly intent. While she’s not exactly the sort oF airl you's want to bring home to meet the parents, she's the perfect sbject For another ilustration in your growing portFolo oF Zonbie monsters. Materials * Acrylic paints: Mars black, light portrait pink, cadmium red light, cadmium red deep hue, iridescent antique brown * White cold pressed two-ply illustration board * An ascortmont of eslored pencils Step One Sistch out « dramatic compostion indenting SEhO-guC canipaper (any tina Gale the entrast of values andthe flow of ses will do) * Blowdryer *Clear gesso * House painting brush * Assortment of small to medium acrylic paintbrushes * Airbrush (optional) Step Two For this preect ‘weil create a zombie ith gil: Bagi by seeking vith a starp black colored pencil on a white two-ly, board. Crop tightly into her face and head, framing her ceaaly yet hauntingly eautifal face with locke of ie eat ope ol tes (You ean transier this hekehy ane Mieaeetarcig =Step four Once the oan la dry, tak the sandpaper asd Ughtly surface for alshrushing and seals the drawing atthe same ime 4 OO‘Sep five The oyes play an mpertant part in the Gothic lok. Take a ite ‘cade rod deep he mixed hint of light portrait pink, and ost with water to paint tha rime of her eyes. Nest, octine the eyes with ‘some Mars black and eadmium red deep Ihe to give them a grape defisition ‘Sep Six Toking «herp back colored penal focus the fnteeate dongs ‘of her tattoos. Carefully eign attractive thaper ‘an6 alternate the lines from thick to thi, also paying attention t8 how thoy wrap around her bone structure For the smoke, ae a 39% cont gray colored penal, Netie that the shapes in the ame are carstally designed as well‘Step Soren Two ctber ssiking and secogninable Cathie futures are pale akin combined with dark tai. Make « intone of about 20% white geno and 60% water. Thea, using a medium-sized brat, begin to pain thi layers over the f403- This pcens soqives act five or aac ayes, oo you cin tise a blowdeyer after eich apes to epee up the proce. Next darken the hatrconsideabiy by puting It with a couple of coats of diluted Mars ba {nd brow tone, you 45Materiats * Acrylic paints: Viridian hue permanent, turquoise deep, cadmium red light, iridescent antique brown, Turner's yellow + #2 pencil + Two-ply cold-pressed white illustration board (7" x 15") + An assortment of colored pencils + White gesso * Old toothbrush * Acrylic paint palette * Variety of small acrylic brushes ‘Step we For the zombie Yoodz0 doll painting, we'll bein ‘ith a White Tesieste Wabed tad 4 vega 42 perch Tus toart wa give a “toothy” texture, while the #2 4, Pencil enables us to smudge the lines and achieve a dirty "ook: im contrast, vellum paper [which we uted for many fof the other projets inthis book) produces a creamy fecteewal allows fag srt ts nchlors lous acl pecies pes. This choice is just a matter of preference, (You cas transer the sketch; sxe "Translerring a Drawing" o ean) ompie Veogoo Poff ned = Even tiny things can be deadly in the world oF zombies, oy " a5 Seen in this Voodoo doll Boasting lfe-draining needles and Flame-inspired patterns, this illustration Focuses on the supernatural elenents that have becone part oF the zonbie legend. \ > StepOne Make a quick nN eso Be peerins ‘Step Three Block in the dol, then star! working on the dress details ‘The emaiging and gittinens ofthe pencil actually contributes to the 1eok of this suet.‘Step four The eeeE i ens are ceresarten om Rec emcee Secu ca Giyiccene ane odoo doesn t have whe structure Faiths No regilar Meena? or wot considered a religion, V0 ren ave Found vsvally associated with other ‘offical priests. Todays Jf ahs belie® SY? in Brazil, Cuba, Querto Rico, nd west AF ri 23 in New Orleans, ica. W the western ahese arens Soe umbanda, From hrar& tO eee he“step five negin with very dated washes of acryli paint, sticking wth earth tones mich fs Irkdesecat antique rows apd viedian ve Permanent. Painting ins the Imes in't a big ‘Y sep six Using a tte bi of cadmium red ight and lt of water, pat a warm wash over the face and tody. Then, use ome col tunuoise deep as accents to give a striking contrast tothe Ino the already mixes paints on your palette tnd patter i all aver the Hisetaton.ff the deadly color all over the flusteatien,UnliLe humans, Zombies don't have to Worry about their