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Concept Art, Digital & Matte Painting

Magazine | Issue 080 August 2012

Brian Sum


Cover Image by Patipat Asavasena

Sketchbook of
Jose Gomez

The Gallery
Paolo Puggioni,
Vitaly Tsimkin,
plus more

Patipat Asavasena brings
his landmark series to a close
by painting the leader of the
Apache tribe, Geronimo.

Designing Droids

We round off our Designing Droids series with a massage from the
pleasure droid, painted by Carlos Cabrera.

The Six Realms

In the second part of this series, Dennis Chan takes us on a trip to the
cold, barren landscape of the Arctic realm.

Painting Creatures from Mythology

Richard Tilbury and Simon Dominic battle the final creature in the
gauntlet, taking on the mysterious ittan-momen.

Concept Artist Games. barren landscape of the Arctic Realm. Painting Creatures from Mythology “The truth is. taking on the mysterious Ittan-momen. Editor Simon Morse Lead Designer Chris Perrins Layout Az Pishneshin Matthew Lewis Layla Khani Content Simon Morse Richard Tilbury Jessica SerjentTipping Proofing Jo Hargreaves Marketing Emma Handley talks us through his process in Painter. In this series a selection of stunning artists will be taking this popular subject and exploring some of its more This month we feature: diverse and lesser known characters. but each artist has given a detailed description. And they’ve done it us through how he created this environment for a third-person shooter especially for this book! and also offers advice for those hoping to follow in his footsteps. we have put together Sketchbook 014 The sketchbook of Jose Gomez This month’s interview is with extremely talented concept artist. This will not only show some of the differences between the two pieces of software. Brian Sum. painting techniques he used to create his manga interpretation of the Native American warrior. This will involve them coming up with the design and showing you how Designing Droids series.. Geronimo. who by any means. This series has supplied a myriad of to develop it to the point where they will even show you how to create the technical drawings for a 3D modeler! With the release of Digital Art Masters: Project overview by Xavier Etchepare Volume 6. Dennis Chan takes us on a trip to the cold. All Rights reserved that are created by talented artists and designers. full- 078 page images. 10 of the best 2D artworks skills! Manga Historical Characters 034 In the second part of this series. Throughout the series each artist will be given a brief for a character which they will need to interpret and “Riot Girl” turn into an illustration. are teams of artists and and if that wasn’t enough. working on your layering and shapes. and he has also worked on game titles such as Mass Effect 2. Digital & Matte Painting Magazine | Issue 080 August 2012 Interview Articles Cover Image by Patipat Asavasena Sketchbook of Jose Gomez The Gallery Paolo Puggioni. emags. an insight into the mind and sketchbook of freelance illustrator and character designer Jose Gomez aka The Chulo. who talks of published artwork. one using Photoshop and the other pleasure droid design. All rights reserved. a stunning gallery featuring the work of Cristian Popa. extras & even movies! set the mood.. Ray Jin. Sonic Chronicles: The Dark Brotherhood and Dragon Age: Origins..” consistent design wise. without the prior and any future releases may not be reproduced in any form or style of art. of the creation process behind each piece This issue’s Making Of is from concept artist. www. we have some exclusive invaluable advice and knowledge so far. but none We have also reached the final installment of the brilliant of these rely on it as much as the games industry! “Video Game Concept” Obviously games are made of many elements. in their own words. Vitaly Tsimkin. click it to download resources. venturing from one realm to another. He shows us how to Wherever you see this symbol. Not only does it feature full-color. In the second All There are obviously many different styles of art that originate from by 3DTotal. I don’t think that people without imagination Ltd information and contacts We kicked off our new series. Shadowrun. plus more Patipat Asavasena brings his landmark series to a close by painting the leader of the Ltd. absorbing crucial in the making of an impressive landscapes while tackling challenges and enemies of every description. but that’s not all – we also have an interview with exceptionally talented concept artist Brian video content. with his trusty old friend – the pencil! by Richard Tilbury & Simon Dominic Digital art has it place in many industries. last month. Xavier covers it all! from these sorts of themes and ideas. texture www. 048 fantasy realms from the same world while also describing their own painting process. but you 070 could argue that the most important element of any game is the characters. Published by 3DTotal Publishing. Most recently he has created concept art for BioWare’s Mass Effect 3. Sit back. it’s impossible” some winning tutorials that will The Six Realms Richard Tilbury and Simon Dominic battle the final creature in the gauntlet. the world. getting as many visual references as possible and developing a good knowledge created by talented One of the appeals of many modern computer games is the ability to explore vast worldsof light. About Us 082 3DTotal. Six Realms. This is more than just an artwork book. many artists will never really stray too far to using little effects as a final touch. painted by Carlos Cabrera. In this tutorial series our artists will be showing us how to design droids as if they were doing it within the games industry. written consent of his tips into practice whilst painting some super-cool manga historical characters. utilize reference photos and use little effects to add that final touch. Free Stuff! We also bring you a Making Of in the form of a video game concept by talented artist Xavier Etchepare. Alexey Egorov and many more! Image by Paolo Puggioni www. Dennis Chan takes us through his painting process for covering how to create our own manga characters using many of the recognizable features that we see in this the Arctic realm. a ghostly phenomenon from Japanese folklore. there are a lot of things that can inspire you. In Concept Art. with their interpretation of the ittan-momen.Contents Editorial August issue of page 2 Issue 080 August 2012 . Richard Tilbury and Simon Dominic Brewer bring our painting mythology series to a close in this issue.3dtotal. Brian Sum Interview . From creating a colorful atmosphere and using reference photos. Designing Droids Pleasure Droid by Carlos Cabrera Creatures from Mythology 056 This month’s sketchbook is brought to you by freelance illustrator and character designer Jose Gomez. which explores the limitless worlds and different realms within these Copyright © 1999-2012 3DTotal. chapter. whilst Simon © 2011 3DTotal. In allthis tutorial series we will be libraries Our tutor for this fantastic five-part series will be insanely talented artist Patipat Asavasena. Xavier Etchepare. In physical books. which was created by the talented Patipat Asavasena for the final chapter in our Manga Geronimo by Patipat Asavasena The Six Realms 040 Arctic by Dennis Chan This month we feature: Vanja Todoric | Paolo Puggioni | Vitaly Tsimkin | Ivan Kashubo | Cristian Popa series. legends and fantasy creatures have always been influential when it comes to digital art.2dartistmag. aka The Chulo. ebooks. full swing. One of the challenges atmosphere to be used in faced by the concept artists working on a game like this is creating a variety of environments that still look video games. He shows us how he brings his loves to life. Myths. You can wander around. This month Richard Tilbury and Simon Dominic Brewer tackle the Ittan-momen. To make things a little more interesting this will be done by not one but two Ltd around products and websites created/published different countries and cultures including www.. What’s in this month’s issue? 006 the spirit of the 2012 Olympic Brian Sum Contents “The sci-fi genre is the perfect springboard to let your imagination go wild. shows us at how to put the publisher. One of the most popular of these styles is what we know as manga. relax and take a look! using Painter. To wrap things up Patipat demonstrates the workflow and “Knowing Ray Jin | Douah Badr | Fuad Ghaderi | Andrei Pervukhin | what story you Alexey Egorov want to tell. He talks 024 The Gallery to us about how he started out in the industry and what inspires him. So we’ve got another fantastic issue fit to bust with must-see tutorials.. which is currently in help you develop your own Designing Droids We round off our Designing Droids series with a massage from the Pleasure Droid.” Hello and welcome to the Let’s start things off by taking a look at the fantastic image that adorns the cover of this month’s issue. Within this series of tutorials our artists will be showing us how to design six diverse. Richard tackles the subject in Photoshop.2dartistmag. and this month is no exception as Carlos Cabrera rounds things off with his cool chapters for you. Geronimo. but will also show how the same brief can be by Reynan Sanchez “Riot Girl” Digital Art Masters: Volume 6 – Free Chapter interpreted in two different ways.

making sure that Show Cover Page is also selected. which will show doublepage spreads as one large landscape image: 1. The Six Realms In the second part of this series. Setting up your PDF reader For optimum viewing of the magazine it is recommended that you have the latest Acrobat Reader installed. Select . then Page display. plus more Patipat Asavasena brings his landmark series to a close by painting the leader of the Apaches. You can download it for free here: DOWNLOAD! To view the many double-page spreads featured in 2DArtist magazine. Geronimo. Designing Droids We round off our Designing Droids series with a massage from the Pleasure Droid. Vitaly Tsimkin. Two-up Continuous. barren landscape of the Arctic Realm. 2. Open the magazine in Reader. Painting Creatures from Mythology Richard Tilbury and Simon Dominic battle the final creature in the gauntlet. Digital & Matte Painting Magazine | Issue 080 August 2012 feature in this magazine. painted by Carlos Cabrera.Get the most out of your Magazine! If you’re having problems viewing the double-page spreads that we Concept Art. Dennis Chan takes us on a trip to the cold. taking on the mysterious Ittan-momen. follow this handy little guide on how to set Interview up your PDF reader! Brian Sum Articles Cover Image by Patipat Asavasena Sketchbook of Jose Gomez The Gallery Paolo Puggioni. you can set the reader to display ‘two-up’. View menu. Go to the 3.

applying for art. in the last few years. Nonthaburi. but he horror and the generally bizarre. editorials and magazine workshops by Japanese manga. other than drawing. He has worked on game art. He artist who. Transformers and GI http://asuka111. brian@briansum. Brian discovered his true passion in the Contributing Artists Every month many artists from around the world contribute to 3DCreative and 2DArtist magazines. Thailand.cgsociety. video can’t imagine doing anything games and events production. Brian was influenced by Japanese anime and Saturday morning cartoons such as Macross. contact: simon@3dtotal. http://briansum. please concept design Jose Gomez Xavier Etchepare Jose was born in a little town Xavier Etchepare is a versatile in Colombia. he’s a full- traditional techniques through time freelance artist living in the use of digital page 4 Issue 080 August 2012 . decided to follow his passion He paints digitally.blogspot.2dartistmag.etchepare@gmail. His work has been influenced book http://xetchepare. He loves He now works at Ubisoft Studios sketching. He is currently a senior concept artist at Bioware. Simon Dominic Patipat Asavasena Simon is a freelance illustrator Patipat Asavasena is a specializing in moshgore@gmail. Montreal helping with the Mass Effect franchise. has grown up loving art and has worked in advertising. photography and technology. styles and he is very interested in art. graduated engineer.painterly. but also has a wide range of since going pro in 2009. After working in graphic design and animation. and has a clear aim for the future! after choosing to bring his creativity to the video game and animation digiemo@gmail. Canada. Here you can find out a bit more about them! If you would like to be a part of 3DCreative or 2DArtist magazine. in 1991.Contributors Brian Sum Growing up in Vancouver.

