You are on page 1of 0


Blaz Porenta


Sketchbook of
John Thacker

The Gallery

Digital Painting Magazine
Issue 089 May 2013

Bruno Hamzagic,
Evan Lee,
plus more!

Cover Image by Richard Tilbury

In the third part of the
Costume Design series,
Richard Tilbury creates
two different designs
for Religious Leaders.
They’re excellent!

Fire Truck

The Off World Vehicles series comes to a close, with Mike Hill showing
us how he created his vehicle, the Fire Truck.

Designing New Worlds

In the penultimate part of this series, Gerhard Mozsi paints an Industrial
Facility, and shares techniques on how to create your own for your world.

Creating Original Creatures

The final part of Vinod Rams’ series on Creature Anatomy features an
original creature and tips for designing your own.

and it is important that all these elements work together to demonstrate a consistent visual language and therefore create a believable environment and society to engage the audience. 3DTotal. You can create an evolving plot of Ltd. video content. Creating Original Creatures by Vinod Rams “Absinthe” Project overview by Khasis Lieb in the digital world.2D Artist “Westbound” 072 This month we feature: Jennifer Healy | Evan Lee | Titus Lunter | Bruno Hamzagic | Sayja Digital Art Masters: Volume 7 – Free Chapter Bastien Grivet | Aekkarat Sumutchaya | Markus Lovadina | Arthur Haas | Mohamed Elgalad About Us 081 In this penultimate installment of our New Worlds tutorial series. or period through the visual design of garments and accessories. giving us a nice selection of days off 10 of the best 2D artworks It’s been a while since we last spoke to the Blaz Porenta and a lot’s changed in this talented concept artist’s life over the last couple of years. bicycles and fantastical creatures in this month’s Sketchbook article. With strong Ltd including www. All products and websites created/published by 3DTotal. leading a 3DTotal workshop and what he has to look forward to in the future. it starts with be tempting to get outside the some sketching to find will enter the frame ” but if you would rather stay inside and get some painting done. extras & even movies! overview is full of useful tips on everything from the concept through to lighting. In this three-part series. and investigate the processes and techniques that can be used to create all the major features of a visually stunning work from some of the most exciting names game or film.” Hello and welcome to the May issue of 2DArtist! What’s in this month’s issue? 006 We hope you all had a great April.3dtotal.3dcreativemag. February Issue 086 Speeder March Issue 087 Deforestation April Issue 088 Personnel Carrier This Issue Fire Truck right composition. Designing New Worlds 044 The ability to sketch and render vehicles is an important asset in the field of concept design. and Mike Hill create a concept for a fire-fighting Grab your exclusive 20% discount code at the end of this tutorial! truck by exploring the use of a 3D block-in to define the forms. In our vibrant tutorial section this month we continue to bring you NEW WORLDS 064 Games and films are made up of many different features such as characters. He chats to us today about being part of the fantasy card game Legend of the Cryptids. a whimsical sketchbook by John Thacker and our fantastic gallery. a concept artist in the game industry. Interview . In this tutorial series each artist has been given a brief description of a possible vehicle. We definitely Blaz Porenta “Gesture is so important to making an appealing drawing.2dartistmag. ebooks. talented concept artist Vinod Rams demonstrates how to use human anatomy as a Discount Code written basis for creature design. where and enjoy some are placed and what parts sunshine. Enjoy! Image by Bastien Grivet www. This broad Content Richard Tilbury Jess SerjentTipping Proofing Jo Hargreaves Marketing Emma Handley Free Stuff! Illustrator and digital painter Khasis Lieb draws inspiration from the absinthe drinkers of France and takes us through some of the Layout Az Pishneshin Matthew Lewis Layla Khani Wherever you see this which features ten outstanding digital images from some very talented artists such as Markus Lovadina. Sketchbook The sketchbook of John Thacker with national holidays left The Gallery 022 right and center. click it to download resources. so make sure you don’t miss out! Editor Jess SerjentTipping Lead Designer Chris Perrins finer processes in painting his psychedelic In this series our artists will take a comprehensive look at creating a new world from a concept perspective. and use real word examples as a reference for designing a creature from scratch. recognizable color schemes and distinct proportions in anatomy. it is still important to know the basics of animal and human anatomy when designing these creatures. which they will approach like a games brief to demonstrate the techniques used when creating a vehicle Ltd information and contacts Gerhard Mozsi examines the industrial core of the society in Costume design is an important element to character design as it helps to enhance a character’s personality. Vinod Rams shares tips and techniques to successfully create original creature designs. changing social status. so sometimes I will just make things for that sole purpose” 016 enjoyed it here in the UK. It’s the very last chapter of our Off World Vehicles series. the possibilities of what concept artists are able to produce We also continue our Costume Design and Off World Vehicles become broader in detail and function. may not be reproduced in any form or by any means.Contents Contents Editorial “Keep practicing! You can never be too good. Costume Design 052 Religious Leader by Richard Tilbury 2DArtist is full to the brim with outstanding content and jaw- Creature Anatomy 060 dropping tutorials to provide all the inspiration you need! French illustrator and digital painter Khasis Lieb takes us through some of the finer processes DESIGNING in painting his psychedelic portrait. environments and vehicles. emags. This broad overview is full of useful tips on everything from the concept through to lighting. the world he has created. and lap up Fire Truck by Mike Hill some inspiration. imaginative story lines of films. shares his whimsical sketches of Industrial Region/Facility by Gerhard Mozsi trains. to enjoy the long overdue Off World Vehicle Design 034 sunny weather. create a hybrid creature based on human and animal anatomy. as well as demonstrating the process Copyright © 1999-2012 3DTotal. www. texture libraries and any releases 20% consent offuturepublisher. John Thacker. If all that wasn’t enough we also have an interview with awesomely talented concept artist Blaz all physical books. without the prior the With the continual development of technology in video games and the wild. which see Richard Tilbury design a defined costume forDigital Art Masters: V7 a religious page 2 Issue 089 May 2013 . It may “As always.2dartistmag. series. www. and they must design clothing suitable for that character’s job description. In this tutorial series each artist has been presented with a games-like brief describing a character from a certain section of a fantasy medieval world. All Rights reserved behind using light and color to create atmosphere. Bruno Hamzagic and Bastien Grivet.

you can set the reader to display ‘two-up’. View menu. Two-up Continuous.Get the most out of your Magazine! If you’re having problems viewing the double-page spreads that we feature in this magazine. Select . follow this handy little guide on how to set up your PDF reader! Setting up your PDF reader For optimum viewing of the magazine it is recommended that you have the latest Acrobat Reader installed. 2. which will show doublepage spreads as one large landscape image: 1. You can download it for free here: DOWNLOAD! To view the many double-page spreads featured in 2DArtist magazine. then Page display. Go to the 3. Open the magazine in Reader. making sure that Show Cover Page is also selected.

He chats to us today about being part of the fantasy card game Legend of the Cryptids. His brushes have been dissolving traditional art at university before exchanging the in white spirit since the late nineties and his graphics paintbrush for a Wacom. Here you can find out a bit more about them! If you would like to be a part of 3DCreative or 2DArtist magazine. He studied led into the realm of computers several years ago. although drawing will always be 3DTotal workshop and what he has to look forward to in the Every month many artists from around the world contribute to 3DCreative and 2DArtist magazines. please contact: jess@3dtotal. Fine Art and was eventually and the UK. Germany. and his work can be last couple of years. He has been working as a tablet has become their page 4 Issue 089 May 2013 . Blaz likes to create a snapshot of his world for viewers. He studied on-site for studios in the blaz.richardtilburyart.” Contributors Blaz Porenta As a child Blaz read thousands of fairy Image by Titus Lunter www. leading a between 2D and 3D. http://www. Australia. and now works primarily in the digital medium.gerhardmozsi. Gerhard Mozsi Richard Tilbury is an Australian artist who has Richard Tilbury has had a passion for drawing since being worked both remotely and a couple of feet ibex80@hotmail. seen on his website and blog. he paints them.“Keep practicing! You can never be too good. Contributing Artists http://www. Richard still artist and matte painter for film and games sketches regularly and now balances his time a while since we last spoke to the Blaz Porenta and a lot’s changed in this talented conceptconcept the It’s been artist’s life over development for the last years.porenta@gmail. and let them create their own story. Today he tells them himself but instead of writing them. closest to his heart.


He chats to us today about being part of the fantasy card game Legend of the Cryptids.” It’s been a while since we last spoke to the Blaz Porenta and a lot’s changed in this talented concept artist’s life over the last couple of years. leading a 3DTotal workshop and what he has to look forward to in the future. .“Keep practicing! You can never be too good.