pets getting sick. Although *his Zombie cat might not purr or want te evddle on your lap, it’s built +o last Forever. This is one stray Kitty you probably shouldn'+ let in the house on a rainy night. Materials * Acrylic paints: Mars black, Payne's gray, viridian hue permanent, turquoise op deep; ceruleaa biog hue, cadmiars zed light, cadmium red deep hue, iridescent e antique brown, unbleached titanium, phthalocyanine blue, Turner's yellow, e@ light portrait pinke + Multimedia vellum paper + An assortment of colored pencils +9" x 12" Masonite board CG _ | ewnite sesso = + Matte medium iF + Workable spray fixative + House painting brash =f Old toothbrush 4 Stop One For tis prajet wo Wl erent oor owe SS eesee omble pot. Vth a inly sharpened Hack colored perl, Acts pelt Palie ‘hath the anlonal on vals peper. Shade the dk © Variety of small acrylic brushes ‘values of the head first to quickly establish the maniacal * Blowdryer Persona of this hosse pt. (Yon ean transfer thia ‘ketch; soe "Transferring a Drawing” on page 28.) Step Two Lay is the rest of the valses en ‘he Bead and follow ‘eit the body. aaaes. seme thumbnails along eee Gage 1 decided to leave them: because they contributed vo the overall charm of the pleture,“Step Three Next, we'll make the zombie pot look extremely emaciated and ratty. ‘To achlve this, Gest, pull is month ‘nck to reveal long, grotesque tect then rave Lang sift tines that weep around his skeletal body; and tnatiy, ada some ‘unsighty growths on his bead and rb cage ‘Une Becken nes oc: his ears id lage 10 show the woar and tea of his skin, 1 Step our Once the drawing is date, make color copy, and aslect the arpa tone suting. ‘Then take the eopy, spray it with workable spray ‘isative, ard soak tim acme water. After placing the wer picture on a Masonite toardy mix = solution 950% water and 50% ma‘te mediam fn a bow. Thon use a big house bah to slathar thie mictore over the drawing. This mounts the Peture on the board and provides a sturdy surface that won't warp when we art palating with watered-down acrlis.stepeighe Take an oid toothbrush and dip i into ‘lates of ead ed deep and eaémium red Hight Than fice t to create sraesome blood all around fhe mouth. After washing the re of Payns's gray and ‘platter it all ever the pictare, fivirg it a dirty, vintage look thamnalls on the sid tthe features ofthe animal's face. With a warm gray pencil email eetFor centuries, vampires have been having all the Fun. Who says that zombies can’t be + Sensuous and romantic too? This illustration boasts a simple diagonal composition and Aight cropping Both elements add to the intimacy oF this zonbie With a discerning appetite, out For a night on the town. Materials ‘* Acrylic paints: Mars black, viridian hue permanent, Hooker's green, cadmium A red deep hue, portrait pink, ‘Turner's yellow, iridescent brown, titanium white, cadmium yellow Small acrylic paintbrush - + Vellum paper * Masonite board + Matte medium + House painting brush * Old toothbrush Palette ‘© Computer eystem and Photoshop® Scanner > Step Two Using red colored pose, block in the ‘drawing on a pace of vellum paper. (You ean transfer {his seaten; sen PTranaferring a Drawing! on page 25) Creating a close-up of the two main characters and exposing the womnan's neck will create a great sense of vulnerability forthe viewer and a certain amount of sacistiesensvalty. Once the erawing is complete, Feabam copy oid eecey este ee then mouat it on a masonite board with a misture $4504 mtn medians and S0/ water cong on ld house palating brush. Thos steps efor several eecalba od, pest neve Wak edited ete to, you, ‘usteaton Gourd in the inal stages, Next, mlz a Little bit of vieidlan hae permanent with a lot of water and sisng a big brush, icy cover the sombie with thi ‘Step One Create thurnbrall drawing ofthe scene, Indicating ‘the main shapes and blecking in the basi values.tne momble's face to explain the light soarce. Use a white Le portrait pink and titanium white ae eesStep ine ng witha few digital sdjustanent, fatlow there ‘we will be wosieng directly en a Wacom Tabaeye-popping fis in ons of the highlight.step twelve Next, sie the paintorath tool Set Wat a lange dameter of about 45 pixels and at Bring some warm yelow face. Choose « 34 yellow from the colee swatch Gnd dang the pai, Ligaly ge over his