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“The sci-fi genre is the perfect springboard to let your imagination go wild. and also offers advice for those hoping to follow in his footsteps. Brian Sum. Sonic Chronicles: The Dark Brotherhood and Dragon Age: Origins.. Shadowrun. and he has also worked on game titles such as Mass Effect 2.” This month’s interview is with extremely talented concept artist.. . He talks to us about how he started out in the industry and what inspires him. Most recently he has created concept art for BioWare’s Mass Effect 3.

Essentially it’s trying to make an art piece and a blueprint all in one. You’ve worked on titles such as Dragon Age and Mass Effect page 7 Issue 080 August 2012 . I’m sure. posting my artwork online to get feedback. such as Star Wars. “Essentially it’s trying to make an art piece and a blueprint all in one” describes structural elements and parts that a level artist can actually build within our game engine’s restraints. but have just recently transferred to the Montreal studio to support the growing team. but they aren’t too (Pre-Michael Bay). I brushes along with some photo manipulation which was great starting out. a Landing a job at a games studio straight tightly to a brief or did you have creative popular subject in the industry. in my hometown of Vancouver. Could you start with worked at a design firm for about a year before I I always start by browsing through as much telling us a bit about yourself and how you really decided to get into video games. That’s what BioWare on some of the game world’s most the Graphic Design and Illustration program makes my job so exciting and stressful. while still trying to make the concept look “pretty”. www. storyboarding and concept art. work and to try and get what I want. since I was able made useful contacts while at school. I’ll use a combination of custom in Redmond. I was able to especially online. critically acclaimed titles. This was what I watched beforehand and made some useful contacts restrictive most of the time. My first at FASA Studio.Brian Sum Interview Hi Brian. Every new concept practice among many in this industry. I was more of a generalist. I loved designing robots and while at university? freedom. WA. your site doesn’t at Capilano University and after graduating I tell us a lot about you. cinematics. When it comes to Sure. Star happen for you? How did your first job come challenges you have faced? Trek (The Next Generation) and Transformers about? Had you built up a portfolio of work I’m usually given a brief. I constantly face is to create an image that try my hand at some modeling. I spent the next five years at BioWare Edmonton.2dartistmag. A very common childhood Actually I didn’t land a job at a games studio rough guidelines is helpful. apart from stating you work for straight out of university. and Digital Effects at Vancouver Film School. but sometimes I think having some spaceships as a kid. One challenge to learn a little bit of everything. So I went research material as I can find relating to ended up in the industry? back to school to study Computer Animation the specific concept. It doing environments. I get a lot of creative growing up. I was slowly building up my roughly blocked in and start painting over it in job in the games industry was at FASA Studio portfolio at the time and my goal was just to start Photoshop. I studied Graphic Design and Illustration. What was it out of university is like a dream come true freedom? Could you explain a bit about that attracted you to this genre? for a lot of aspiring digital artists – did this the process behind your images and any I’ve always liked sci-fi. I was enrolled in task has its own unique challenges. sometimes I’ll take a as well as Computer Animation and Digital was then that I finally got my first job in games screen capture of what a level artist has Effects. did you have to work A lot of your work reflects the sci-fi genre.



composition of an image that inspires an idea getting sketches/personal work down on Flickr and Google Images are great sources for or it could be the colors from a specific painting.2dartistmag. forced to commit and move on with every stroke I use reference images as an attempt to search I page 10 sketches if I were using Photoshop. I’m currently From that point on I usually have a general I find I work digitally more often than I did riding the Pinterest wave as well. but I still like to do sketches with pen and a matter of painting. idea that I’m picturing in my mind. The sci-fi genre is the perfect springboard to let your imagination go wild. I love your vast. paper? reference material of all kinds too. and I referenced those quite a bit when designing some of my cities. and using textures and paper. It’s a way and I find it a lot easier to throw out ideas encourage your imagination to produce process of trial and error to get to a point where quickly. Sometimes it might be the of the time now. detailed landscape concepts – where do you draw your inspiration from? Do you have any favorite buildings you use as a reference point? I’m inspired a lot by modern architecture. or do you spend any time www. I love the design of the Lloyd’s building in London and Santiago Calatrava’s architecture. inspiration and a general direction Do you find yourself working digitally 100% to work towards. There are no “undo” functions so I’m fantastic and original results? I’m happy with the end result. I still feel comfortable sketching in this After finding reference images. and then it’s before. Issue 080 August 2012 . I usually browse through countless folders of architecture and interior design photos before starting an environment piece.Interview Brian Sum I think the idea of what could be possible in the future was always exciting to me and still is. how do you photos to get what I want in Photoshop. I’d be tempted to erase and overwork for an idea.

however. I’m still trying comfortable with. I guess it’s a subject matter I’m most there a dream job that you would like to do DLC content for Mass Effect 3. They dream job. that a like to achieve.Brian Sum Interview Could you tell us about any projects you are usually do at work. I would say there’s always personal art pieces just to break from what I always have a goal or something they would a goal or something to achieve and I guess www.2dartistmag. one day? to learn and grow as much as I can in the area I would say that being a concept artist is my of concept design and I’m always working on I find that artists are ambitious people. Can you see a turning point working on at the moment? lot of my personal work still ends up being sci-fi your career could take in the future or is I’m currently busy working on some exciting new related. But page 11 Issue 080 August 2012 . I do admit.

Where that takes me in the future. Thanks for taking the time to talk to 2DArtist! Brian Sum Web: http://briansum.Interview Brian Sum “Being a concept artist is my dream job” the best job for me would be in a situation that allows me the most freedom to be creative. It could be doing concept art.2dartistmag. but I would say that the more reference material you look at. the more you start developing a better eye for page 12 Issue 080 August 2012 . it could be something entirely different down the road. As far as turning points my career could take. Practice makes Email: brian@briansum. I’ll usually gravitate towards projects that excite and challenge Interviewed by: Jessica Serjent-Tipping www. who knows? Concept design is a field I’m passionate about and I can’t see myself steering too far from this area anytime soon. what would it be? I would recommend studying the best artists out there and using their work as a benchmark for the level your work should be at. If you could give any advice to anyone trying to make their way into this industry or to progress in their careers. The online community today is a great source of inspiration and reference material. if you want to be able to compete in today’s industry.

BioWare and the BioWare logo are trademarks of EA International (Studio and Publishing) Ltd. EA and the EA logo are trademarks of Electronic Arts Inc. All other trademarks are the property of their respective owners. Mass Effect. the Mass Effect logo.= © 2012 EA International (Studio and Publishing) Ltd. .

I don’t think that people without imagination exist. it’s impossible” . there are a lot of things that can inspire you.“The truth is.

. page 15 Issue 080 August 2012 . the coffee. The truth is. to the stories that they have to tell. unknown people from public transport. a lot of love.2dartistmag. from the way they act and fight. I don’t think that people without imagination exist. and their movements and fearlessness. music.. food. walking in the street. Then there’s the fact that if you spoke up or did something wrong you could end up in a duel and die! (Fig. it’s impossible. love. the modified people that later change into monsters. there are a lot of things that can inspire you. I’ve always liked cowboys. www.Jose Gomez Sketchbook Sketchbook of Jose Gomez The cowboys. my best friend the pencil.01 – 02). animals. situations with my family that I like to bring to life. Everything about them fascinates me.

This blood-thirsty Viking is simply a memory from one of those comics that I read when I was a little boy.04). fascinates me to the point where I want to create my own stories and personalities. Olaf the Bitter was one of my favorites and. Well.03). well. This is something robotic and bejeweled that looks rather medieval (Fig. page 16 Issue 080 August 2012 . with all its special effects and futuristic stories. this is like a tribute to the hours I dedicated to reading those amazing and funny stories as a boy. we can see my version of Obelix and Idefix (Fig.Sketchbook Jose Gomez Science fiction. Although in this case. this is one of them. which is another great comic that inspired me to draw as a kid.2dartistmag. It’s also a tribute to the invincible duo of Asterix and Obelix.

05). I don’t think that tattooed people are “damaged”. as our society likes to say (Fig. . However.A lot of people like to experiment with tattoos and I see people with them everywhere.

one of my favorite animals (cats) and of course. All illustrators love skulls. It’s my favorite. that’s his name. skulls.Sketchbook Jose Gomez Calvin and Hobbes.06). drawings (Fig. but direct.07). one day we start to work with skulls – some that make sense and others that are done for pure pleasure ( page 18 Issue 080 August 2012 . El Dr Fried. Skulls and mystery attract him the most (Fig. is one of the characters in a short movie where I participated as a character designer. which can’t be missed out. www. This guy has a great personality and is very into science. In this character there are three things that I like to include in my drawings: my true friend coffee. No matter what style we are using.2dartistmag. I think that was the first comic that I read when I was a child. I love the stories and the simple.08).

but David is still alive in these pages (Fig. www.2dartistmag. One of those characters who was created on a cold night.10). Obviously that’s page 19 Issue 080 August 2012 . I made this sketch in an afternoon where I had nothing to do and was simply playing around.Jose Gomez Sketchbook David is an extroverted lover of nature and adventure. just my pencil and me (Fig.09). Skulls plus my sketchbook.11). with a lot of coffee (Fig. How sad. He loves the speed of the automotive. He has a unique personality. what a good combination and a little bit of digital color doesn’t hurt. This character was created for a comic project that later got canceled. thinking I could be an X-Man. Wolverine is my favorite comic-book character.

Well. my family had two dogs. dogs don’t like yogurts or ice cream.13). I told him to tell me stories. I just took a pencil and let it fly over the paper. One sketch more.14). maybe he would laugh a bit (Fig. I did this sketch in a very caring way. I told everyone that one of them was mine. But my dog didn’t like everything that I tried to feed him. walked with him through the country side and did a lot of other unforgettable things. I think that my little friend would like to see this sketch. When I was a kid I used to spend a lot of time with my father.When I was a kid. without complications. it represents emotions and moments that we spent together and the things that made me who I am today (Fig.12). . and at the end I looked at what I’d done (Fig.

com Email: moshgore@gmail. It’s kind of funny when you try to escape . Remember: they just want to talk. A lot of them don’t respect it if you are busy.15).chuloillustration.In my country (Colombia) sometimes people come to your house. and they just talk and talk. but don’t find a way to do it. no matter what situation you are in (Fig. Jose Gomez Web: http://www. knock on the door and want to talk to you about religion. they only want to keep talking to you.blogspot. But most of their stories are boring and repetitive.