Not my typical horror genre.Blaz Porenta Interview Hi Blaz. I choose a character where I can fulfill my tendencies for some horror of my choice. without the pressure of tight deadlines. What have you been up to since then? I am currently working as a full-time concept artist and painter at Outfit 7. mobile app game named Swamp Attack. and then create my vision of him and fantasy paintings. or release it on our own. I couldn’t be happier! Since the last time you spoke to 2DArtist. children stories for 3DTotal. but I found myself really enjoying the variety of work I am getting there. It is for sure. I just You told us a bit about where you’d like needed a push. Then in my spare time at home.2dartistmag. One. how are you? I can’t believe I’m saying this. but I couldn’t be happier! Has it really been that long? I feel old now! I am an illustrator. Applibot. planning to do on my own for a long time. Japanese client. to see yourself in ten years’ time and you The next one is currently ongoing: working on fantasy card game Legend of the Cryptids for a www. living in my little world of horror and fluffy animals – it depends on the day. portraying them in and I hope we’ll be able to find a publisher for it a horror fashion. to working on video projects in collaboration with Disney. was working on a series of well-known an indie game in its final stage of development. I’m doing everything from creating new characters and environments for a kid audience. a company most known for their Talking Friends app franchise. That was a project I’d been soon. The last time we spoke you were working as Art Director for Actalogic. I love to challenge myself by painting stories. what have been your favorite projects to And last but not least. You’re about to be on the other side of that page 7 Issue 089 May 2013 .com mentioned attending some great workshops. portraying emotions and exploring traditional technique and styles in digital media along the way. a personal project that I work on? am working on with two of my close friends: a I would like to point out a couple of them. but it’s been over four years since your last interview with 2DArtist – time flies! For those who may not have read that interview could you tell us a bit about yourself as an artist? My schedule is fully packed. I balance that with a couple of freelance projects.

www. I have to unfortunately decline them Do you have any advice for people who want big companies. so try.Interview Blaz Porenta as you are leading a workshop for 3DTotal soon – could tell us a bit about it? That is true. I am really looking forward to sharing my experiences with other artists. but since I am hectic schedule! and post regularly on art forums and websites. do it on your own. Oh. I know there will be some awesome art from students at the end of that workshop and knowing I’ll be a part of the journey of creating them gives me a great joy! Could you tell us about any other projects you have coming up that you are really also a comic book on the way. but I am always getting the job they dream about on their first looking forward to? on the lookout for something challenging. as well as maybe one or Don’t stop at anything. work on smaller projects different card games lately. I hope to do some more work for to get into the industry? surfing through these forums and contacting Applibot in the future. are for now. Build I am getting quite a few offers for work on who knows what will find a way into my already a strong page 8 Issue 089 May 2013 . And keep two more indie games for fun. but it was a really nice surprise and honor to get an invitation. I’ll be focusing on how to use colors and composition to create an atmosphere in a narrative painting. and there is people who get easily unmotivated by not practicing! You can never be too good.2dartistmag. helping them and of course. fully-booked with my ongoing aforementioned I know from personal experience that many projects. as well as smaller clients. If you love doing it. I know many talented artists for their next projects. I didn’t expect that at all. learning from them as well. page 9 Issue 089 May 2013 .Blaz Porenta Interview www.


and if you let types of project at the same time. I believe shapes and do some cartoon-style characters. then blocking in tone values and finishing it with color. I could say I prefer more complex fantasy and horror paintings. Could you tell us a bit about your workflow. followed by line art drawings. Yet another time I’ll just go with the flow and start with abstract forms. depending on how I feel. process and the software you use? My workflow varies from project to project. jumping from your brain run free and don’t limit it. my work usually ends up in ArtRage. which take me anything from a week That is always the hardest question for me. spilling colors all over the place. I love when silhouettes are the most inspirational things. where you can see the texture of the media and feel the personal touch of an Where do you draw your inspiration from? up with some freaky stuff when looking at a pile page 11 Issue 089 May 2013 . a couple of variations (especially when working for clients).Blaz Porenta Interview You’ve mentioned that you like to explore different techniques and styles. You are involved in such a variety of areas. Sometimes I start with quick sketches. which of these areas do you enjoy the most? Nowadays I enjoy every project I am working on. I love the look of traditional media paintings. you’ll come one to another. so I can pick what interests me the most. to a month to finish. I strive to achieve these qualities and search for ways to imitate them. where I apply some thick brush strokes and mix colors with a palette knife as a final touch. Although I paint mainly digitally. Although I use Photoshop throughout the whole process. www. but I also like to relax and as I never think about it. searching for a story to pop out. Our everything is balanced and I can do two different minds work in mysterious ways. I am fortunate to have a variety of offers.2dartistmag.


colors. formation or a tile pattern on a bathroom floor. composition and what works and what doesn’t from a storytelling Blaz Porenta point of view from the work of others. and Always a pleasure! eBookTraining To see how these three final illustrations I learn about the Illustrating Fairy Tales eBook by clicking here! It’s always good to take time out from work and reflect.blogspot. and build upon my reference Thanks for taking the time to talk to us! library.2dartistmag. I consider all of them my Interviewed by: Jess Serjent-Tipping page 13 Issue 089 May 2013 .uk were created please check out our Email: blaz. going to see a great movie or doing some adrenaline sports and martial arts. What do you like to do to relax? www.Blaz Porenta Interview of garbage or something as simple as a cloud I love to spend my free time with my girlfriend.porenta@gmail. I also follow many great artists and photographers. Web: http://blazporenta.


skipping the 2D sketch phase all together and designing the character entirely within ZBrush®.! n W ciptio NO bs E d. The second volume covers methods for creating a final color rendering using ZBrush and Photoshop®. ov All Tutorials Are Now Available As DVDs. Patton also discusses how to create backgrounds that enhance the character and overall composition. 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. eyes. 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. He covers everything from blocking out the forms and fleshing out the muscles.thegnomonworkshop. Digital . The first volume explores Patton's fast and efficient method for concept sculpting. Scott Patton shows the processes he uses to create a 3D character for feature films. detailing with alphas and posing the character. hair. He then shares creative Photoshop tips and tricks to quickly get to a finished piece of concept art from the ZBrush renders. And Part of The Online Training Subscription www. to adding props. shadows and scars. covering topics such as adding and refining skin texture. BL loa Su A w IL l Do n A ita AV.

” .“Gesture is so important when it comes to making an appealing drawing. so sometimes I will just make things for that sole purpose.

01).com page 17 Issue 089 May 2013 .John Thacker Sketchbook Sketchbook of John Thacker I have always been interested in riding bicycles. especially steam engines from the early 1900s. The collection of shapes and details on these contraptions makes them such a great subject for playing with (Fig. so naturally I draw one from time to time (Fig. I have a soft spot for whimsical things. and trains have always been a love of mine.2dartistmag.02). www.

05)! www.2dartistmag. What can I say. as always. It all comes back to playing with shapes. Combining disparate ideas is something that makes character design endlessly interesting.04). cowboys and the Old West are also appealing subjects to me (Fig. who doesn’t have at least a little fondness for cowboys? Like my interest in old trains. and that just never gets old (Fig.Sketchbook John Thacker Fantastical creatures.03). are such a great playground for bending the rules of real-world anatomy into interesting new shape combinations ( page 18 Issue 089 May 2013 .

John Thacker Sketchbook Stylization provides so much room to play. it is all still rooted in real-life figure studies (Fig. www.2dartistmag. Even with things like this though.07). I try to be as loose and natural as possible when I start on a character design.06). not to be confused with being “realistic” ( page 19 Issue 089 May 2013 . and build on that foundation. Believability is what I hope to instill in my art.

Drawing is fun… or least it should be! If I am feeling a little down.11).Sketchbook John Thacker Gesture is so important when it comes to making an appealing drawing. This sketch was inspired by a woman I saw at a bus stop when I was walking to work.09).10). I sometimes see little things about people that stick out. and even if I can’t get it down visually where I am at the time.2dartistmag. I hold onto it until I can draw it out later (Fig.08). This started as a simple girl in a dress. so sometimes I will just make things for that sole purpose ( page 20 Issue 089 May 2013 . and wound up becoming a zombie (though still in a dress) eating an apple (Fig. This is an example of how things evolve as I work on them. www. that may mean it is just time to draw an orc waiter ready to serve you some pie (Fig.

if something is interesting I will learn that much faster (Fig.There is something especially nice about simplicity in design. This was an experiment regarding using a soft brush and working angled surfaces off of each other. It is a good day when your time is spent drawing a moustache-twirling butcher (Fig. to guide my choices for design elements and proportions (Fig. by my standards – that is normal. minimalistic pieces ( . I try to push new methods so I don’t get stuck doing the same thing over and over. John Thacker Email: johnrthacker@yahoo. There are times to push yourself.15). if only in my mind. right? Thugs and goons never get old! I tend to get a feel for the world every character inhabits.13).12). At least.14). but I am always refreshed when working on fast.

This month we feature: Jennifer Healy | Evan Lee | Titus Lunter | Bruno Hamzagic | Sayja Bastien Grivet | Aekkarat Sumutchaya | Markus Lovadina | Arthur Haas | Mohamed Elgalad .

com (Right) Few Steps Away Kamil Murzyn page 23 Issue 089 May 2013 (Below) erahaas@yahoo.The Gallery 10 of the Best Please submit your images to the 3DTotal gallery! Meeting Arthur Haas http://www.

com/ elgalad_mail@yahoo.blogspot.Detective Muhammad Algalad .