face ‘atl youre saticied with the efct Then, selects tompoie bie, Using the saree Ieuek tel eaticg scaordingy), go over the and the sim lighting on cf about 2 or 3%. Nest, Se eer the rem of the g's akin tone. Then, ightly dust saturation of aboat 57 Thi wll emphases the complementary clare of the image 45tep Tahteen Wien sing the computer, be couselcus of avoidieg a sick “computer genaratog” look. One way to ao tals 1s by asaing intaresing textures, Select the smudge teal and dacrease it to ize 3 plvels and keep the hardin at 100%, Then, so over the zombie’: cheltoner, nose, and eyebrows for a ‘ore traditional ané tustrative esfect integral toa walking-doad character, Ia this ease, se the Slur tool and gp over ites of the somes ayer to erate ‘mary Look. Then, select the smuege teol abd, witha email diameter, add strange, alen-iooking bight jea—or the lack of them — are > Step Fourteen Fer the fral sen, we Is face withthe col colors of the embie, Salt the paintbrush tol and to about 28 ptxeis. Thea, choose the gociae Blue again ard Lightly Brosh ight areas of ber face and neck. If yous want the Rungry zombie te be the center of atention like iti in tla lnastration— use the levels tool to Dring eal St iChepter # Zanpies & Di pital LNysfrafionloo Pigutal Nustration Materials Digital illustration can result in highly detailed, Fiercely dynamic artwork. unlike drawing oF painting, digital illustration allows you to make dramatic enhancements with just a Fev! ches of a button. Before worting on the projects in this chapter, note that it's important to have an understanding of the basic tools and Functions of your image- editing software (| prefer Photoshop®). However, if you don't have a background in digtal ilkstration, you can still use these projects as references For drawing or painting—each plece of art begns with a draving or panting by hand. Materials Checklist ee To complete all the illuetration projects in this books YO wed to purchase the materials below. Note that the SAS) eed tb pars gor cach pices: are Tited atthe start 0 each project: « Aceyic paints: Mara black, Payad’s gras, virilan bee sirnanent, tarquise deep, cerulean tite hue, ca in nue brown, titanium Whe, ed light, iridescent antig — : ae seep hue, Turnes' yellow, cagmium yellow + Acrylic paint palette 3 ‘Palette box ‘Variety of small acrylic brushes Stnexpensive boase painting brash Sian assortment of colored pencils (G07 codl gray and black) e Tracing paper : ‘ ptasonite board (8* x 10°) + Yeltam paper ‘Workable spray furative + Maite medium V aisbrush (optionad) ‘ Computer system and Photoshop’ Ne +SeannerComputer System To embark on your journey in digital illustration, you'll need a computer system, a scanner, and image-editing software. In the setup at left, you'll see that you can configure multiple monitors for one computer system. This can help you spread out your work; you can bleed the monitors so that your image crosses over onto multiple screens, allowing you to see much more of the image at once. You can also use the multiple monitors to hold various control panels, so you aren't constantly minimizing windows to create room on the sereen. Although it's ideal to work with several monitors, all you really need is one. Image-Editing Software There is a variety of image-editing software available, but many would agree that Adobe® Photoshop® is the most widely used. Below are short summaries of some basic functions used in the projects throughout this book. Photoshop Basies EnaserTeol: The eraser teal foun in the Dani fol bar. When pikels to reveal a white beckgrosnd. You can adjust the diameter and pacity of the brash to centre the with an strength ofthe eraser. ‘Image Resolution: When scanning your Arawing ox painting it Photoshop, {t's important to sean it at 400 pi (Gots per inch) and 100% the size ofthe orginal. A higher dpi ‘carries more peel information and Getermines the quality at which your {mage will print, However, Ifyou Intend for the image tobe a place of igtal ar only, you can st the apt as loge a 72. View the dp and size under ie tees etege eyes Doége and Bure Toots The dodge and toi tele, terme Bersowed frees the cid dark room, are also found on the Tas tol bar, Dade ie synonyms wth lighten, ae Bure is eynonymous svith darker. O the stings ta under (oF shadows. Selec: whica of the three youl ike to dodge o burn, and the tol will only affect these areas, Adjust the with abd exporare (or strength) a doered Palntbrush Tool The Photoshop, allows you to your canvas. Like the twols, you can agjst the Giametar and opacity of the bru to contol the wath and strength of ees of ves: With thie too! (under the mens Peet een Neier the beighiness, contrast, and range of values within an mage, The Hack, ‘midtone and white ofthe image are rupresented by tha three markers along the botiom of the graph, Slide there markers hereontally. Moving the lack sarker sight will darken the overall Image, moving the white maser loft ‘wll Ighten the overall mage, and Giteg toe wise enter a ght wil bring tbe midiones éerker or tee reece lol olor Peters Cacase the color af your *paine® window, Steet your hue by clicking within the vertial calor bar; then found the tox to change the coloe's tneompie Romance Euler ybody needs a dose of romantic literature once ina while, even the undead. So, For this illustration we'll be creating a zombie romance: book cover. Who said romance Was dead? ‘Materials: © Acrylic paints: Cadmium yellow, cadmium red light, virdian ine permanent, cerdiean blue hue, Mars blacky Turner's yellow + House painting brush + Gmail serylic paintiruahes + Palette Seca pre chcieecste booed + Workable spray fixative + Matte medium ia Sap ona ronuning tia sacraeeh cisweng (abere)y rine uae + Assortment of colored pencils meg aoe ela celine Goce a sairorasn (optional) tte tery Dew”) Ate cig * Computer system and Photoshop® pileshona year peal iiidanl er een + Scanner ‘Next, mount it onto a mascaite board by layig it on the board and teushingit with a mistare of 509 matte medhim and 50% wales cate shadows, for the skis spray some Tarpes'e yellow on the ‘male sombie's chert to reflect the eolors of ‘he Maras, Soften the hate fd feather ou! the cages milar © the tecinigue ‘used on the fame wil create a dramatic tec, 4 Step Two Once that dies, star: laying in some colors using a mediam-sized ‘nerlisbrath. For the Games, use Seite efasatin jaiow art Sears ‘cadmium red light combined vith a ‘wae ep thin Seas eens washes of Sea vary watere down conten ed ‘of viridian hue permanent and cerulean = i loz the eer ora Oo. eh sot en aia emi teal i‘step Seven Add some toies allover the sombia! forme to emphasize the bette ature of their skeletal bodies Do thie by painting in some apes with crip edges, using ‘watered down Mars black. To 108d depth to these clea ge ‘ack in with the blac elered ‘penal nese aw ee ‘tthe stapes, ‘tap Eight To increase she Interaty of the mage, go Sack in witha potest and ad some cadmium red light land Tureers yellow tothe fie, Keep your brush strokes spiotely, bat malce maze they low bn ne election, Then, ‘using dilated cadmium red ght and Turner's yellow, spatter some fine crops cf paint ove the ones foe texte. Now thatthe Glustration is 40% dene, sean it iat yoar computer: Im Photoshop you fan qchly ane effectively aca some eye-popping details and play around with spect effectsstep ie Pt expernant wi te flames odFece The for fo to make bs tool and selec spatter o Der alee rd tiptik tok ti te events a fun play © spacing 2 aaty emaoch— se ¥ hacaness” of then stast panting ATU thin, increase te Ma the pecity a well the Secate moe Perptorl wat “stp leven Acs more yeiow to thelr fin and teoth. When you're a zombie, you don't worry about lite things lke baad breath or hygiene > StepTwelve For the sna! 59, Select the levels option and darken the two charactors. This noreaser the Saturation of eslor and separates them {rom the lame, Thi panting ie what would be used as a color production Satch or color exp. It conveys the without having to be taken all the way toa finished Murtraton Shoulder ve loan 8 though 0 he Baad ee nd etinely ont ot se gracearne as possible ature Sr play on bow pack ATS eet oar poinbre ai rn TT pery shade of red. Make the tat is wa, 13 her mouth. ASE none of the brash and Sea scrme gy Hood earn SRO that drawing a hand the time, we ee wi accept thie we see bands inaa 7 ase . { oe a ~ ut ems ; Th ce et os See ;For +his project we vill be creating what's knew as a color concept sketch or production sketch, not a Finished ilustration, This type of comp is used to give 0 director or producer an idea oF character design