Lighting Techni Director | How to Train Your Dragon | Tyson Erze. Roto/Paint Artist | Uncharted 2: Among Thieves | Mike Yosh. Previsualization Supervisor | Rex Ahn. Animator | King of the H Michael Loya. Lead Animator | Up | Bill Watral. Lead Effects Technical Director | Harry Potter and the Deathly Hallows Part 1 | Henry South. Animator | Wilson Mui. Roto/Paint Artist | TRON: Legacy | Craig Calvert. Modeler | James Stewart. Matchmo rtist | Robert Bourgeault. Animator | John Wong. Animator | John Iskandar. Lighting TD | Kieran Tether. Simulation & Effects Artist | Bill Watral. Visual Effects Artist | Jacob Curtis Miller. Additional Simulation & Effects Artist | Transformers: Dark of the Moo AWARDS erguei Kalentchouk. Matchmove Lead | Drag Me to Hell | Thomas Schelesny. Creature Rigger | Veronica Marino. Animator | Veronica Marino. Creature Texture Painter | Jelmer Boskma. Environment Art Lead | Despicable Me | Justine Codron. Compositor | Phan Wiantrakoon. Previsualization Supervisor | Kieran Tether. Character Animator | Jami Gigot. Lead Lighter | Ben Sanders.000: Dawn of War II | Nathan Hocken. Visual Effects Executive Producer | Brian Harder. Digital Artist | Ge asantani. Digital Artist | Aruna Inversin. Senior Artist | Claire Roberts. Lead CG Lighting Artist | Dead Rising 2 | Fredrick Fassé. DMR Compositor | Pietro Ponti. Environment Art Lead | Despicable Me | Justine Codron. Layout Technical Director | Aaron Gilman. Artist Christine Hubbard. Animator | Nathan Keane. Senior Environment Artist | Monsters vs. Animator | Bob’s Burgers | Tammy Dubinsky. Lighting Lead | Percy Jackson & The Olympians: T ightning Thief | Dave Mah. CG Supervisor | Brenda Li. Effects Technical Director | Jeffrey Burt. Layout Technical Director | Aaron Gilman. Animation Effects | Jake Biberdorf. Visual Effects Artist | Scott Dewis. Digital Artist Red Dead Redemption Josh Lange. Jessica Chan. Animation Supervisor | Coraline Brian Demoskoff. Digital Artist | Horton Hears a Who! | Brent Wong. Lighting Artist/Look Dev Ar Zombieland | Mike Rhone. Lighting Technical Director | Arun Ram-Mohan. Tracking/Lighting | The Princess and the Frog | Claudia Keene. Sen LEARN MORE AT VFS. Prop Designer | Gears of War 2 | Scott Dossett. 3D Artist | Rajeev Nattam. Creature Supervisor | Derek Stevenson. Roto/Paint Artist | Jose Julian Karam Lopez. Animator | Alfredo Luzardo. Animator | Dead Space 2 | Wayne Gonsalves. Aliens | Jiyoung Lee. Animator | Nathan Keane. Technical Director | Patrick Kalyn. Director/Co-Writer | Shawn Walsh. Storyboard Artist Fast Five Rommel Shamoun. Animation Supervisor | Brandon Chien-Chia Huang. Animator | Joshua Herrig. Senior Technical Director | Alice in Wonderland | Ken Kaiser. Animator | Allen Holbrook. the World | Joel Meire. Character TD | The Twilight Saga: Eclipse | Shawn Walsh. Animation Director | Star Trek | Teh-wei Yeh. Visual Effects Supervisor | Sean Lewkiw. Character Modeller | K hantraine. Visual Effects Artist | Julianna Kolakis. Modeler | Pearl Hsu. Character Technical Director | Tom Piedmont. Digital Artist | Nicholas Markel. Lead Animator | Tamir Diab. Matchmove Lead | Thor | Daphne De Jesus. Compositor | Anthony Di Ninno. CG Sequence Supervisor | Nicholas Markel. Digital Effects Artist | Freddy Chavez. Cloth Simulation Artist | Jim Hatibarua. Prop Designer | Gears of War 2 | Scott Dossett. Lead Lighting Artist/Look Dev Artist | Ben Sanders. Sets Artist | Tristan Ikuta. Technical Head of 3D | Ty Duperron. Animator | Fringe | Bob White. Supervising Anima WATCHED A BLOCKBUSTER LATELY? THEN YOU'VE SEEN THE WORK OF VFS ANIMATION & VISUAL EFFECTS GRADS ROLAND VALLET JOZEF VAN EENBERGEN KRISTIN SEDORE TAMIR DIAB EFFECTS TECHNICAL DIRECTOR LIGHTING TECHNICAL DIRECTOR LIGHTING TECHNICAL DIRECTOR PEDRAM DARAEIZADEH WILL TOWLE HENRY SOUTH HARRY POTTER AND THE DEATHLY HALLOWS: PART 2 DIGITAL COMPOSITOR JOSHUA HERRIG LEAD LIGHTING ARTIST/LOOK DEV ARTIST DAVID YABU LEAD ANIMATOR DAPHNE DE JESUS DIGITAL PAINT ARTIST DIGITAL PAINT ARTIST STEREOSCOPIC PREP/ROTO ARTIST STEREOSCOPIC PREP/ROTO ARTIST CESAR RODRIGUEZ BAUTISTA TRANSFORMERS: DARK OF THE MOON ANNA TONRUNGROJ STEREOSCOPIC NUKE BACKGROUND PREP JAMIE BOWERS RICARDO GOMEZ CG ARTIST VISUAL EFFECTS ARTIST CAMERA TECHNICAL DIRECTOR LOUIS COX STEPHEN KING MATCHMOVE TD HENRI TAN CREATURE TECHNICAL DIRECTOR CHRYSTIA SIOLKOWSKY CHARACTER MODELER ROTO ARTIST CEDRIC LO LEAD ANIMATOR THE ADVENTURES OF TINTIN: THE SECRET OF THE UNICORN CHELSEA WHITTET NUNO NISA PEREIRA CAROLYN WONG CREATURE TECHNICAL DIRECTOR CREATURE TECHNICAL DIRECTOR LIGHTING TECHNICAL DIRECTOR MEN IN BLACK III VISUAL EFFECTS TECHNICAL DIRECTOR KIERAN TETHER DIGITAL ARTIST PIPELINE TECHNICAL DIRECTOR PIPELINE TECHNICAL DIRECTOR BRIAN ZHENG MODELLING ARTIST JOOYONG LEE ROTO ARTIST ANIMATION SUPERVISOR SAMSON WONG SARA HILMARSDOTTIR RAPHAEL SANTOS DAANISH WAIN COMPOSITOR LIGHTING AND ASSET TD EFFECTS ARTIST AMY LU MATCHMOVE ARTIST HUGO BIREN VENKATRAMAN ANIMATOR ANIMATOR ANIMATOR LIGHTING ARTIST/TD BILL WATRAL AARON GILMAN SENIOR ANIMATOR THE TWILIGHT SAGA: BREAKING DAWN . DMR Composit ietro Ponti. Texture Artist | Fredrik Nilsson. Lighting Technical Director | Paul Copeland. Animator | Fringe | Bob White. Motion Capture Technical Director | Mass Effect 2 | Kolby Jukes. 3D Artist | Happy Tree Friends | Brad Rau. Compositor | Phan Wiantrakoon. Matte Painter/ Composito obert Bourgeault. Cinematic Artist | Suc unch | Ben Dishart. Animat CG STUDENT nd Rigging Lead | Rex Fang. Digital Compositor | Star Wars: The Clone Wars | KahJe heong. Motion Editor | Ben Sanders. Visual Effects Artist | Jiyoung Lee. Animator | Alfredo Luzardo. Digital Artist | Stephen King. Digital Effects Artist | Teh-wei Yeh. Animator | Ivy Ho. CGI Supervisor | Futurama | Claudia Keene. Supervising Animator | Ai Saimoto. Motion Capture Technical Director | Joel Pennington. Senior Cinematic Animator | Family Guy | Michael Loya. Concept & Creature Artist | Richard Sur. Model/Texture Lead | Tuba Yalcin. Lighting Technical Director | Paul Copeland. Texture Artist | Bioshock 2 | Jacob Palmer.Wonderland | Ken Kaiser. Digital Compositor | Christopher Ahrens. Animator | Chrystia Siolkowsky. Creature Lead | Kieran Tether. Animator | Chrystia Siolkowsky. Technical Animator | Ad aniv. Rotoscoper | SpongeB quarePants | Andrew Overtoom. Team Lead Animation | Avatar | Michael Cozens. Anima Simeon Bassett. Lead CG Lighting Artist | Dead Rising 2 | Fredr assé. Senior Surfacing Artist | Jeff Tetzlaff. Matchmove Lead | Drag Me to Hell | Thomas Schelesny. Principal Artist | Brian Sum. Lighting Artist | Alberto Lander Digital Compositor | True Grit | Tom Piedmont. Character Animator | Jami Gigot. Track/Matchmove Artist | Tangled | Lino DiSalvo. Creature Texture Painter | Jelmer Boskm Modeler | James Stewart. Compositor | Jacob Curtis Miller. Digital Artist | Geeta Basantani. Animator | Mars Needs Moms! | Shraga Weiss. Visual Effects Artist | Scott Dewis. Lead Animator | Scott Jones. Rigging Lead | Jooyong Lee. Senior Cinematic Animator | Family Guy | Michael Lo toryboard Artist Fast Five Rommel Shamoun. Production Artist | Bill Watral. Animat ffects | Jake Biberdorf. Animator | Harry Potter and the Half-Blood Prince | Pietro Ponti. Lead Animator | Tamir Diab. Motion Edito en Sanders. Character Animator | Rock Band 3 | Mike Krentz. Texture Artist | Night at the Museum: Battle of the Smithsonian | Nicholas Augello. Charac nimator | Assassin’s Creed: Brotherhood Zack Mathew. Digital Matte Painter | Andrew Lawson. Composito nthony Di Ninno. Digital Effects Artist | Freddy Chavez. Visual Effects Production Executiv hristopher Buzon. Lighting Lead | Ori Ben-Shabat. Artist | Allan Dilks. Effects Artist Mark Shir ayout Artist | Warhammer 40. Visual Effects Artist | WALL-E | Daniel Holland. Lighter | District 9 | Neill Blomkamp. Lighting Lead | Richard Sur. TD Generalist | Gia Sadhwani. Animator | The Dark Knight | Gia Sadhwani. Animator/Character Lead | ModNation Racers | Eric Gabas. Texture Artist | Christine Peters Digital Compositor | Anuj Patil. Animator | Ryan Lim. Animator | Veronica Marino. Animator | Serguei Kalentchouk. Visual Effects Supervisor | Dragon Age II | Nathan Zufelt. Look Development | Jeffrey Burt. Lead Animator | Ian Cumming. Lighter | District 9 | Neill Blomkamp. Visual Effects Supervisor | L Molnar. 2011 urgers | Tammy Dubinsky. Senior Animator | Halo: Reach | David Helsby. Animator | Bo 2010. Artist | Scott Pilgrim vs. Visual Effects Artist | Jacob Curtis Miller. Digital Matte Painter | Andrew Lawson. Team Lead Animation | Avatar | Michael Cozens.COM/3DTOTAL SCHOOL OF THE YEAR . Pre-Visualization Lead | Joshua Herrig. Digital Compositor | The Wolfman | Karin Mattsson. Senior Cinematics Animator | Megamind | R Naamani. Motion Capture Data Editor/Cinematics Editor | Legend of the Guardians: The Owls of Ga’Hoole | Tim Rowlandson. Sen nimator Rio Graham Silva. Visual Effects Executive Producer | Samson Wong. Lighting TD | Julien Stuart-Smith. Animator | Wilson Mui. Concept Artist | Bartek Kujbida. Lead Layout Artist | Piranha | Lon Molnar.PART 1 BRAVE RICHARD SUR JOSH LANGE INTEGRATION ARTIST ANIMATOR ROTO/PAINT ARTIST GEETA BASANTANI DIGITAL COMPOSITOR PREVISUALIZATION ARTIST DIGITAL PRODUCTION ADMINISTRATOR CEDRIC LO ALAN FREGTMAN RIGGER LIGHTING LEAD JUSTINE CODRON CHAD MOFFITT PREVIS ANIMATOR PREVISUALIZATION SUPERVISOR JELMER BOSKMA YUTA SHIMIZU THE AVENGERS LEAD ANIMATOR NICHOLAS MARKEL MIKE RHONE EFFECTS TECHNICAL DIRECTOR LEAD ANIMATOR HENRY PENG SOFUS GRAAE VISUAL EFFECTS COORDINATOR VISUAL EFFECTS COORDINATOR TEXTURE ARTIST RIGGING LEAD CG MODELER CHUN-PING CHAO REX FANG DIGITAL PRODUCTION ADMINISTRATOR CAMERA TRACKER SERGUEI KALENTCHOUK BORAE CHO PIPELINE DEVELOPER LIGHTING TD LIGHTING TD KEVIN MAH VISUAL EFFECTS COORDINATOR RISE OF THE PLANET OF THE APES ANIMATOR MATT WEAVER LIGHTING AND COMPOSITING TD ANIMATION SEQUENCE SUPERVISOR STEPHEN KING JOHN ISKANDAR NICK CRAVEN VFS CONNECTS THE ENTERTAINMENT INDUSTRY. Technical Directo atrick Kalyn. Previsualization Supervisor | Kieran Tether. Animator | John Iskandar. Lighting Technical Director | Cedric Lo. Animator | Dead Space 2 | Wayne Gonsalves. Dig rtist | Harry Mukhopadhyay. Visual Effects Artist | Julianna Kolakis. Visual Effects Supervisor | Dragon Age II | Nathan Zufelt. Animation Supervisor | Zeke Norton. Key Assistant Animator | Rango | Cedric Lo. Animator | The Dark Knight | Gia Sadhwani. Creature Supervisor | De tevenson. Lighting Lead | Richard Sur. Animation Supervisor | Coraline Brian Demoskoff. Matchmove Artist | Robert Bourgeault. Animator | Kristin Sedore. Animator | Shrek Forever After | Javier Solsona. Animator | The Illusionist | Yann Tremblay. Lead Layout Artist | Ferda Guray Ayaokur. Character Animator | Assassin’s Creed: Brotherhood Zack Mathew. Senior Animator | Iron Man 2 | Teh-wei Yeh. A small selection of VFS Animation & Visual Effects alumni credits include | 2012 | Zeke Norton. Previsualization Supervisor | Jamie Bowers. 3D Artist Matthias Lowry. Artist | Watchmen | Shawn Walsh. Digital Artist | Joshua Herrig. Visual Effects Artist to name a few. Roto/Paint Artist | Anna Tonrungroj. Senior Lighter | Toy Story 3 | Daniel Holland. Animator | Matth urner. CGI Supervisor | Futurama | Claudia Keene. Lighting Artist | Derek Stevenson. Animator | Starcraft II: Wings of Liberty | Alvaro Buendia. Texture Artist | Bioshock 2 | Jacob Palmer. & 2012 Director/Co-Writer | Shawn Wal isual Effects Executive Producer | Samson Wong. Roto/Paint Artist | Eric Petey. Director | LA Noire | Upinder Dhaliwal.