Irvine the Coward Evan Lee .


de malo74@gmx.Desert Empire Markus Lovadina http://malosart.


com .The Crash of the Old Titan Bastien Grivet grivetart@gmail. .Color Rings Aekkarat Sumutchaya webang111@gmail. .hamzagic jadecilcleton@gmail.Saramago Bruno Hamzagic

com page 32 Issue 089 May 2013 (Left) Thermal Titus Lunter (Below) www.Please submit your images to the LayerPaint gallery! 10 of the Best The Gallery Golden Lie Jennifer Healy http://beautifulburden.

set Extraction: cle d Calibration T is an Texture ns Grid Analys d Le New Advance See the tutorials youtube. .SynthEyes Match-moving. full-featured entry-level 32-bit version an incredible value at $399 Typical Applications Fixing Shaky Shots Virtual Set Extensions Animated Character Insertion Product Placement in Post-Production Face & Body Motion Capture Talking Animals Andersson Technologies LLC Serving artists in over 70 countries since 2003 What Our Users Say About SynthEyes @willsummers: @geddy76 I've never used PFHoe but Syntheyes is a really great tracker with all the little professional tools you need to fine tune tracks @julikt: Many people mourn the old Flame 3D tracker but I can work better with Syntheyes on the side on a laptop. panoram mode ools an Sophisticated AfterEffects exporter with Pixel Benders Pro 64-bit version only $599 for Windows and Mac OS X. so much easier to use than Autodesks Matchmover. and Stabilization as ling. With clients in attendance. @pete_shand: Getting my matchmove on with Syntheyes. Set Reconstruction.

which they will approach like a games brief to demonstrate the techniques used when creating a vehicle concept. February Issue 086 Speeder March Issue 087 Deforestation April Issue 088 Personnel Carrier This Issue Fire Truck .The ability to sketch and render vehicles is an important asset in the field of concept design. In this tutorial series each artist has been given a brief description of a possible vehicle.

so the next step is to start ( page 35 Issue 089 May 2013 . I can www.01 – 02). my interest is in getting a very good feel for the proportions of the design (Fig. I like certain qualities in the more serious-looking machines.03 – 04). I keep the thumbnail stage short. the first step for me is research and seeing existing designs in the real world. I see very quickly that the “playful” designs are not where I want to go – I would like to have a functional and believable vehicle – and I want my process to be iterative. and the freedom to select my own designs. It must be capable of projecting water over large distances. so evolving through the process rather than limited to the original thumbnail. Google is your best friend in this department. At this stage. and simply searching for key terms such as “fire truck” can get some good results. After the briefing. With a 3D mesh in place. With limited time.Off World Vehicle Design Chapter 04 – Fire Truck Chapter 04 – Fire Truck Software Used: Photoshop I was given a brief to design a firefighting vehicle that specializes in dealing with petrochemical fires.

05 – 06). after all this is a concept vehicle! Looking at the proportions. This helps me understand the mechanical structure. I know I want to remove the massive tanks and replace them with something less dense (Fig. www.07). and then these can be implemented in the existing mesh (Fig.09). I am happy with the general proportions. so I use the base mesh to start being a bit more playful with the formation of the shapes and seeing what is possible with a very rough value sketch (Fig.2dartistmag. Even though the block-out is the basis for these paintovers. If these tanks were full of liquid this machine would be extremely heavy and unstable. there are still a lot of small adjustments that can be made quickly in 2D to explore major design decisions. I quickly strip off the top surface to understand what the outer shell will be encasing. I am not happy with the mass of the tanks here. something lightweight and advanced. I want something more nimble.Chapter 04 – Fire Truck Off World Vehicle Design also start to establish the space needed for suspension travel and wheel turning angles (Fig. which will be useful in the next page 36 Issue 089 May 2013 .08).

I use the mesh to test the extendable arm. giving me a sense of whether the things I have learned in the block-out are compatible with my original idea. I’m happy at this point to start refining my concept mesh (Fig.2dartistmag. in page 37 Issue 089 May 2013 . so be messy if it helps you explore (Fig.11). trying to be a disciplined modeler in the design stage is a waste of mental energy. On a technical level.12).Off World Vehicle Design Chapter 04 – Fire Truck I bring the design elements I have begun to establish back to the original sketch view. I can also use these limitations to establish where servos and power www.10). my mesh here is horrible – I am OK with this. This needs to make sense and just by testing the parameters of the arm movement I can be sure the design will make sense. the final mesh will become more accurate as I see the design take shape and eventually I can refine it to a final high res model or hand it off to another technical artist to use as a 3D blueprint for a production model (Fig. As I iterate. The point of this mesh is not to have good topology.

almost page 38 Issue 089 May 2013 .14). I’m quite keen on “strap” technology at the moment.2dartistmag. With the general layout of the design established. Eventually (outside of this tutorial) I want to turn the design into a full-res model for a HD scene. but due to running out of time on this project.15). so I keep to simple line work and values. I zoom in and isolate specific components. I quite like the chunky.. so I use this here instead of the traditional pistons.13). this means there is no added benefit to doing any rendering at this stage.Chapter 04 – Fire Truck Off World Vehicle Design units etc. I am simply faking the suspension design (Fig. Ordinarily I would make a basic rig in 3D to confirm all the pivot points and get the movement working. in this case the nozzle of the hose (Fig. would be positioned to support this particular movement (Fig.

etc (Fig. Again. www. I begin doing some suggestive line work over screenshots of my mesh. I want to suggest a certain approach quickly and can feed this knowledge back into the mesh/paint later on.16). but containing informative structural information (Fig. doors and windows.18).2dartistmag. This style is intentionally loose. nothing too detailed.Off World Vehicle Design Chapter 04 – Fire Truck cartoony element it gives to what is seen as an industrial subject ( page 39 Issue 089 May 2013 . I do this to quickly define what will be happening with panels. To get a good sense of the design features I make a line work of the reverse three-quarter view.17).

19). To give the design a bit more feeling I wrap up a concept.With what I know from the sketches I can upgrade my mesh. which has already been determined in the “undercarriage line work” (Fig. photos and painting. but for now a concept is all that is necessary to suggest the vehicle in action (Fig. this is basically 70% suspension. Mike Hill Email: mike@heavyunitdesign. which is a mixture of a screen grab.20).com . I will complete the design in 3D and render it eventually.




In this series our artists will take a comprehensive look at creating a new world from a concept perspective. and it is important that all these elements work together to demonstrate a consistent visual language and therefore create a believable environment and society to engage the audience.DESIGNING NEW WORLDS Games and films are made up of many different features such as characters. . and investigate the processes and techniques that can be used to create all the major features of a game or film. environments and vehicles.

and squares. An ever-burgeoning world state requires goods to placate the needs and wants of the people. What does this brooding industrial machine look like? The aim is to create a scene that depicts a lumbering industrial factory. Even at this early stage. with larger shapes in the foreground www. Industrial production is the sleeping giant in our alternative history. a state-run industrial facility that appears to have been running for eons and is now in a state of slow decay. Like illustrate an array of massive machinery. of these shapes will eventually be refined to Simple shapes are used to block in the This returns us to the idea of counterpoint. light needs a medium to work off. We can see how. but have an informal perspective grid set up narrative of the image. Furthermore a dynamic so that the blocking is set in accordance to the arrangement ensures that the lighting within the perspective established within the image. so the spacing of eventually become our rendered forms. yet the population has demands. all composition.g. the comprehension of the scene and thereby the create interest within our composition (Fig.. level of drama in the scene. in our scene. The basic shapes will inform light and shadow. It will be rectify errors in the scene’s perspective. The Initial Concept The initial step starts with playing with shapes. Work quickly and loosely. any landscape. steamy and grinding. The two contrary elements provide Additionally. which will is in process it’s extremely time-consuming to that is to say that it is finite. the light will begin to define the a means by which contrast in the image can Whilst shapes are a focus. Its critical to consideration when structuring an interior scene. The world is at peace. Some research has been done. machinery). Essentially it’s a be exploited. (e. All Blocking In A variety of shapes is a factor to bear in mind. care is taken to be mindful of the shapes. Emphasis is also aimed at creating a sense of scale. It’s cumbersome. an attempt to introduce a variety of shapes. requires accurate work in conjunction to create the basic elements interest via the contrast they create (Fig.01). The harmonious placement of particularly a scene with many man-made double act: shape and light (therefore shadow) divergent elements next to one another creates elements. so a loose idea is present. there has been get this right from the onset as once the render The space in an interior composition is page 45 Issue 089 May 2013 . the same is true with circles pulsing and churning.02).Designing New Worlds Chapter 05 – Industrial Facility Chapter 05 – Industrial Facility Software Used: Photoshop The Introduction In this tutorial we shall examine the industrial core of our society. perspective. Through this illustration we will explore using color and texture to depict our industrial setting. so simple line work helps to of the composition.2dartistmag. as well as the effective use of atmosphere in depicting scale and depth. and smaller shapes as the scene recedes. image will come easily and naturally. The shapes and their inter-relationships is pivotal in the juxtaposition of these shapes that will start to trick is to multi-task. the idea of positive and negative space. the light. Furthermore we shall spend some time on “shape theory”. This is an important establish a sense of perspective. Though with such prolonged peace comes stagnation and complacency.