and environment. Materials * Acrylic paints: Mars black, Payne's gray, viridian hue permanent, turquoise deep, cerulean blue hue, cadmium red light, iridescent antique brown, titanium white, cadmium red deep hue, Turner's yellow + House painting brush + Palette * Variety of small acrylic brushes + Tracing paper (7" x 10") + Masonite board (8° x 10") + Workable spray fixative + An assortment of colored pencils + Matte medium + Airbrush (optional) * Computer system and Photoshop® * Scanner ‘Step Two Now create & sketch of your thumbnall using red ‘nlored pencil over a plece of 7 x 10° tracing paper. (Vos can tranafer thls oketeh seo "Transferring a Drawing” on page 25) Once you'ss wataied ‘with he sksteh, make a eolbred copy oft Then, tks the ‘apy outside an spray # with ‘workable spray fisative, When that dries wet mount ft toa ‘masonite bard by taking & Dig Thecin true and teasing ons risture of 30% water and 20% ‘atte medion, Tas step is Crucial teenie It wil allow ott to work on a fla, unditorted sivtace, On the beard ia ry, start layering in cotrs: cool purples and Bises or the {er the voodoo queen. Make sure ‘Step One To arts « voodso queen, start of with a seteh ting re colored pencil over @ plese of 7 = 10 tracing email eet-AStep Three After laying in your washes, bring out ax lstrash t erent « softer effect and to speed bp the process ofthe intial lay-in stage. Take a its iridesosnt Antique town mend with a bi ef cadenlim red deep bie fd airbrush over the face ard chest. Ifyou con't have an airbrush, apply thin washes of pain, softly blending fn Geriatr ‘A Step Five For the highlighie and crests ofthe flde on Nes tobe; mix a tle it ‘of thanium waite witha goed amount of water ané lay i a with a small acryie bush, This will ereate a lee contrat between the obvious strokes of the brush ‘a Stop Feur Next, airbrush (cr punt) the darker values found in the feds of her robe using combinations of Payne's gray, turquoise deep, cadaniam red light ard virdian hue permanent. Wien you den't have a reference, oe Uap orcas Vines eters allopatric ‘sing colors found inthe buckground. Thea, als magice What Lind af light source Is focused on the subject 1a thisStep Seven I this image the power and magic she possesies, so start to give her ‘exotic tattons, areata jovaley, and itviate designs cm washes of paintlz > Step even Once fad-patrting the this point, well start emerging from the agin by dficing shadow shapes found skull Then, take the teush tool and adioat Pick a dark indigo fee eee tie pales land eart drawing in the shapes, We will net be using layers for the ilusteation. - 51ep Wine iss 9 Ut8le Turner's yellow and cadmium red light, and then ose a small painthmash Ho add ths cierto the candle armen, Using the same minture, ll the airbrash and lightly mist the flames again [or spol thin Iapers of pant). Then, tse these warm colers to brghten the turban and a the areas that woald be hit by the candlelight. You indicating shapes with a very small brash Jeet hit thote chaper with warm highlights to Gnih them off {AStap Ten Dan the tabs 1 ite sleet the value of te bucxground, Use turusive deny, ceruean biue Bue, anda ite Mars black. Lightly sp ove over the fabric withthe aisbrash or bala 19 of paint.een ts thie step, he skull really comes alive alot te dodge tol, wdjurt sts diameter accordingly, then click highlight for the range tnd lower the exposure. Then, bagin adding the Righliests on eneekbones step finean To erate tae ‘snk that emanates from Seshaleeey a racer tot! eet at aboat 7% opacity and Of. hardace for the oater edges > step Sitees Brignten up the Neghlghts in her eer, her taroan, and the elges of ber robe by selocing the palstbrash tol and pking 4 bright lemon yellow fom the paletle, Keep the brush rainvain a glowing afect. ‘Again this ustraton ls considered a production etch ned in usad merely t9 sleet the flaver of enarscter apd story I does not need 16 te rendered to a tight fn‘This illustration Features a hired zombie Viller, ready and villng +e do the dirty work—For Q price. For *his piece, ve will use Photoshop® to tint and enhance the illustration. This procedure vers especially Well when you're doing a production drawing or character design, and you need +o create Variations on hood or tone Without taking too much time. materials * Black colored