This month we feature: Vanja Todoric | Paolo Puggioni | Vitaly Tsimkin | Ivan Kashubo | Cristian Popa Douah Badr | Fuad Ghaderi | Andrei Pervukhin | Ray Jin | Alexey Egorov .

com (Right) Balerion The Black Dread Paolo Puggioni http://www.2dartistmag.cghub.R.The Gallery 10 of the Best Please submit your images to the 3DTotal gallery! The Hell Saloon Andrei Pervukhin page 25 Issue 080 August 2012 .paolopuggioni. LLC A Game of Thrones and A Song of Ice & Fire © George earfirst@gmail. Martin (Below) © Green Ronin Publishing.

Under the Bed Cristian Popa .co.


com/ ivankash.MonOmoN Ivan Kashubo (Kashivan) . page 29 Issue 080 August 2012 .com (Top Left) HSD.The Gallery 10 of the Best Please submit your images to the 3DTotal gallery! Small Town Ray Jin Fuad Ghaderi (Top Right) (Bottom Left) Arch Vampire Vanja Todoric http://vanjatodoric. page 30 Issue 080 August 2012 .blogspot.10 of the Best Please submit your images to the 3DTotal gallery! The Gallery Geologist Vitaly Tsimkin (Vagrantdick) (Below) (Left) Dreamy Place Douah Badr virt13@gmail.

ru .Pit Stop Alexey Egorov astron-66@mail.

thegnomonworkshop. shadows and scars. Digital Downloads. skipping the 2D sketch phase all together and designing the character entirely within ZBrush®. Patton cr shows how he squeezes the most from ZBrush’s powerful renderer to create both a wide and close-up shot of the character. hair.! n W ciptio NO bs E d. ov All Tutorials Are Now Available As DVDs. Dig D DV LEVEL UP YOUR DIGITAL SCULPTING SKILLS TRAIN WITH KILLER ARTISTS 3D CHARACTER DESIGN SERIES WITH SCOTT PATTON In this two volume series. BL loa Su A w IL l Do n A ita AV. He covers everything from blocking out the forms and fleshing out the muscles. He then shares creative Photoshop tips and tricks to quickly get to a finished piece of concept art from the ZBrush renders. to adding props. covering topics such as adding and refining skin . And Part of The Online Training Subscription www. The first volume explores Patton's fast and efficient method for concept sculpting. The second volume covers methods for creating a final color rendering using ZBrush and Photoshop®. Patton also discusses how to create backgrounds that enhance the character and overall composition. Scott Patton shows the processes he uses to create a 3D character for feature films. detailing with alphas and posing the character. eyes.

theodoru. .modo® image by Teodoru Badiu Meet modo.

One of the most popular of these styles is what we know as manga. In this tutorial series we will be covering how to create our own manga characters using many of the recognizable features that we see in this style of art. Our tutor for this fantastic five-part series will be insanely talented artist Patipat Asavasena. who shows us at how to put his tips into practice whilst painting some super-cool manga historical characters.There are obviously many different styles of art that originate from different countries and cultures around the world. .

impact for the next step (Fig. His costume draw two or three additional viewpoints of the to protect his homeland from the expansion is inspired by the Civil War period and his same pose and then select the one with most of those two countries. “Geronimo” was a name that was given to him during a battle with Mexican soldiers. I initially then scan the rough sketch into digital format my sketchbook. Draw Thumbnails Create a Rough Sketch Design Concept I draw many small thumbnail sketches in order Usually. Actually. I like to work with pencil and paper I begin with sketching Geronimo’s character in to explore various composition options. He fought against Mexico and the United States for several years which shows his experiences. character. pneumonia. his body has scars from many battles. Geronimo was a Native American warrior and leader of the Apache tribe. First I use the iPad to take a Also. but this time I will use the iPad to develop so I decide to choose a muscular figure for him.2dartistmag. Geronimo was a skillful warrior. After the pose is chosen.Manga Historical Characters Chapter 05 – Geronimo Chapter 05 – Geronimo Software Used: Photoshop Introduction Welcome to the last chapter of this manga painting tutorial series. Before we start I would like to tell you about Geronimo’s background.01).02). This time I’m going to be demonstrating the workflow and techniques I use to create a manga version of the famous Geronimo. He died in 1909 from weapons are a rifle and a knife (Fig. come up with some dynamic poses for the later. I photo of the thumbnail sketch and import it into page 35 Issue 080 August 2012 . because I want to portray the sense the rough sketch. His real name was Goyathlay. let’s begin the tutorial. I hope you will get some valuable ideas from my approach and that you can apply them to your own process. of a battle scene. Now.

Brushes.Chapter 05 – Geronimo Manga Historical Characters the Procreate app (or you could use another drawing app. www. Then I transform it to fit the canvas with the Free Transform tool (Cmd + T or Ctrl + T). rough sketch layer when I finish the clean-up sketch ( page 36 Issue 080 August 2012 . I use a 4px Normal Round brush to refine the details of the character in the new layer. I export it via iTunes or email when it is done (Fig. Clean up the Sketch I create a 300dpi A4 size canvas in Photoshop and import the rough sketch from the previous step. Finally.) This app is capable of working in layers same as Photoshop. like SketchBook Pro. Next I create a new layer and clean up the thumbnail. I remove the old. etc.03 – 06).07 – 08).2dartistmag.