mid-ground that even within an interior space there is depth. People within an the scene and is not overcome with stuff or stage. some thought should be given to positive and negative space. as the light affects the shapes differently and allows for dynamic lighting and contrasting edge quality. evident. the placement of figures within the scene. we have greater so that clean alpha channels (or masks) can be helps the viewer gain an understanding of the control over the composition. It helps ensure created at a later stage. or simply when blocking in your composition. whereby elements are sequentially placed within allowing the viewer to more readily understand the scene. When we begin to light proportion within the image. Any composition cannot be totally On a quick note. curved and angular page 46 Issue 089 May 2013 . Through an informed application of These elements are kept on separate layers.Chapter 05 – Industrial Facility Designing New Worlds these correspond to rounded. but it also aids that the viewer is thoughtfully guided through the scene and introduce atmosphere at a later in humanizing the scene. Whilst all the pixels in our scene carry information. When considering shape. To be conscious of this is crucial when plotting and background should be clearly established your composition. as negative areas allow the within the image (Fig. eye to rest. with the narrative of an artwork.2dartistmag. Any composition will contain both positive space (areas that offer information in terms of forms like machinery) and negative space (areas that do not). the importance of these masks will be environment allow the viewer to engage better extraneous detail. www. It’s when you begin to render the forms that the importance of this variety becomes apparent.03). and where a foreground. the notion of positive and negative space is a way to delineate areas that are The final key aspect of our composition when When a scene is stacked in this manner it “active” with actual designed content and those blocking in is stacking. that are not (Fig. This positive and negative spaces. while in the blocking in phase it is also important to establish scale.04). This is the process facilitates the sense of depth in the image. that is full of stuff. hard.

We start by blocking in the light from background to foreground. this clarity in the scene. The process involves using the masks that have been created.06). To achieve this we play with so that we can immediately see how the temporary Hue and Saturation adjustment layer the edge quality. By playing with the www. so we have lead to specific detail. Once the color has been blocked in. One. we differentiate the color of the light to not only is for two reason. machinery has hard edges. but also to infuse more drama and tension into and quite serendipitous textures that could the space. we simply select our masks and block in the color. Try to avoid using brushes with soft edges. with a hard edged brush while the steam and atmosphere has soft edges delineate the space. This is what will instill greater lighting scheme is developing. Furthermore. interesting (Fig. simple. time to experiment with different colors. Much like the earlier blocking in stage. This is built up gradually. Though we also want to light from the light) in separate layers. The method is to block it all in with large. is tagged to the color layer. As a general rule it’s best to start with the background and move your way forward. This image will have multiple light sources. Two.Designing New Worlds Chapter 05 – Industrial Facility Light and Color Now that we have all our basic elements in place we can begin to add color and light. by default. with all the information being kept on separate layers for the inevitable tweaking later. foreground to background. you will be generating. when we begin to Light will be coming from the back windows. This is introduce the atmosphere (which is generally so we know that an aspect of the scene will be the importance of keeping your light (or colored executed with an array of medium to soft back lit. edged brushes) it has to stand out and you bottom the scene in the mid-ground (Fig. hard edged brushes.05).com page 47 Issue 089 May 2013 .2dartistmag. need to be able to clearly differentiate it from This is all to be blocked in with broad strokes. a the machinery.

we and shall recede into a neutral. though still a Also notice how the values of the color also can gauge what colors work and what do not little warm. a dark foreground to a lighter (Fig. quite saturated foreground.Chapter 05 – Industrial Facility Designing New Worlds sliders in the Hue and Saturation page 48 Issue 089 May 2013 . background. a green mid-ground (Fig.2dartistmag. background. www. reflect this. Obtaining depth within an interior This scheme will aid in reinforcing depth via image is critical to articulate that sense of space Finally we determine the foreground color.07). In the stacking of the colors from a saturated within our scene. Next we amplify this with the this instance the scene will have a bold and foreground to a desaturated background introduction of atmosphere.08).

com page 49 Issue 089 May 2013 . Though with Wrapping Up Gerhard Mozsi experimentation. This technique be reflected in our steam and smoke (Fig. The selection of brushes with medium to soft edges is the key (Fig. remembering that the lighting scheme we have established would also fresh eyes.gerhardmozsi. employed to see what they may add to the allows for a tremendous amount of control and Once this has been completed we can proceed image.Designing New Worlds Chapter 05 – Industrial Facility Atmosphere To achieve a more claustrophobic mood and to instill that sense of frenetic action and motion within our scene. with the use of the Scattering (and to some degree the Shape Dynamic brush) feature in the Brushes window. all the while modulating its hue. For the most part it’s a case of tweaking The final stage is another attempt to tighten can also be fruitful. Selective Color and Espouser Web: http://www.09). In addition to the edge quality we also have to simulate randomness. So a simple airbrush will not do.2dartistmag. to the final phase. With a night’s rest and they are used in tandem with the masks and www. and should always be explored. the colors and values with the Curves and Color Balance adjustment layers. After we have our brush we can begin to paint in the atmosphere. steam and smoke. a series of adjustment layers are alpha channels created earlier. more specifically. This is best achieved. This is especially true when Email: contact@gerhardmozsi. after the selection of the appropriate brush. we shall introduce atmosphere the scene further. Start with a low opacity and gradually build up your smoke and steam.10).



and they must design clothing suitable for that character’s job description. changing social status. . You can create an evolving plot of color. In this tutorial series each artist has been presented with a games-like brief describing a character from a certain section of a fantasy medieval world. or period through the visual design of garments and accessories.Costume design is an important element to character design as it helps to enhance a character’s personality.

but realizes that in order to gain respect he must also appeal to Naturally. whilst number 2 demonstrates a more rectangular design. Some of the other variations employ a We can deduce from the title that he is someone on a final design. it is necessary to explore a divided into three distinct sections with less variety of ideas in sketch format before settling detailing. He is a man who harbors philosophy and general belief – a good example and motif. whereby the figurehead of both linear and tonal sketches.01 shows just such a sheet with a mixture with good page 53 Issue 089 May 2013 . this Thumbnails more on volume.Costume Design Chapter 03 – Religious Leader Chapter 03 – Religious Leader and hence will wear garments that reflect this embark on a series of small sketches. Usually I begin by trawling combination of both approaches with a handful who has ascended to the top of his vocation the internet for reference pictures. with the costume being should also be taken into consideration. as well as the character’s silhouette. according to the period. this character has a defined personality with a belongs to a fictitious religion. throughout history. As with any project. www. someone who strives of this is the Dalai Lama. One could assume that these figures no clear idea in mind in order to explore some would boast a certain level of adornment and ideas. but we shall assume Number 1 is more curved. the garments focus on rhythms within the costume design that men’s greed and selfishness. the Fig. often with Software Used: Photoshop status.2dartistmag. that is to say I was considering shape those around him. Illustration 3 concentrates distinct set of traits. employing a circular As you can see from the description above. Although the main objective of the tutorial is to design his costume. but has become tainted by opposite could be true. that we are portraying someone in the past that design echoed across the belt and headwear. Introduction an array of fineries. a conflict of interests. but this is not necessarily “This is an ageing man who started out in life a prerequisite of a religious leader. Whilst doing the ways of the world and resorted to devious could adopt a lowlier and more humble these I was thinking about both volume and methods to uphold his position and influence appearance in keeping with an underlying pattern. In fact.” associated with different religions have changed contrast between curved and angular shapes. after which I of drawn in lines. Illustrations 1 and 2 show a repeated motif and towards the pious and divine.

Characters I did not particularly want to design a character that looked as though he belonged to this world necessarily and I so started with a hybrid. thumbnail 4. www.01. I did toy with the idea to work tonally. but either way is valid.02).2dartistmag.04 shows two further iterations which differ seemed more appropriate and enabled the from the initial pass. the design resembles I experimented with various hues and saturation sketches had an Oriental quality. I began with a line drawing. whilst numbers 2 and 8 resembled this felt a little too Oriental. single color. block in a random shape. of using multicolored garments. some people prefer which I set to Multiply and then on a new layer. color scheme that I preferred. You can also The other consideration was the character’s posture. After considering the various designs I opted for once I was happy with the color I began erasing number 4 as a starting point. which can be seen in Fig. As I was unsure about the headwear I chose to which approach suits you. The one thing I wanted to change was the orientation of the head.Chapter 03 – Religious Leader Costume Design It is always worth experimenting and seeing As you can see. I adopted the pose was somewhat indecisive about the type of red. but it was the right-hand inclusion of a staff. but I decided to reject the hat as values before deciding on red. but settled on a line only. which I felt gave the costume more I used the line drawing as a guide initially. but impact. Quite a few of the sections. South American themes. and so chose this for my initial character. but I made a few sketches to try out some variations ( page 54 Issue 089 May 2013 . which is somewhat subjective. As you can see. In the end I liked the pose of the character on the bottom row. which I felt would look better if he was addressing the viewer. which Fig. but even then I 5. especially 4.03. from the line drawings in the lower right. third from the right in Fig. 6 and 7. whilst others choose to draw in added a color layer beneath this.