pencil + Yelium paper * Scanner + Computer system and Photoshop® 1 ap One Stast your drawing usag « sharp Hack colored pencil oa vellum paper. Wile this type f paper isa bit expensive, it albws fora boastful, creamy line quality. Work out all the tala of the zombies anatomy, designing the Velas in & Way that almost resembles tation art The majority of the time on this project willbe spent on ‘the drawing tse. (You can transfer ths seth; see "Transfering a Drawing" on pace 25.) When you're cone with the fall value érasing, aa 4 Stop Two Osce you've scanned Ia your drawing, began to experiment with the colors, Using the brosh tool, aajst the alameter to size and ‘over the opacty that you can layer you Colors ad value. For this to ‘work, you'll nee to change the mode iz the trusk cptons to multiply." Begin with a siade of teal then ereate & ‘couple of layers a0 you can “Sntinus to experiment with lors if cesta.‘Step six Repeat the proces asec in Step Five forthe tomble's eves ‘Step Seven Now, well make i yee es peace by folowing them with Remember 10 keep the velns ‘wrapped arcana the forms of ‘is uscles to make ther look. believable, Soften the zombie the deage toot and brighteningA stepight Nex, we'l sce -tatpte Nox, we at ome ue mankngs tout 1g desgse that mimi bloaly wounda te it hn ig the pity la tia foeae lon Altr aa i a eae ag slaty paling veal Gee ee cies ale Heels fen Sie they are aout to bet ou of Me ia by Se stepThree Now hat FE ‘hers it some colo in the backgrouné, few layer. With the tne tool, select 8 cot sikly blge for the Skin tone. For the Gngers and cars, choose a warmer color toad a litle seatie.‘Sep Four Sow forthe gory part. From the color palette, tolect rel for the Blood. Ther, Using the Urals tot, oulline the eembiew! features and adé Hood splatter to the teeth, pe, and chin. Separata certain areas cf the ‘zombies into etterent layers so you oa ‘easily make changes and additions as the paliting popaees 1 Step Five Use a diferent color scheme Forts se on Ws srtee mesine Rewp the opacity af the rush tel set ar Jom, as if you are laying n a ealor wash using pectecele Stop Six Now welee going to ‘darken the whole image, Create new layer ard select an live {gre from the color avatchea, Again, keep the opacity low and inereata the brish tn, Keop the ode at multiply 20 the layers of ‘olor beneath wil show Hroagh, ‘Tha gives the image a grtiee tet.‘A Stop Seven Now that the atmosphere is loser to what sve want, we can gp bask tothe leading soba. Aad ‘more deals by simply choosing the eraser tcol—Keep the pacity at abont 20%. Dick ont some highlight along the 4 Step Eight Next well work on the smaller zombie. Sole the painthnash tool and add light iayer of blae all over bie ‘ace. Then, with the eraser tool, pick out some highligats tp give more dimension tothe fare. Alen, uae the eraser the hair, lay in a darker value for the big shape and then, sing the Bruch tol, decrease the daameter ard add oome ‘wispy strands, This zombie might have shin problems, but back inte Ms face, adding mere texture. As for smaller zombie’s shit, select grayish white and wie the brush teol to paints Taaving the fold aa creases alore tallow the original Asarring t show. Then, for texture, ‘4d come cxoee hating by using the 4 step Ten Hex, well focus en the chaotic background scene Segeaiep eee eat the sage for multiple res, Do thie by selecting the dodge tol and choote the highlight mode. For the smoky affect, heep the cexporure at sbout 207 Once this Is done, go back in with the paintorudh tol and add some ot spots by ehcosieg a xo! yellow.> step thirteen ‘You wor't need fot of details foe the zomiie od ance semble in frent et, Jae lay in the bockground characters using “Step leven Then, a6 chick dark load of exoke by Ad ie pastruel ool end keeping the hardness really dinseeicon, Add seane fico in the windows, Then, highlight he talophene Hines and the falling baiting by using a very fine tip forthe bith tool: The hey to making the architecture belisvatle eto heey tha lisos night on hun and the perspective 4 Stop Twelve Now we're going to take ita step further ata ler and increase the atmost 1007. Draw shapes similar to old, narled tree Select the paintbrush Sod nid sae highlights te ghtaing With a ight, torgucie Be,‘Step sinteen You nover know where 3 ind inapeation= mn