12). but error. I roughly layers on the top. I like to open allow for the best readability. and then use a large Bristle paint the image in grayscale.2dartistmag. and where the the color script file side by page 37 Issue 080 August 2012 . Then. (Fig.11).Manga Historical Characters Chapter 05 – Geronimo Plan the Tonal Value Overlay the Color I duplicate the current canvas a couple of times Back to the original canvas. Actually. I save sample the color from it with the Color Sampler the final design as a reference for later steps tool (Opt + left-click or Alt + left-click)(Fig. Then.13). it helps you to for painting the small details. (Fig. so I can decide brush to overlay the color according to the color where I should put the dark and light tones to script in the previous step. I roughly paint over the entire to see which one is the most interesting. Don’t forget to save the final color script I’m only focusing on the overall image for now for later reference (Fig. Rough Painting Create a Color Script I flatten all the layers and select the Flat Curve On another duplicated canvas. I will use an even dramatically decrease the time for trial-and- smaller brush for super-fine details later.09 – 10). I use a brush size between 10 and 45px doing some planning first. By image. I roughly paint Thin Stiff Bristles brush from the Brush Presets with a large brush and try various color palettes windows. www. and directly focal point of the image should be. I create Multiply for tonal value design and color script.

I use the same I keep painting here and there until I feel like it’s I hope you enjoyed the tutorial and found it brush from the previous step to handle this task done. I select the Normal Round brush to refine brush strokes. I create a new layer and randomly paint solid blobs of color. it. is the character’s face. These details in highlighted or shadowed area. character will look more realistic this way. page 38 Issue 080 August 2012 . as if I’m sculpting the character.20)! reflection. etc. do a little bit of Brightness/Contrast adjustment I can. and then the sized color blobs and Distance values. it will also have a richness of Add Flowing Particles texture from the brush strokes (Fig. I which.2dartistmag. After that. so I decide not to overuse the the tiny details. I will create the illusion of depth (Fig. I tried to explain my process as best as (Fig. Then. The Manga Historical Characters Pressure Sensitivity option (Fig. it’s finally done (Fig. I select Filter > Blur > Clean up the Background Motion Blur and adjust the Distance value to I fix the composition a little bit by expanding 250.Chapter 05 – Geronimo Brush Stroke Technique Refine Small Details This time. although it might not be perfect. soft blending like in my previous tutorial. Be careful not to are any mistakes. If there with an adjustment layer. water www. Then I flatten all the layers together and useful.16 – 17). especially in the focal area. I want to create the impression of Next.) and keep refining those Final Touch Final Thought elements until I’m satisfied. I repeat this step three times with different overuse this setting as you can blow out the the canvas with the Crop tool.19). I deeply apologize to you.18).14 – 15). I use carefully align my brush strokes to the surface a 2 to 5px brush size and enable the Opacity line. I add the background elements (trees. in this case. That’s character fits well in the frame.

hope you get a spark of inspiration. as well as my past tutorials. Keep up the good work! Patipat Asavasena Web: http://asuka111. creativity and insight from reading .net/ Email: digiemo@gmail.

You can wander around. fantasy realms from the same world while also describing their own painting process. One of the challenges faced by the concept artists working on a game like this is creating a variety of environments that still look consistent design wise.One of the appeals of many modern computer games is the ability to explore vast worlds created by talented teams of artists and designers. absorbing impressive landscapes while tackling challenges and enemies of every description. venturing from one realm to another. . Within this series of tutorials our artists will be showing us how to design six diverse.

following my line drawing to only way I can be critical of my work.The Six Realms Chapter 02 – Arctic Chapter 02 – Arctic Software Used: Photoshop Introduction The Illustration was based on a short brief provided by the client. structure. I wasn’t For the underpainting I randomly overlayed doing some quick and rough sketches in my concerned about details or trying to make an photos. out what I imagined. I color rough ideas. I wanted the illustration to feel alive and almost like I’d taken a screen capture from a movie. the painting. I started should come from the left. I often feel this urge to give my environments some life and add characters to support it. so I could easily do my pick and paint. with fresh eyes. underpainting later on (Fig. The whole idea is to have a page 41 Issue 080 August 2012 .01). texture and abstract side. I took the opportunity to add a simple story for the readers to interpret. block things out. anything from cityscapes to snow sketchbook. basically just trying to sketch the main focus in the painting (Fig. and I For the next step I used Photoshop.02). What I was trying to do was figure out Foundation When I first got the brief I started right away by the composition. I then put the assignment to one accurate design of the elements at this stage. What I look for in the references is the color palette. I kind of knew that this illustration would require some effort and I would Getting Started I decided early on that the main light source probably change it a couple of times. Using its colors. I find that it’s the the background color. I like adding some story when making environment concepts. landscapes. I wanted to highlight honestly didn’t really have a clear vision of what with some simple and quick line drawings of the character and the castle because they were my final result would be. with the support of my sketches. but I was pretty free to interpret it. and came back to my sketchbook a couple of days later to see if I was still hooked on my I had the line drawing on a separate layer from shapes to interpret.2dartistmag. other than the mood of the whole scene. scale and proportions.

the moon and other light sources more present very important. some changes to the castle. When I work on a busy illustration the painting and I tried to paint with the thinking studying and having a good understanding of with lots of elements.03). with a texture in. This step was a big jump from the foundation attention to these areas. I used a Curves adjustment layer to push the colors and contrast.Chapter 02 – Arctic The Six Realms foundation to work with. I researched on Google. So I had my lightest values around I also added a rusty texture. set to Overlay with light source. I also added some animals into the story to show a bit more of the habitats. The idea was to be everywhere in completely match my needs. because I rarely find ones that I knew most of the surfaces facing up would be and visible. I worked mostly with mid-tones at this point. was coming from the top left. At this point I worked www. which makes highlighted.2dartistmag. The reason I was a process of detailing. but it was good enough for me to start from and I intended to work from dark to light (Fig. Suggestive light sources were also added in the tents to show some sort of activity in them. but I also Since this illustration was somehow staged with pasted part of a church image to get some have a personal library taken from my field a camera angle just above the horizon. and painted with that in mind.05). it and pushed them into the background. I made trips or travels. so I intended to fake the amount It kind of gave me the opportunity and space to of the highlights and how the light affected the try things and experiment (Fig. I also made I always have a collection of photo references shadow. the image can easily that what I did now would effect what I did later. set to Soft Light with 15% opacity. which saved me lots of time. I also added mountains Since the rusty texture was pretty much red. almost desaturated the texture. the characters and the animals. I and the process was pretty much repetitive. covering the whole on the village. your subject matter extremely important. though I had elements in the foreground with a darker value just to separate important parts. or where my focus points were to draw the painting. I find using photo references large open space and under this light condition. I also had a better understanding very low opacity – just enough to suggest some References of what should be in light and what should be in details for me to paint later on. I did a great amount of painting points. I was inspired by relevant to my subject matter on my second Gothic architecture and basically copied and monitor.04). rather than just a guy with his wolves in a dead village. which would require some attention later with more values and did this is because it broke the Photoshop look page 42 Issue 080 August 2012 . Painting and Adding Photo Textures elements and environment to benefit my focus As you can see. I now had a clear a snowy mountain photo. with subtle contrasts and colors. For this image it was a bit dark in value. Since the moon For the mountains in the background I used on (Fig. become noisy.

2dartistmag. and also gave me some suggestive details The image lacked depth and atmosphere. so I scaled up Merge Visible on a new layer. defining edges and so The last thing I did at this stage was copy the like scratching the surface of the painting to on (Fig. I used an Unsharp flat.blogspot. Then I copied textured soft color balancing. (Fig. Find Balance The last thing I did to the painting was use These stages are probably unnecessary. Dennis Chan and use adjustment layers such as Curves and Web: http://dchanart. I almost adding. I find as well as contrast. whole image and open it on a new canvas. keeps things from looking particles in the air to depict some sense of and scaled it back up background with atmospheric depth. and moved the sliders around until value differences.The Six Realms Chapter 02 – Arctic up a bit. so it took up more of the space and Mask filter to sharpen up the edges a little bit.10). instead of the normal soft On a separate layer I added some snow the decreased image back to the original file brush without texture. Color www.07). stepping away. with observing. in my opinion. I felt that the Then I signed it off (Fig. so I pushed back the most hideous part. and edges. the pixels blend and all the brush strokes therefore showed less of the sky. custom made soft brush with a texture. I used a run through the whole painting.09). but I I was not happy with the Email: page 43 Issue 080 August 2012 . make it less contrasting and saturated. Done! soften. yet they are sharp. a bit. I like to think I get castle was too small in proportion to the rest this dry paint effect. and I do it very differently each time. when I want to push things into the distance with strokes here and there until I felt that I couldn’t This is something I pretty much do by instinct atmospheric depth. gave me a textured canvas to paint Textured Soft Brush Finalizing on. defining shapes. and this especially works going for. I also felt it supported the mood I was Mask filter. On top of that I continue the of the painting and it needed to be balanced painting process. using the Unsharp feel that my paintings sometimes kind of flatten parts of it.cgtextures. add a single pixel more. I basically most of my textures on www. I added some more brush I was happy with the result the effect gave me. The last part of my painting process is the and subtle value differences to interpret.06). Using a decreasing the painting by 60%. the texture leaves the surfaces with subtle motion. (Fig. the brush set to 10% opacity (Fig. making corrections.08). removing.



COM Visit 3DTotal.Intermediate | Tutor: Richard Tilbury | Start Date: 3rd Sep 2012 | Duration: 4 weeks .com to see our full range of training products CLICK HERE FOR FULL DETAILS This online workshop will run over a period of four weeks and incorporate over seven and a half hours of video footage. The workshop will illustrate the process behind producing an initial 3D concept in SketchUp through to a finished digital painting in Photoshop.3DTOTAL WORKSHOP 3DTOTAL. Software: Photoshop & Google SketchUp | Level: Beginner . showcasing how a 3D scene can accurately establish a composition and help visualize an idea before beginning the painting itself.


This will involve them coming up with the design and showing you how to develop it to the point where they will even show you how to create the technical drawings for a 3D modeler! . but none of these rely on it as much as the games industry! Obviously games are made of many elements.Digital art has it place in many industries. but you could argue that the most important element of any game is the characters. In this tutorial series our artists will be showing us how to design droids as if they were doing it within the games industry.