2dartistmag.05.Costume Design Chapter 03 – Religious Leader see that the headwear has changed although I still wasn’t sure about the design at this point. I liked the awkward nature of the high shoulder pads on the lower thumbnail. creating the version seen on the right. At this stage I began on a second character. as hinted at by the modification on the left.06).com page 55 Issue 089 May 2013 . Once again the headwear was improvised as opposed to being taken directly from any thumbnail and went through a succession of designs. as well as adopting the decorative buttons across the lower section of the robe visible in the upper thumbnail in Fig. which I integrated into the ceremonial fabric around the neck. www. as well as giving the middle section of the robe a more crimson tint to add some subtle variety. I added some accents of gray to break up the uniformity of the costume. The three small thumbnails evident in the center formed the inspiration here and incorporated the open robe (upper two) and decorative accessory hanging around the neck (middle one). Although this resembled a ruff (prominent in the sixteenth and seventeenth centuries and.05. of which the initial two phases can be seen in Fig. not particularly original) I decided to retain it for the time being. It is safe to say that this aspect proved difficult to resolve. as such. Taking inspiration from the ruff I began adding segments around the neck. and so added a similar design into the sketch. I did not feel happy with either the design or gold color and so modified it. I brought the two characters together at this point to compare them and began working on them together (Fig. which seemed to emphasize the face. I made a conscious decision to opt for a contrasting color scheme.

Quite often I work with an array of brushes including textured ones. As a result I painted in a vague background using a Chalk brush with the Dual Brush preset enabled (Fig. I darkened the robe and added some was too long and so I brought the elbow up further shading to the face (Fig.07). page 56 Issue 089 May 2013 . I duplicated some of the texture into a new layer and then set the blending mode to Color Dodge at 79% opacity to create a reflective design across the top of the section housing the jewel.08).10). I revaluated the headwear on the first character The final refinements incorporated some and decided to make some modifications by adjustment layers. These are fine.Chapter 03 – Religious Leader Costume Design Although the characters were coming along quite well.2dartistmag. and Hue/Saturation and lateral prongs which looked awkward. I decided that the second character lacked contrast and was too brightly colored. marginally ( change I made was to the right arm. as well as removing the for the character in red.09). namely Levels and Curves tightening the width. but in this case I worked mainly with the default Hard Round and Elliptical brushes. You can see the difference when you compare the previous two illustrations. which Curves for the other one. which in this instance was an image of concrete. and so by way of Curves and a Hue/Saturation adjustment layer. It was first color corrected and then set to Soft Light. The other www. Another technique I use occasionally is to overlay a photo to help break up the surface. as well as the ceremonial staff (Fig. their presentation felt a little sterile. but I find a moderate use of texture helps enrich an image and helps add life to the brush work.

Richard Tilbury Web: http://www. The final version can be seen here in Fig. I used Hue/Saturation to do the opposite on our second Email: www.richardtilburyart. as well as alter the color. whilst Levels was used to increase the saturation of the highlights on the red costume.Costume Design Chapter 03 – Religious Leader The Curves adjustment was used to increase the contrast on both of page 57 Issue 089 May 2013 .2dartistmag.

modo® image by Teodoru Badiu www. Meet modo.