2dartistmag. so the person can insert a coin and select the part of the body that needs treatment. as you can see in Fig. I add a medic-kit and in the middle of the chest. a kind of panel similar to the common soda machines. in Google SketchUp – remember to catch my past 2DArtist tutorial with this great program!) it will be a lot easier to work on the profiles. it is better than a couple of hands and keeps the mood futuristic. I do a rough 3D model. Profiles This step is very important in any production illustration because the design can be used. by a 3D artist. so I choose a Japanese style for it and why not. As you can see in Fig.02 and export the different views to Adobe Photoshop. a weird. Usually I don’t use this for a simple illustration. crazy painted face! In the sides of the legs. I sketch some simple thoughts for the robot. In the past I painted all the www. so I decide to add a vibrating massage device as the hands. First of all we have to sketch some ideas on our page 49 Issue 080 August 2012 . In the same line I decide that my robot needs a face (as you can see it already has a camera). to add humor to the design. suffer no more! Simply ask one of our latest I-pleasure 2000 robots for a free back rub (relaxing music included) and we guarantee you will feel in your twenties again! Ideas We start with a simple subject. or used to maintain one style in a complex project. in this case a “pleasure robot”. In the back you can see a big C battery type.Designing Droids Chapter 7: Pleasure Droid Chapter 7: Pleasure Droid Software Used: Photoshop Stressed? Your back feels tight? Do your arms hurt after long hours of making concept art for the buck? Well. I choose a “massage robot”.01. The common style for this kind of work is line art. If you can do a simple 3D base in your favorite 3D program (for example. but in this case I will show you the kind of style I use when a client asks for it. for example.

as you I start to paint the foreground robot. and don’t worry about the details at page 50 Issue 080 August 2012 . But I’m still looking for the correct used a simple ink line. so I’ll probably light and shadow in this stage and call on your illustration. I think an empty robot battery on But you don’t have to worry about detail in these I start with a rough sketch. which I select from the floor will be great to show how cheap this early stages.06. but decide to add a little bit of cold the canvas. elements work well together in the composition You can see in Fig. think of one for the entire painting to accentuate the color to the hands. Check the final result of profiles in but it is a good start.03 – 04. I’m not sure about the lighting. The blue letters add a cold contrast feel it. we can fix it later or that works perfectly against the background try other colors. So. But as I said before. so work loosely over the painting my mind. In this case I pick a brownish warm palette. work fluidly and fast. the more color to our secondary robot and client.07. You can see how fast and quick the Japanese massage house is.Chapter 7: Pleasure Droid Designing Droids views.2dartistmag. So forget anything about a quick pass of grays to add volume to the lighting and this is an early stage. Color Illustration rough sketch. so I add this in. In this step I add better lines and our scene. Sometimes strokes are in Fig. want to think too much about the illustration. inspector!).08 how I’ve started to add in Fig. I Now it is time to add a simple base color. I pick a have the idea and now it is time to drop it onto can see in Fig. just let the art flow. This is because I don’t www. You can see how all the Fig. interior inker. so I pick a violet palette for what you want to show and start to draw the poor hygiene of this establishment (don’t tell the them. but something is not working and I can rough sketch as I have. That’s because I did the first step.05. but several video game companies told Now it is time to define much more of our and the city behind is a good source of light for me that this is not necessary and they always illustration. change the source later on.

The face of the guy is perfect because it shows how good the robot is at doing its job! The faces are done. of course. The violet and the green are too strong to work together. See how www. the city will look better at night and the glowing hands of the robot will look much better as another light source.2dartistmag. Make big strokes and play with the palette. So at the last minute I decide to change the ambient light.Designing Droids Chapter 7: Pleasure Droid this kind of exercise is better than thinking too much about an illustration.10. a carpet on the floor and a briefcase for one of the clients. we have the palette we’ve chosen. As you can see in Fig. I add a couple of objects to make it more interesting. But now I have some problems. but I don’t know if this will work for this illustration. the characters interacting with the robots and some simple details on the curtains.11 the green isn’t as strong now that you can see the floor and the background curtains behind. In Fig. I’ve changed the perspective of the front robot page 51 Issue 080 August 2012 . So I start to think that maybe a good change to the image would be to make the transition to a night-time scene. but maybe it is too drastic.12 we have the color scene complete. I now have several colors on the canvas and a nice cityscape behind. for example.09 to see the rough palette. a foreground plant and some simple curtains behind. I pick some photos of a city to add a simple texture. Check Fig. Now we have a floor. In the hands I choose a green because I remember a similar device I have at home. but not just its hands and that’s exactly what is happening now. I want you to look at the robot. and I add color to the panel’s lights. It’s a cheap massage house. I’ll paint over it later. The floor perspective doesn’t look right and the light is a little boring. as you can see in Fig. right? We have to keep working on it and remember that we don’t need to worry too much about details.

maybe even make small In Fig.15).com letters to show how commercial the massage give our scene the mood we need. on a layer in Screen mode. As you can see in Fig. papers and a cup. you can always improve or add modifications to So. Remember eliminated the green from the scene. This is the fun part because you have for a massage! some reflections too from the lights I will add to the final palette and you just have to add all the the ceiling.14 you will see the extra details I’ve page 52 Issue 080 August 2012 . image and now is just the time to add the extra that’s up to you! See you in the next one. smoke I’ve added is a simple picture of smoke such as graffiti on its body (Fig. the painting changes to a night-time ones for foot massages or toe nail treatment – added to the floor to accentuate the dirty place. and I’ve added more detail in the face of the almost all the image.16 the Carlos Cabrera robot has some sparks on the neck because it’s Web: http://www. make sure you www. I’m off such as trash. as much fun trying this one as I did. a gradient to do this.2dartistmag. The cigarette house is and put some extra detail on the Behind the background robot I put some offer a very cheap model and a foggy ambience will Email: carloscabrera@gmail. Remember to always use client and a little puddle of drool on the table. don’t change the complete Well that’s the whole process! I hope you have The panel’s lights are yellow now because I’ve painting.Chapter 7: Pleasure Droid Designing Droids the hands and the light in Fig. You can see details. details you want.13 are now more Now I darken the entire image with one layer choose the correct opacity so as not to over- turquoise to integrate better with the scene of overlay from the top of the canvas to cover saturate the image.artbycarloscabrera. with a military dark green on that overlay your pleasure robots.




To make things a little more interesting this will be done by not one but two artists. one using Photoshop and the other using Painter. .Myths. Throughout the series each artist will be given a brief for a character which they will need to interpret and turn into an illustration. legends and fantasy creatures have always been influential when it comes to digital art. This month Richard Tilbury and Simon Dominic Brewer tackle the Ittan-momen. In this series a selection of stunning artists will be taking this popular subject and exploring some of its more diverse and lesser known characters. This will not only show some of the differences between the two pieces of software. many artists will never really stray too far from these sorts of themes and ideas. In fact. but will also show how the same brief can be interpreted in two different ways.

com page 57 Issue 080 August 2012 . whilst other versions vary to depict a geisha for two reasons. silently approaching its victims and a dark background and the source of light macabre creature.Painting Creatures From Mythology Chapter 8: Ittan-momen Chapter 8: Ittan-momen from a translucent shape all the way through to which is because it is a traditional Japanese Software Used: Photoshop a life-like vision. I consequently quite a broad interpretation. I chose head. placed the two characters in front of a bland background and emphasized the stark makeup that seem obvious to include are a nocturnal scene set in Japan and someone being With this in mind I could start to work on a and whiteness of the geisha’s face. but the two things presence. I imagined it to be able As you can see from the description above. this would prove interesting. There is no reason why the scene could not be night and attacks humans. often by wrapping which was a hybrid between a transparent depicted in a contemporary setting and. The second reason is that they stem from an era long ago Ittan-momen is a ghostly phenomenon from I had a vague definition of the creature and so when myths and legends were more significant. inadvertently referred to the cliché that people lose their facial coloring when they see a ghost. This description is open to clasping them before they are aware of its radiating from the creature. which flies through the air at could already picture something in my mind. around their faces to smother them. being and something resembling a solid form. female that is widely recognized. in fact. This smothered. The notion of a ghost is somewhat less precise Fig. an invisible presence. as though the blood has been drained from their in the sense that some have been portrayed as which show a geisha being attacked. composition and block in the characters. the to extend its body or limbs to perform stealth As this was to be a nocturnal scene I envisioned ittan-momen conjures the vision of a creepy and attacks. Japanese folklore. Introduction around a person’s face.2dartistmag. however I decided Because the ittan-momen is reputed to wrap on a more traditional period. the first of www.01 shows two stages of the initial block in.

overall structure of the image. to utilize a few layers to separate out the details I didn’t want to refine the characters fully which lent him the appearance of a shrunken and then intermittently flatten everything before without paying any attention to the background. the file size Although the surrounding scenery was intended in Oxford. refinements. I find this is a good way of working. and in view of this I painted in some long and level at all times. This had which somehow made it look more threatening flattened the PSD and created a new layer. not least because their faces The main objective at this point is to determine appear quite mask-like due to the extensive the composition and to try and get a feel for the page 58 Issue 080 August 2012 . as a consequence the geisha’s face via the Dual Brush settings. The focal points would mode to Vivid Light. I created another new layer and added an to improvise on the original sketch. The next stage was to build up the image. I set the blending up the two characters. It was quite a tricky area to get right.2dartistmag. as it did not imply trophies. I experimented by having his eyes almost shut. but in order to see clearly what color has very sketchy. head I once saw in the Pitt Rivers Museum repeating the process. but victim. which is a characteristic of such momen in my first attempt.03). I liked the incandescent glow around the creature using a notion of an open mouth revealing some teeth. on which I started to make some further a more obviously ghostly presence. I adjusted the face and tilted the head slightly.04). This way. it did require some definition – albeit in a more www. I then yellowish hue set to Overlay (Fig. Happy with the initial color block-in. At this point I was not clear about been added see the upper right image set to the creature’s facial features and so started Normal mode. Throughout these stages I used a as I had concentrated on achieving a startled standard Chalk brush with some texture applied expression. which preserves the tonal eventually be their faces.02). a very stealthy attack and so I lent the body forward to suggest it was creeping up on its The head was looking okay at this point. which currently looked range. clarify before adding a new layer comprising of some some of the rough brush strokes and tighten provisional color (Fig.Chapter 8: Ittan-momen Painting Creatures From Mythology I was not happy with the posture of the ittan- disheveled hair. the effect of creating a more ethereal being with and so retained this aspect (Fig. These have a very sinister quality and layer structure is kept within a manageable to be dark and somewhat vague by comparison. didn’t look very oriental.

com page 59 Issue 080 August 2012 . geisha’s left hand. However her was a pattern across the kimono. I looked through the image alternatively through the Liquify filter. and One area that seemed unresolved was the then blended them in using a soft-edged Eraser.2dartistmag. using the Warp tool or www. I the background to a green to match the painting and so went to Image > Adjustments < Replace Color – this can be seen in inset 1 in Fig.Painting Creatures From Mythology Chapter 8: Ittan-momen suggestive manner. I color corrected these using a combination of Curves. I set the blending mode to Overlay and then positioned it over the kimono (see inset 2).07). but thought this would The other element that I included at this point interfere with the composition. but wanted to change suggest a particularly traumatic condition. I find the best method is to do it in (Fig. You can combat this in one of two ways. This is clenched fist did not really express any anxiety something best done using a texture as it will or fear and so I decided to change it to a more save time. which again didn’t predominantly red fabric. into your file and scale it accordingly.05).06. I was thinking of having her holding a parasol. As this is a flat texture it will not conform to the folds in the cloth and the way it wraps around the body. Color Balance and Hue/Saturation. The first step is to copy the image taut and strained pose (Fig. Depending on your intended blending mode you may wish Another aspect that was causing me some to color correct it also. in order to align the pattern with the varying curves of the cloth. namely a bamboo grove and screen > Warp). After changing the color. stages. In this library at 3DTotal and found some suitable case I chose the Warp tool (Edit > Transform images. In this case I selected a concern was her head.