Artist | Allan Dilks. Animator | Dead Space 2 | Wayne Gonsalves. Lead Animator | Tamir Diab. Rotoscoper | SpongeB quarePants | Andrew Overtoom. Compositor | Jacob Curtis Miller. Animator | Nathan Keane. Digital Artist | Aruna Inversin. Lead Animator | Up | Bill Watral. Additional Simulation & Effects Artist | Transformers: Dark of the Moo AWARDS erguei Kalentchouk. Lighting Techni Director | How to Train Your Dragon | Tyson Erze. Modeler | James Stewart. Charac nimator | Assassin’s Creed: Brotherhood Zack Mathew. Effects Technical Director | Jeffrey Burt. Character Animator | Assassin’s Creed: Brotherhood Zack Mathew. Artist Christine Hubbard. Supervising Anima WATCHED A BLOCKBUSTER LATELY? THEN YOU'VE SEEN THE WORK OF VFS ANIMATION & VISUAL EFFECTS GRADS ROLAND VALLET ANIMATOR ABEL VARGAS GEOFFREY HANCOCK ARTHUR LOBO DIGITAL COMPOSITOR ANIMATOR THE TWILIGHT SAGA: BREAKING DAWN PART 2 SENIOR ANIMATOR SENIOR RIGGER THE AMAZING SPIDER-MAN LIGHTING TECHNICAL DIRECTOR CAMERA TECHNICAL DIRECTOR CAMERA TECHNICAL DIRECTOR CAMERA TECHNICAL DIRECTOR ANIMATOR ANIMATOR COMPOSITOR COMPOSITOR JUANI GUIRALDES TAMIR DIAB SCOTT JONES BORAE CHO ARGO THE HOBBIT: AN UNEXPECTED JOURNEY LIGHTING TECHNICAL DIRECTOR THE BOURNE LEGACY ANIMATOR EFFECTS ARTIST ANIMATION SUPERVISOR SENIOR ANIMATOR JOHN WONG JOSH LANGE PREVISUALIZATION ARTIST AMY LU SENIOR ANIMATOR SENIOR PAINT ARTIST MOISES FLORES CABRERA CESAR RODRIGUEZ BAUTISTA PIETRO PONTI CG SEQUENCE LEAD KIERAN TETHER LIGHTING TECHNICAL DIRECTOR PROMETHEUS DIGITAL COMPOSITOR BILL WATRAL AARON GILMAN ANIMATION SUPERVISOR GIANCARLO D'ERCHIE JUSTIN HAMMOND JUNIOR COMPOSITOR PIPELINE TECHNICAL DIRECTOR JUSTINE CODRON CEDRIC LO GIA SADHWANI DIGITAL COMPOSITOR ANIMATOR CREATURE TECHNICAL DIRECTOR DAPHNE DE JESUS STEPHEN KING SENIOR ANIMATOR LEAD ANIMATOR SENIOR LIGHTING ARTIST ROTO ARTIST ROTO ARTIST ROTO ARTIST JOSE JULIAN KARAM LOPEZ LOUIS COX JAMIE BOWERS TEXTURE ARTIST VISUAL EFFECTS ARTIST COREY COATES ADAM BRADLEY DIGITAL ARTIST PREVISUALIZATION SUPERVISOR CHRYSTIA SIOLKOWSKY JOSE YAPOR SENIOR DIGITAL PAINT ARTIST THE AVENGERS GENERALIST TD ANDREW PARK MATT WHEELER COMPOSITOR SANTHOSHI BALASUBRAMANIAN NICHOLAS MARKEL ROMMEL SHAMOUN COMPOSITOR LEAD ANIMATOR JOOYONG LEE EMANUELE BIGNONE SAPTARSHI CHAKRABORTY COMPOSITOR VISUAL EFFECTS ARTIST DIGITAL COMPOSITOR MIKE DHARNEY MICHAEL PLOTNIKOV PAINT/ROTO ARTIST ANIMATOR PHAN WIANTRAKOON GIORGIO BERTOLONE MARCELA A. Animat CG STUDENT nd Rigging Lead | Rex Fang. Roto/Paint Artist | TRON: Legacy | Craig Calvert. Lighting Lead | Richard Sur. Compositor | Anthony Di Ninno. Animation Director | Star Trek | Teh-wei Yeh. Lighting Technical Director | Paul Copeland. Animation Supervisor | Brandon Chien-Chia Huang. Compositor | Phan Wiantrakoon. Supervising Animator | Ai Saimoto. Technical Directo atrick Kalyn. Prop Designer | Gears of War 2 | Scott Dossett. Matchmove Lead | Thor | Daphne De Jesus. Animator | Joshua Herrig. Texture Artist | Night at the Museum: Battle of the Smithsonian | Nicholas Augello. Creature Supervisor | Derek Stevenson. Animator | Veronica Marino. Jessica Chan. Senior Animator | Iron Man 2 | Teh-wei Yeh. Motion Capture Technical Director | Joel Pennington. Lead Animator | Tamir Diab. Animator | The Dark Knight | Gia Sadhwani. Creature Rigger | Veronica Marino. Animator | Dead Space 2 | Wayne Gonsalves. TD Generalist | Gia Sadhwani. Visual Effects Artist | Jacob Curtis Miller. Animator | John Iskandar. DMR Compositor | Pietro Ponti. Senior Technical Director | Alice in Wonderland | Ken Kaiser. Previsualization Supervisor | Rex Ahn. 3D Artist Matthias Lowry. Visual Effects Supervisor | Sean Lewkiw. Environment Art Lead | Despicable Me | Justine Codron. Texture Artist | Fredrik Nilsson. Cloth Simulation Artist | Jim Hatibarua. Digital Artist | Nicholas Markel. Visual Effects Executive Producer | Samson Wong. Previsualization Supervisor | Kieran Tether. Senior Cinematic Animator | Family Guy | Michael Loya. Senior Surfacing Artist | Jeff Tetzlaff. Digital Effects Artist | Freddy Chavez. Environment Art Lead | Despicable Me | Justine Codron. Cinematic Artist | Suc unch | Ben Dishart. Matchmove Lead | Drag Me to Hell | Thomas Schelesny.COM/3DTOTAL SCHOOL OF THE YEAR . Previsualization Supervisor | Jamie Bowers. Previsualization Supervisor | Kieran Tether. Layout Technical Director | Aaron Gilman. Visual Effects Artist | Julianna Kolakis. Digital Compositor | Star Wars: The Clone Wars | KahJe heong. CG Sequence Supervisor | Nicholas Markel. 2011 urgers | Tammy Dubinsky. Digital Compositor | Christopher Ahrens. Team Lead Animation | Avatar | Michael Cozens. Matchmo rtist | Robert Bourgeault. Creature Lead | Kieran Tether. the World | Joel Meire. Lead Animator | Ian Cumming. Animator | John Wong. Animator | Harry Potter and the Half-Blood Prince | Pietro Ponti. Sen or Digital Paint Artist LEARN MORE AT VFS. Storyboard Artist Fast Five Rommel Shamoun. Rigging Lead | Jooyong Lee. Character TD | The Twilight Saga: Eclipse | Shawn Walsh. Artist | Scott Pilgrim vs. Technical Head of 3D | Ty Duperron. CGI Supervisor | Futurama | Claudia Keene. Roto/Paint Artist | Uncharted 2: Among Thieves | Mike Yosh. Senior Animator | Halo: Reach | David Helsby. Creature Texture Painter | Jelmer Boskm Modeler | James Stewart. Dig rtist | Harry Mukhopadhyay. Animator | Starcraft II: Wings of Liberty | Alvaro Buendia. Animator/Character Lead | ModNation Racers | Eric Gabas. Lighting Artist | Alberto Lander Digital Compositor | True Grit | Tom Piedmont. Digital Compositor | The Wolfman | Karin Mattsson. Director/Co-Writer | Shawn Walsh. CGI Supervisor | Futurama | Claudia Keene. Senior Cinematic Animator | Family Guy | Michael Lo toryboard Artist Fast Five Rommel Shamoun. Visual Effects Production Executiv hristopher Buzon. Animator | The Dark Knight | Gia Sadhwani. Animator | Matth urner. Roto/Paint Artist | Eric Petey. Digital Artist | Geeta Basantani. Creature Texture Painter | Jelmer Boskma. Animator | Serguei Kalentchouk. Simulation & Effects Artist | Bill Watral. Lead Animator | Scott Jones. Visual Effects Artist | Julianna Kolakis. Animator | Ryan Lim. Animator | Kristin Sedore. Motion Capture Technical Director | Mass Effect 2 | Kolby Jukes. Character Animator | Rock Band 3 | Mike Krentz. Texture Artist | Bioshock 2 | Jacob Palmer. Texture Artist | Bioshock 2 | Jacob Palmer. Animation Supervisor | Coraline Brian Demoskoff. Animator | The Illusionist | Yann Tremblay. Lead Lighting Artist/Look Dev Artist | Ben Sanders. Digital Effects Artist | Freddy Chavez. Artist | Watchmen | Shawn Walsh. Pre-Visualization Lead | Joshua Herrig. Creature Supervisor | De tevenson. Compositor | Phan Wiantrakoon. Technical Director | Patrick Kalyn. & 2012 Director/Co-Writer | Shawn Wal isual Effects Executive Producer | Samson Wong. Lead Layout Artist | Piranha | Lon Molnar. Digital Artist | Horton Hears a Who! | Brent Wong. Digital Artist Red Dead Redemption Josh Lange. Team Lead Animation | Avatar | Michael Cozens. Animator | Alfredo Luzardo. Visual Effects Supervisor | Dragon Age II | Nathan Zufelt. Technical Animator | Ad aniv. Texture Artist | Christine Peters Digital Compositor | Anuj Patil. Layout Technical Director | Aaron Gilman. Roto/Paint Artist | Jose Julian Karam Lopez. Lighting Technical Director | Cedric Lo. Lighter | District 9 | Neill Blomkamp. Motion Capture Data Editor/Cinematics Editor | Legend of the Guardians: The Owls of Ga’Hoole | Tim Rowlandson. Lighting TD | Julien Stuart-Smith. Lighting TD | Kieran Tether. Lead Effects Technical Director | Harry Potter and the Deathly Hallows Part 1 | Henry South. Anima Simeon Bassett. Visual Effects Supervisor | L Molnar. Key Assistant Animator | Rango | Cedric Lo. Model/Texture Lead | Tuba Yalcin. DMR Composit ietro Ponti. Prop Designer | Gears of War 2 | Scott Dossett. Visual Effects Artist | Scott Dewis. Animator | Bo 2010. Animator | Fringe | Bob White. Senior Artist | Claire Roberts. A small selection of VFS Animation & Visual Effects alumni credits include | 2012 | Zeke Norton. Modeler | Pearl Hsu. Production Artist | Bill Watral. Animator | Wilson Mui.Wonderland | Ken Kaiser. Lead Lighter | Ben Sanders. Character Animator | Jami Gigot. Digital Artist | Ge asantani. Tracking/Lighting | The Princess and the Frog | Claudia Keene. Digital Effects Artist | Teh-wei Yeh. Lighting Lead | Richard Sur. Senior Lighter | Toy Story 3 | Daniel Holland. Lighting Lead | Percy Jackson & The Olympians: T ightning Thief | Dave Mah. Visual Effects Artist | WALL-E | Daniel Holland. Animator | Nathan Keane. Visual Effects Artist | Jiyoung Lee. 3D Artist | Happy Tree Friends | Brad Rau. Sen nimator Rio Graham Silva. Look Development | Jeffrey Burt. Visual Effects Artist | Scott Dewis. Digital Matte Painter | Andrew Lawson. Aliens | Jiyoung Lee. SILVA PAINT/ROTO ARTIST VISUAL EFFECTS SUPERVISOR ANDREW LAWSON FRANK AKRONG WRECK-IT RALPH PAINT/ROTO ARTIST MARY-MARGARET CONLEY DATA I/O ADMINISTRATOR WITNESS CAMERA OPERATOR PREVIS ARTIST BRAVE JAMES ROBERTS MATT WEAVER DIGITAL PAINT ARTIST CHARACTER RIGGING SUPERVISOR ALEX BERSON GERARD VAN OMMEN KLOEKE VFS CONNECTS THE ENTERTAINMENT INDUSTRY. Animator | Fringe | Bob White. Animation Effects | Jake Biberdorf. Matte Painter/ Composito obert Bourgeault. Sets Artist | Tristan Ikuta. Character Animator | Jami Gigot. Digital Artist | Joshua Herrig. Animator | Alfredo Luzardo. Animator | Bob’s Burgers | Tammy Dubinsky. Lighter | District 9 | Neill Blomkamp. CG Supervisor | Brenda Li. Matchmove Lead | Drag Me to Hell | Thomas Schelesny. Visual Effects Artist to name a few.000: Dawn of War II | Nathan Hocken. Animator | Wilson Mui. Visual Effects Artist | Jacob Curtis Miller. Concept Artist | Bartek Kujbida. Lead CG Lighting Artist | Dead Rising 2 | Fredrick Fassé. Animator | Shrek Forever After | Javier Solsona. Animator | John Iskandar. Animator | Ivy Ho. Digital Artist | Stephen King. Animator | Chrystia Siolkowsky. Animator | Chrystia Siolkowsky. Animator | Allen Holbrook. Lighting Technical Director | Paul Copeland. Matchmove Artist | Robert Bourgeault. Animat ffects | Jake Biberdorf. Animator | Veronica Marino. Effects Artist Mark Shir ayout Artist | Warhammer 40. Track/Matchmove Artist | Tangled | Lino DiSalvo. Visual Effects Executive Producer | Brian Harder. Principal Artist | Brian Sum. Roto/Paint Artist | Anna Tonrungroj. Visual Effects Supervisor | Dragon Age II | Nathan Zufelt. Character Modeller | K hantraine. Animation Supervisor | Zeke Norton. Composito nthony Di Ninno. Digital Matte Painter | Andrew Lawson. Animation Supervisor | Coraline Brian Demoskoff. Character Technical Director | Tom Piedmont. Concept & Creature Artist | Richard Sur. Lighting Artist | Derek Stevenson. Lighting Artist/Look Dev Ar Zombieland | Mike Rhone. Lighting Lead | Ori Ben-Shabat. Lighting Technical Director | Arun Ram-Mohan. Motion Edito en Sanders. Lead Layout Artist | Ferda Guray Ayaokur. Lead CG Lighting Artist | Dead Rising 2 | Fredr assé. Senior Environment Artist | Monsters vs. Motion Editor | Ben Sanders. Animator | Mars Needs Moms! | Shraga Weiss. Senior Cinematics Animator | Megamind | R Naamani. Animator | King of the H Michael Loya. 3D Artist | Rajeev Nattam. Director | LA Noire | Upinder Dhaliwal.

In this three-part series.With the continual development of technology in video games and the wild. With strong silhouettes. . and use real word examples as a reference for designing a creature from scratch. it is still important to know the basics of animal and human anatomy when designing these creatures. recognizable color schemes and distinct proportions in anatomy. the possibilities of what concept artists are able to produce become broader in detail and function. create a hybrid creature based on human and animal anatomy. imaginative story lines of films. talented concept artist Vinod Rams demonstrates how to use human anatomy as a basis for creature design.

Creature Anatomy Chapter 03 – Creating Original Creatures Chapter 03 – Creating Original Creatures Software Used: Photoshop When you’re designing a creature from scratch. even at this early stage (Fig. that’s where the theme and rhythm of be making. this duplication theme in mind.02). I also want to make sure his references of bears. I want his head to be makes the design work.2dartistmag. Sometimes it’s good to think about what kind the design really shows itself (Fig. It’s just a matter of designing it with some new design. but it’s always there. humans.03). Finally I start to mark in the fur. Keeping this in mind will avoid the shape for this character. a weird. bats. I do a few roughs. I’m using good idea of what types of shapes I want in my design is repeating certain shapes to create a a real-world creature as an anatomy reference. sometimes it’s the movements. bears and. I give him two should also be thinking of the shapes the fur will koalas. like a vulture – again. No matter how odd the creature’s anatomical traits are. Another technique of creature to be hairless. drawing fur: fur follows the musculature. of course. I start to look at After brainstorming what type of creature I and heavy tail. it’s still important to reference things in the real world. sloths and bats (for the want. “poofy” look when detailing out your creature. which movie like Labyrinth (Fig. the ears so he has four is interesting enough and legs will have a different shape at the end. a big tail. Having the creature have just two I also have to remember that this guy will be personality and locking down the smaller details. who use really strange and abstract forms for their creatures. thumbs. but it’s the blending of forms that “flowing”. I reference aardvarks. long and narrow. goofy demeanor. Keeping This sketch is showing off the anatomy.01)! The overall anatomical features on this guy means if you pay attention to the underlying aren’t that different from any mammalian anatomy you can direct which way the fur is From the get go I want to establish a strong creature. I think this guy would look perfectly at home in a Jim Henson Here I’m starting to establish the musculature. www. they will still have some visual cue relating them to something we’re all familiar with. This design is going head has enough interest to be the main focus head). For designers like Wayne page 61 Issue 089 May 2013 . big ears would have been fine. but duplicating covered in shaggy fur. behaviors or the coloration that is the real-world reference. but you silly. lumbering body. head. I also decide I want his head and neck to be unique because I already have a pretty of the design. A note about of world your creature fits into. so areas like his crotch I want this guy to have a large. hairless head and a sort of that people will remember the design. and have all the shapes get I make sure to use heavy shapes to reinforce bigger and wider as they culminate in his large the creature’s weight.

05 – 06). Visit my website and blog for more of my work! Vinod Rams Web: page 62 Issue 089 May 2013 . When animators depict fur they use the shape method. you might want to put in more detail. but if you were designing a creature for a realistic game or film.vinodrams. or just define it by shape.2dartistmag. depending on the style of art you have. I think the odd-looking head. shapes are always more important (Fig. I hope these tutorials gave you a little bit of an insight into my drawing and design process. You can detail it all out.04). strange hands and big fuzzy tail are what people will be drawn to. But just like with human hair you never want to draw every strand. In the end I’ve taken a pretty standard bipedal mammalian-based body and added enough variation and “odd” elements to create a unique and interesting character. you also have to keep in mind how detailed you want to get with the rendering of the Email: vinod@vinodrams. find appealing and memorable ( www.Chapter 03 – Creating Original Creatures Creature Anatomy Also.

LayerPaint allows you to browse the gallery. news. we have included a free custom brushes library that is available to all our LayerPaint audience. interviews.COM | LAYERPAINT. On top of that. but also showcases some of the best computer generated artwork in the world.COM/LAYERPAINT | TWITTER. tutorials and products all dedicated to 2D digital art. creating a friendly and educational environment that not only helps budding and experienced CG artists alike. We wish LayerPaint to be a definitive resource for digital painting. PARTNERED WITH 3DTOTAL.COM | FACEBOOK.COM/LAYER_PAINT .

. where parts would be placed and what would enter the frame. it started with some sketching to find the right composition.“As always.” French illustrator and digital painter Khasis Lieb takes us through some of the finer processes in painting his psychedelic portrait. This broad overview is full of useful tips on everything from the concept through to lighting.

and with a size of 3 – 4 px. I couldn’t resist making a psychedelic portrait of an absinthe drinker. Blocking In Once I was happy with the framing of the image. So as a portrait lover. as if the man was at the same table as them (Fig.01).2dartistmag.02). to have some variations in my strokes. so I took this as an opportunity to get back into it! Sketch It started with some sketching to find the right composition. I quickly blocked in the areas of lighting that www. In France this beverage is well known as “la fée verte” (the green fairy). and be able to make forms quickly (Fig. so I managed to keep the face. I wanted the viewer to feel close to the scene. For sketching I usually use the Photoshop brush 24. It had been a long time since I’d had the chance to do a portrait. As I wanted to do a portrait. in a relatively natural way. I didn’t want the viewer to be too far from the subject. etc. just tweaked to have the opacity sensible to the page 65 Issue 089 May 2013 . where parts would be placed and what would enter the frame.Absinthe Making Of Absinthe Software Used: Photoshop Introduction For this image I had an imposed theme: Absinthe. I thought it would be easy to do an actual green fairy. and the hands holding the bottle and glass in the frame.

and it’s on my desk to look at details. So I thought. it’s really unnatural. as I expression deformations. to reveal the right hand and the side of the face. From doing a lot of portraits and And there’s a funny thing to do with my ears!” At often these details that make a stunning 3D face page 66 Issue 089 May 2013 . and the overall shape. As I wanted to have multiple light sources.03). I know the eyes are very important this point I could continue working on the image pieces for capturing likeness and expression (Fig. (Fig. I like to think as a photographer as I enjoy photography very much. caricatures. expressions and www.Making Of Absinthe I wanted. So now it was time for the multiple refining I continued to refine the areas. I took many photo references wanted the viewer’s eye to go to the bottle first. Finally I’ll place a back light to make the viewer see the hat. while keeping quite a dark atmosphere. to get the in the eyes so they draw less attention. And I always had my mirror are too damn bright. for the green to pop and to light the bottom of the face. of myself to get the right expression for the eyes And as I work in 3D.04). etc. I’ll put a light under the table and the glass (easier in a painting I think). Then I’ll put a classic light at the left of the image. to enhance the beverage.2dartistmag. and the expression of my subject. I ended up with a threelight setting in my mind. I put less light steps. I always find that the eyes and mouth. “Okay. I started with the face.

07). as I thought it would help create a warm. and to “control” their path. As the work progressed. It’s important to make easily separable planes. I added some smoke behind to cement the suggestion of the type of setting the image is based in.2dartistmag. I then tweaked the color balance a little to a warmer green.08). I refined the bottle again.05). to get a real sense of depth (Fig. I found myself really enjoying making that glass bottle. it became a real challenge for me to make the glass realistic (see the detail on the finished image at the end) (Fig.Absinthe Making Of less believable. even ones that are almost hard to see. I added some levels to make it pop! It also helped to separate the foreground (hands. 1900s absinthe-drinking establishment. Even in a “character-centric” portrait like this. can make a piece more believable to the viewer. So I didn’t want to make that mistake in this painting (Fig. reflection and refraction.06). www. The goal here was to make the viewer’s eyes look at the areas I page 67 Issue 089 May 2013 . glass and bottle) from the background. To get a feeling that this character is actually somewhere and what kind of atmosphere the place holds (Fig. I think small details. With all the lights.

but a really great way of understanding new stuff.Final Touches Some final refinements and last tweaks were made (Fig. and I was happy with my image. explaining why and what I . putting my workflow into words.09). I’m really grateful for the opportunity. Khasis Lieb Email: lorenzruwwe@freenet. to go back on a creation. Many thanks to 3DTotal for letting me do this. a hard exercise. I hope you found this interesting! I sure found it super-interesting to write.