08. I felt this gave her an Fig. The image at this point was nearing the final Richard Tilbury Web: http://www. The upper left inset shows so I moved the pupils upwards. the result of which can layer I painted in a new version and whilst doing its head. eyes were rolling back.Chapter 8: Ittan-momen Painting Creatures From Mythology initially liked the fact that she was staring at presence coiling around her mouth. Using a Soft airbrush I incongruous with the subject matter. which after image was complete (Fig. On a new the creature’s mouth. whose life was draining away (Fig. I added a glow by refinements. as well as growing from painted in a yellow Issue 080 August 2012 . but her head position seemed would be interesting to have this connected to to finish it at this point.11). I thought it experiment can be seen in Fig.09 shows the smoke-like tendrils enveloping I made a few more minor tweaks and then the expression that was more akin to someone the girl’s face and suffocating stages. but I decided the viewer. as though her how it looks in the Normal Blending mode. but there were a few more things that In order to give the creature a more supernatural needed to be done.2dartistmag. Barring some overall and ghostly presence. be seen in Fig. being painted in were softened using some Gaussian page 60 Email: ibex80@hotmail. I wanted to add a spectral way of a new layer set to Overlay.10. The initial www.08).


and A Watercolor layer is essentially a type of Gel an iterative process. which flies through the air painting with Real Watercolors I find it best to If you’re one of those whose sketches look great at night and attacks humans by wrapping itself start with a pure white canvas. I also tweak the settings material. poised to grab the right-most character Set up the Canvas I’ll be painting this piece using two types of brushes – a Real Watercolor variant. followed www. I in the garden – unaware of the beast that’s The reason for this is that many of the Japanese just arrive at my preferences by experimenting looming behind them. specifically the Kagoshima Prefecture. piece. a garment from another. so I intend to paint it as a occasionally during the painting process. I concentrate on the from one image. in undefined rough shapes ready for the addition I decide to take a little artistic license with this the same aspect ratio as my specified full-size of proper form and detail. such as tree bark a head in the background. if you’re like Before I start. Browsing through my references I start with a small canvas. a is the only one that will be true to the applied composition and getting the general appearance partial pose from another. The Ittan-momen is described as a by a standard. I’m going to set the scene in the daylight.01). and a partly-formed and skin (Fig. Circular Grainy variant. imagination. or cotton. of the characters correct. typical Japanese landscapes. me. which provides texture for my brushes. normally do when using other brush variants. something I don’t first time then at this point you’ll just create a around their heads and smothering them. I collect some reference images Watercolor paints interact with existing layers. When The Rough Sketch ghostly phenomenon. claw. and apparently it can be translated to mean “one tenth of a hectare of cotton”. a white background basic Circular Grainy brush. you may need to refine your sketches using of Japanese people in traditional dress. but instead I’ll be be applied opaquely with respect to other layers. something I’d never heard of before I received the brief! Ittan-momen is a product of Japanese folklore. that of course will come solely from my call the characters placeholders at this stage. I sketch account for different surfaces. settings of Scale. To achieve this I create a new layer and onto referencing elements from a selection of images and will not show up at all if lighter than the this layer I create my first rough sketch using the and fitting them together – a clothing pattern background.02). dimensions. ready for the The reason for this is because of how Real color phase. I choose a canvas-type Paper. to part-ethereal and part-physical creature.2dartistmag. I won’t be copying layer and consequently the colors on it cannot any of these images exactly. As for the Ittan- Watercolor paints. The Ittan-momen is garments and landscapes are so colorful it with grainy brushes and seeing which settings described both as ghostly and reminiscent of would be a shame to plunge it all into darkness.Chapter 8: Ittan-momen Painting Creatures From Mythology Chapter 8: Ittan-momen Software Used: Painter The final mythological creature in the series is called the Ittan-momen. You could almost momen. new layer and draw your sketch. gave the best effect. There In terms of content I decide to have our human Whilst the brief says the creature attacks at is no hard-and-fast rule for choosing the Paper subjects – three Japanese ladies taking a walk night. 700 pixels wide. On the other hand. Contrast and (Fig. page 62 Issue 080 August 2012 . Therefore.

the darker it will get. When I complete this stage I delete exception of the Wind settings (which I leave will “dry” and be converted to a normal layer.2dartistmag. I delete Layer 2 so that uses a type of build-up method for paint I’m left with the canvas and Layer 3. on top. at 270 and 0) and Evaporation Rate.05). with the you save in PSD or TIF your watercolor layer of the final. the more texture and fringing layer (Fig. and create another layer.04). The lower the watercolors you will not be able to paint on this Evaporation Rate. This is www. If of the initial sketch and the more refined lines most attributes are at or close to 100%. Of course. I create a third layer and repeat the process in I select the canvas and as soon as I start to Step 3. I begin with page 63 Issue 080 August 2012 . and decrease the opacity of Layer 2 to 30%. paint over an area. between the chaos a Real Watercolor brush and configure it so that This preserves the “wetness” of your paint.Painting Creatures From Mythology Chapter 8: Ittan-momen Refining the Sketch Starting with Watercolor great for applying shadows without altering your I lower the opacity of Layer 1 to around 30% When using Watercolor I want to paint directly basic paint value. The Final Sketch I resize the whole image to 1500 pixels in height is apparent in the paint dabs. my final application. Real Watercolor for that in the next step. Layer 1 as a guide I render a clearer version of For this reason I keep my sketch outline only One thing you need to remember when working my sketch onto Layer 2. Using onto a white background. the amount of final detail in a the dresses of the two female characters. I paint sketch is a matter for your own judgment and the flowery designs at the same time as the rest will vary depending on the subject matter. as I no longer need it (Fig. the difference being that I use a small paint. a layer called Watercolor Layer 1 appears brush and pay attention to the detail of the between the canvas and Layer 3. which means that the more you sketch (Fig.03). which I meaning that when you resume with your vary from 0% to around 50%. Layer 2. In this of the garments’ material. Layer 1. taking advantage of case I am satisfied with clean outlines. There is the natural fringing effect that arises from low no tonal information and I’ll explain the reason Evaporation Rate settings. as I mentioned earlier. This can be looked on and don’t include any tonal information. I choose with watercolors is to save in a RIF format. as the intermediate stage.

I can communicate its stealthy nature to the viewer (Fig.07). so my choice to begin concentrating instead on the overall balance with the faces is pretty arbitrary.Chapter 8: Ittan-momen Painting Creatures From Mythology Fill the Canvas Using my circular brush I begin detailing the I work my way across the entire canvas. so I’ve carving. picking from the canvas produces flexible Before I drop the layers I modify the opacity results. with any pressure sensitivity for individual brushes. I save my foreground are talking to each other. Adding Interest than the specification. www. The on travelers. which legend has it bestows good luck image as a PSD as I no longer need to preserve made it so they are making eye contact. My circular of color. given that the topic of the painting is I don’t need to keep swapping between painting the Ittan-momen itself. This means a little odd. luck. to avoid past each other. which I judge Character Interaction will be sufficient enough to allow for a decent It’s important that the characters in your image level of detail. Painter 12’s Brush is ghostly and furtive I’m considering it to be a Calibration feature is a great help in configuring secondary source of focus. In this way. but that’s fine because I’ll In this particular piece the two women in the Earlier I found a photo of a Japanese stone simply resize down when I’m finished. so I no variations from a single color choice.2dartistmag. I don’t recognize any “right” not paying too much attention to detail and or “wrong” place to start. If you have two characters ambience and also as an ironic comment on could continue equally well using a RIF. can produce significant hue and saturation I’ve finished using watercolors now. Real Watercolors have the advantage that they The next step is to drop all layers to the canvas. unaware of each other’s presence. detract from the painting’s overall atmosphere I choose a height of 4200 pixels. color tone and value. This might seem existing paint with a light pressure. main characters. This is simply my woman on the left is speaking.06). so color- longer need to preserve the watercolor layer. These dimensions are larger are seen to be page 64 (Fig. I thought I’d include such a carving the watercolor wetness. I often increase the saturation of Layer 3 – the sketch layer – to 50%. so it of a color using the Temporal Color palette doesn’t appear too dark. Beginning the Detail In terms of color I’ll mostly pick from the watercolor paint that’s already on the canvas. and interacting. as dictated by brush allows for solid color to be put down with positioning. naturally. Issue 080 August 2012 . or otherwise apparently any potential muddying of the paint (Fig. this can Next. directly after picking from the canvas. Even so. The focus of the piece. and the other in my image.08). to strengthen the Japanese preference and in terms of working with Painter I woman is listening.09). that are meant to be interacting yet are staring what’s happening in the background (Fig. is the two harsh pressure and an almost pure blending of characters in the foreground. I resample the image to full working size. but because the creature and blending brushes.

Ittan-momen. especially realistic. the tree might look in three dimensions and of attention to the process.13). I try to and poised to bite down on its unsuspecting starting with an outline and filling the area with retain as much of the watercolor texture as I victim (Fig. can. The Real Watercolor brush produces some branches curve towards and away from the and portraying them as solid objects of flesh excellent fringed textures and where possible. The reason for this is www. color (Fig. I imagine how little tricky and requires me to pay a fair amount (Fig. which helps give Ittan-momen the impression that the tree is solid and three Painting our main character. In this way Painting Tree Bark Hinting at the Surreal I can communicate the impression of a verdant In the background I paint ribbons and steamers I use the same basic principle that I mentioned tree without laboriously painting every leaf as if the Ittan-momen’s form is fraying into the in the previous step to paint the tree bark. Again. and bone. organic shapes such as leaves and appearance of groups of leaves and not on the parts that trail into the distance. Not only does this save time. whilst enhancing it with vague triangular or ribbon-like material and being of a ghostly leaf shapes of varying tonal values. is a and draw the viewer’s gaze out of the picture dimensional. however.11). In the same way. which I do bulk out see patterns within the textures and “tease” it avoids that overly fussy appearance that can slightly. so spiral pattern in the bark. The key here is to individual leaves. or emerging directly from thin the main difference being that I paint a subtle air. where a small level of When painting foliage in the distance.Painting Creatures From Mythology Chapter 8: Ittan-momen Bringing Out the Textures apply some shadows where the trunk and because I’m used to giving my creatures “bulk”.2dartistmag. rather than distract the viewer’s attention. exception to this is the head. ( that they don’t overpower the creature’s head page 65 Issue 080 August 2012 . The rocks almost without trying. is a different I want to retain those textures in the final sort of beast. I use mid-range values for these areas. Ittan-momen.12). viewer (Fig. resembling an expanse of flat piece.10). For this reason I need to keep reminding refinement with the Circular brush produces distance. This is particularly relevant to the rocky Leaves and Foliage ground and vegetation. or middle nature.14). as if the creature is forming from vapor them into recognizable shapes. atmosphere. it’s a good idea to concentrate on the myself to flatten Ittan-momen’s form.

I also take this opportunity The parasols need some regularly spaced value to 0 (Fig. thereby image at 100% zoom in order to add definition avoiding having to angle my arm or tablet in an and contrast to certain regions. I drop the layer to the canvas towards the top left of the frame don’t seem to painting mode before working over the lines. Rotation can light source is diffuse there are few sharp slightly in order to fully bring out the varied also be achieved by using Space + Alt (Space shadows. but despite this there are areas where hues more. I drop the layer to the canvas with a very dark orange brush. notice that the forked path is not particularly Rotating the Canvas Pushing the Shadows On occasion I’ll use the Rotate Canvas tool For my penultimate stage I work through the to modify the canvas orientation.18). chipped and worn granite (Fig.17). That concludes this workshop and I doesn’t work. and the deep creases of their garments hope you’ve found it useful! www. I modify the opacity to around 50% and perspective. clear where it recedes into the distance. I paint over the things that need attention. I also parasol (Fig. otherwise the shortcut earth directly beneath the stones. pressing V between each line to reset more to darken the stone.15). the women’s 300PPI). giving the impression of that by redrawing them at different angles.Chapter 8: Ittan-momen Painting Creatures From Mythology Making Use of Layers panel to control rotation and to reset the rotation are examples of this. The easiest fringed blobs of watercolor paint become way to do this is with a layer. I then set the layer opacity create another layer and set its attribute to so that I can come back to it with a fresh to 50% and erase the portions obscured by the Darken. Immediately I spot a couple of woman’s head. Because my I tweak the contrast and color balance very uncomfortable drawing position.16). and then save a copy of the image + Option for MAC). If you’re using Windows the shadows need to be deep. almost black. The tree branches and press B to return the brush to Normal entire carving. To achieve this I As always I leave the image for a few days the cursor position.2dartistmag. I create a new Tweaking Values layer and press V to set my brush to Line mode. so that spokes coming out from the center. so I remedy blend them a little more convincingly with the the sharp stone edges. to refine any textures I missed earlier.19). so I spend a little time defining the boundary between path and garden vegetation (Fig. The at 2480 x 3425 pixels (the specified size at press the Spacebar first. I notice that the stone carving appears too bright I manually draw each spoke from the centre to and I think it would balance the composition Tidying Up the edge. to and dab some brighter grays and yellows on agree with the bulk of the tree itself. Issue 080 August 2012 . You can also use the Navigator page 66 rounded pebbles or patches of moss (Fig.

uk Email: si@painterly.Simon Dominic Web: http://www.

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working on your layering and shapes. are crucial in the making of an atmosphere to be used in video games. Xavier Etchepare. getting as many visual references as possible and developing a good knowledge of light.” This issue’s Making Of is from concept artist.“Knowing what story you want to tell. Xavier covers it all! .. to using little effects as a final touch.. From creating a colorful atmosphere and using reference photos. who talks us through how he created this environment for a third-person shooter game.

01. Middle-Ages. which in other words.2dartistmag. adding to the anguish felt by the player). This strip allowed me to reach other concepts which lead me to make a color script (Fig.02). The game is a third-person shooter and a fantastic playground for an artist. I selected a dark blue palette with different www. Second World War and present-day worlds) and the option to play as four badass heroes. Also I wanted to establish a really worn out. era. as well as based on the same colorimetric palette. Recently I have been participating in the making of a video game in Barcelona.Video Game Concept Making Of Video Game Concept Software Used: Photoshop Hello everyone. to give an insight into the target atmosphere of the game. the first step was to characterize each era. with zombies. Far West. You can see middle of the plot in a perspective that is similar one. with the concept dealing with the medieval this in the second line/strip of Fig. at Dark Ride Studios. with outrageously violent gameplay – pure joy for geeks! Unfortunately this project hasn’t found a buyer yet and is still at a conceptual level. The idea was also to put the hero/player in the The chosen world being a dark and violent glacial and mysterious atmosphere.01). parts. this consisted of creating a colorful atmosphere. to that used by the gameplay. time traveling (Ancient China. frames corresponding to the an image with high contrasts (very dark shaded was my reference (Fig. For the concept image I’ll be talking about today. red for danger and pink for magic). evolution of the color in each page 71 Issue 080 August 2012 . shades from red to pink (blue for night-time.

I decided that the picture viewing would be based on the centre. I used one of my sketches from the color script and made the most of the first emerging shapes to select my composition (Fig. a crashed Boeing can be seen.2dartistmag. The place looks totally devastated and in the midst of a mysterious fog.04). Hence I started thinking about how the “weights” in my picture would fall and sketched my intentions (Fig. half-timbered page 72 Issue 080 August 2012 . and so on).05). to guide the eye towards important elements in my image and facilitate www. However. and threatening figures appear gradually. To create my image. In the distance. My first goal was to use straight lines in the architecture (angles of the roofs. I definitely wanted to avoid any symmetrical aspect of the setting.Making Of Video Game Concept I chose to place the hero in an alley that is surrounded by crumbling houses. so in the end the most important information needed to be in the middle of the image (Fig. and the dullness that an overly central layout could give. exactly like in a thirdperson shooter.03).

“weights” in my picture.10). During this stage. and shades light. to carefully place dark and light used my sources with care as I experimented improved it with a few effects like bats in the sky.g. from black to white to give contrast to certain to be used in video games.Video Game Concept Making Of a comprehensive reading of it. As I built my setting.2dartistmag. optimized the volumes and blended the enabled me to establish a quick and efficient cobblestones. great opportunity to share my work with you all! www. are crucial in the making of an atmosphere (Fig.13)! references into the process.11). and so on). with new positions for the windows and fog patches on the ground and patterns on the balustrades (Fig. By adapting my color script frame to the desired composition. getting as many visual references as search engine. my concept was finished After page 73 Issue 080 August 2012 . Hence. This first experience as a concept artist has different surfaces required (building façades. Knowing what story The internet is terrific in this regard.06). working on your layering and the randomness of the results found by the This final stage was not finished without an shapes. I incorporated photographic (Fig. At last. thanks to you want to tell. hanging flags. to bring the My work was now much richer visually. my illustration started to take shape. my main goal was to focus my under the photographic elements. my projects with Ubisoft. as you can see in Fig. this purpose remained essential to ensure that I didn’t lose the picture to the details (Fig. It can sometimes give birth to experimental light colorimetric layer. I work on light. so I last touch of details and realism that my started a phase where I polished the outlines. photographic and drawn elements for the final creative process that I have now been using in phase.. “rough” possible and developing a good knowledge of new ideas (e. fused in Overlay mode. doors. all of which had a specific role A warm thank you to 2DArtist for giving me this all the lines that have previously been drawn (Fig. Therefore.07 – 09. I created various We want to be careful though not to conceal tracings/copies. I My picture was now clean and legible.12). areas in my illustration. plane turbine on the ground) textures.

org/gallery/ Email: xavier.etchepare@gmail.Xavier Etchepare Web: .


Andrew Finch continues his eight part tutorial series by showing how to turn your whites boxes to custom meshes. and a couple of older guys get dressed for the occasion.Particles & Dynamics All the parts are falling in to place as Matt Chandler (3dsmax) and Mike Zugschwert (Maya) show us how to animate leaves dropping from a tree. .75 (approx $3.93) Luo Qisheng Issue 084 August 2012 Cover image by Oleg Nikolov 3D Character Artist Gallery Gallery . The Submarine Pen Diving in to chapter two. Character Production Rodrigue Pralier (3dsmax) and Anto Juricic (Maya) will this month focus on hair and clothing as our character series moves towards completion . www. Guide to FX . subscription offers and to purchase back issues.3dcreativemag.€2.78 . a droid which is set to pleasure.10 of the best images from around the world! Bagpiper Project Overview by Oleg Nikolov In this month’s issue we look at the creation of a weird yet wonderful visit to see a full preview of the latest issue.OUT NOW! 3dcreative 3DTotal presents the new issue of magazine: a downloadable monthly magazine for concept art. digital & matte painting for only £2.


Not only does it feature full-color. . but each artist has given a detailed description. of the creation process behind each piece of published fullpage images.. we have some exclusive chapters for you. And they’ve done it especially for this book! This month we feature: “Riot Girl” by Reynan Sanchez © 2011 3DTotal. in their own words. This is more than just an artwork book. All rights reserved.With the release of Digital Art Masters: Volume 6. Published by 3DTotal Publishing.

All rights © 2011 3DTotal..The following shots of the “Riot Girl” book pages are featured here in full-resolution and can be read by zooming in. Published by 3DTotal Publishing. ..

com..The following shots of the “Riot Girl” book pages are featured here in full-resolution and can be read by zooming in. . All rights reserved.. © 2011 3DTotal. Published by 3DTotal Publishing.

3dtotal. the Digital Art Masters series presents another scintillating collection of work from 50 world-class digital artists. penned by the artists Now in its seventh year. Hardcover edition only available from www.3dtotal. Over the last seven years. Digital Art Masters: Volume 7 continues this tradition by ushering in a new elite group of talented artists whose images are sure to inspire and astound in equal measure. it also offers up details of the creation process behind each to see our full range of products . presenting a unique opportunity for readers to follow in the footsteps of the masters. Hardback . Covering topics ranging from fantasy and characters to scenes and cartoons.21.9cm | 288 Full Colour Premium Paper Pages | ISBN: 978-0-956881711-2 Visit www.Preview the entire Digital Art Masters: Volume 7 book online by clicking here. Digital Art Masters: Volume 7 has something for everyone and is sure to get those creative juices flowing.6cm x 27. the Digital Art Masters series has brought together over 300 fantastic examples of the world’s best 2D and 3D digital art. This book doesn’t just showcase beautiful art.

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