69) . Control Panel Shaders Luciano Iurino continues on with our Creating Realistic Shaders series.10 of the best images from around the world! NEW! . www.99 Cover image by Tudor Fat Issue 093 May 2013 Andy Brüning 3D Generalist Artist at Vetor Zero Adam Fisher Freelance Character Artist at Immersive Tech The Japanese Project Overview by Diego Querol Gallery Gallery .com visit to see a full preview of the latest issue. this time focusing on the development of the control panel materials. OUT NOW! 3dcreative 3DTotal presents the new issue of magazine: a downloadable monthly magazine for digital artists for only (approx $4. this time animating our character taking a run and jump.79 .£2. Character Animation Camilo Duarte Franco jumps straight in to chapter four of our Character Animation series.€3. subscription offers and to purchase back issues.Scenes and Textures This month Tudor Fat kicks off our all new ZBrush series with the creation of his supurb alien creature in his comprehensive tutorial entitled The Engineer.3dcreativemag. Vehicle Post-Production Arturo Garcia (3ds Max) and Renato Gonzalez Aguilante (Maya) bring an end to our Futurisitc Vehicles series by adding post-production in Photoshop.

99) for full information visit: .Subscribe NEW PAYPAL SUBSCRIPTION OFFER SUBSCRIBE NOW & SAVE UP TO 33% on this already amazing value publication! 12 ISSUES FOR THE PRICE OF 8 £23.2dartistmag.00 (approx .$38.99 save $18.99 save £12.

com for full information and to purchase current and previous issues for only £2.99 each! Image By Gerhard Mozsi .Interviews Donglu Yu Articles Sketchbook of Deni Medri Tutorials Heroes and Villains Chapter 1: The Cursed Quill by Richard Tilbury Alien Worlds Chapter 6: Rural Settlement by Gerhard Mozsi Costume Design Chapter 4: Alchemist by Andrey Pervukhin Evolution Chapter 1: Lack of Light/Subterranean by Chase Toole Making of Underwater Realm by Lorenz Ruwwe Galleries another 10 of the best Images from around the world! visit www.2dartistmag.

20% Discount Code Digital Art Masters: V7 Grab your exclusive 20% discount code at the end of this tutorial! .

com page 73 Issue 089 May 2013 .WESTBOUND exclusive making of by justin albers www.2dartistmag.

The post-apocalyptic genre was the inspiration behind this piece. I tried to achieve that feeling by combining a submersible design with parts of world they’ve stumbled page 74 Issue 089 May 2013 . Once the elements were ironed out. There’s to have an eccentric character in a scrappy- cautiously making their way down the road in a little bit of an old steam locomotive in there looking tech suit decorated with a bunch of the middle of the piece. what did I want little rough and ended up being a strange sort of story I was trying to tell here. so it station. Instead it should look like its main purpose is exploration and discovery. It should look a little like it is falling apart crew keeps around because he sometimes finds element that divided the piece in half (Fig. and the pilot has done the best he can to fix it valuable things.01). A friend advised me to move move like a large dinosaur lumbering across the merchant sifting through the wreckage that the the gas station sign over. but I I wanted one character pumping gas. I was very excited to participate and happy that something like this could happen! This was the perfect excuse to create imagery that I loved and have it shown to a (hopefully) willing audience. After be standing watch. The drawing itself is a Next I thought about the characters and what get started and asked myself. surveying the landscape. It’s my absolute favorite genre to design for. They’ve stopped at a gas station in the desert somewhere in previously contested territory. I needed The next step was to think about the to complete a final drawing before I started composition. to see if there’s any fuel left in the pumps that they might use to continue their journey. robot or the characters? In the end I wanted to be sure that all the designs were well made sense that the rest of the crew would wanted the characters to lead the viewer’s eye thought out so I knew what I was painting.02). Two main characters are old 1950s and 1960s cars and trucks.03). levels and trying to figure out what part of the a tiny gas station off to the side with the robot www. basically a junk sign in the middle. who wander the landscape in an old antique robot looking for other survivors and resources. In my mind I envisioned was ready to move on to color.Free Chapter Digital Art Masters: Volume 7 Westbound Software Used: Photoshop Introduction I created this piece for an art show my company put on to showcase the personal projects of its employees.2dartistmag. I had this image floating around in my head for a while. I did several small thumbnails to painting (Fig. since it was a vertical desert. into the scene towards the focal point. with the gas station too. Sketches There definitely had to be a cool robot somewhere in this piece and I decided to design that first. wherever it ends up taking them. checking the radiation would be the robot. Also I wanted it to be a little clunky and random pieces he’s scavenged. I also wanted walking around it. who are all decked out in old worn clothing and make-shift gear. For this particular design I didn’t want it to be a war-like looking mech. with whatever parts he manages to scavenge (Fig. a group of survivors who have joined together. I knew the main focus to be? Should it be the gas abomination of a pencil and digital drawing. which checking my perspective and scale references I looking for enemies.

The characters would be in shadow too since they’re in the foreground.04 – 06). moving around the piece as storm/ash clouds hovering in the distance.2dartistmag.07). as the foreground would be in shadow.Digital Art Masters: Volume 7 Free Chapter Painting that wasn’t quite the look I was going for in this would be lit. Once point around the robot (Fig. again. with dark radiated background would be in shadow with the tops of the whole thing up. the mid- At this point I was feeling confident about how well as the nice cool blues in the shadows. I ground would be hit by late evening light and the the piece was progressing so I began to tighten also tried a stormy scene. while the side would fade into cool It was then time to choose a color palette. but the mountains illuminated. I did particular piece (Fig. creating a focal a few fast studies for color and page 75 Issue 089 May 2013 . I pictured it to be either After receiving some fantastic feedback from early morning or dusk to get those really warm my co-workers I settled on a scenario where oranges and browns in the desert rocks. The front of the mech a whole and not being caught up for too long www. shadow. in my mind.

certain areas and then rendered those out to as though there was something important be sure I wouldn’t lose them. my lighting scenario. If I felt like I was losing the piece in half and made the viewer feel like I worked in a burned out husk of a battle mech.Free Chapter Digital Art Masters: Volume 7 in any particular page 76 Issue 089 May 2013 . Round. so I added some room to my canvas and Now I just needed to continue to render out textured brushes (Fig. I went back in on a layer on top. I usually stick to happening off-screen that wasn’t shown. detail. Adding to the story and history. moved the characters over to the right. possibly from a rival faction (Fig. framing the forms and sharpen the edges of the most www. This I was satisfied with all of the overall shapes and just a few brushes when I’m working. one airbrush and maybe three or four while. and how everything was organized.08). re-drew the painting was cropped in a strange way. I constantly added detail It was suggested to me that by having the the scene and leading the viewer’s eye into it and then faded it back.2dartistmag. catching myself ruining characters in the middle of the image they cut from that side.09). one Hard was something I had been fighting with for a masses.

indicating some items in the tweaked their color and texture. to set him apart from the dark area around him. painting and I’m looking forward to seeing how people react to it! I finished rendering the rendering on the characters’ faces. content enough to call this one finished (for I also added a cable/hose snaking in from the so I added some light coming from the radiation now).com page 77 Issue 089 May 2013 .2dartistmag. and completed the elements. After doing a few windows and having them boarded up as if there needed to illuminate the main guy’s face a bit more slight color adjustments I was feeling was a last stand/shoot-out there at some point. In addition. perspective on the mountains. and destroyed battle mech in the distance. leading into the scene (Fig. Something was those elements back a bit.10). detailed the wrecked car characters and some of the foreground Justin Albers and debris on the left side.11). tightened up the I cleaned up the edges of the www. I enjoyed every step of creating this right side. to push the gas station. the foreground elements. I filled in the details of I finalized the shapes of the mountains.Digital Art Masters: Volume 7 Free Chapter important elements. as well as the Email: albers. meter/Geiger counter he’s holding (Fig.justinalbers. and then added in some atmospheric Web: http://www.



presenting a unique opportunity for readers to follow in the footsteps of the masters.Hardcover edition only available from www. the Digital Art Masters series has brought together over 300 fantastic examples of the world’s best 2D and 3D digital art. Hardback . it also offers up details of the creation process behind each image.3dtotal.21. penned by the artists themselves. This book doesn’t just showcase beautiful art. Digital Art Masters: Volume 7 has something for everyone and is sure to get those creative juices Now in its seventh year. Over the last seven years. the Digital Art Masters series presents another scintillating collection of work from 50 world-class digital artists. Covering topics ranging from fantasy and characters to scenes and to see our full range of products . 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.3dtotal.9cm | 288 Full Colour Premium Paper Pages | ISBN: 978-0-956881711-2 Visit www.6cm x 27.

2dartistmag. please contact Simon at the email address above www. please use the links below. we produce two monthly downloadable PDF magazines – 2DArtist and Partners If you have a CG community website and would like to support 3DCreative and/or 2DArtist magazine by showing our banners. Contact Information http://www.3DTotal Aboutus Is a resource website for the CG community. If you would like more information on 3DTotal or our magazines.2dartistmag. images. interviews and tutorials as possible.3dtotal. We are based in the West Midlands. or if you have a question for one our Lead Designer > Chris Perrins chrisp@3dtotal. and our intention with our magazines is to make each issue as full of great Editor/Content Manager > Jess Serjent-Tipping page 81 Issue 089 May 2013 . in the Marketing > Emma Handley emma@3dtotal. amongst our growing number of products for CG artists.