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free! 3 hours of video tuition! 39 CUSTOM BRUSHES!

workshop art & advice
Kylo Ren
Iain Mccaig shares
his film sketches
create a book

Vs Rey!
cover in 2d & 3d
Feng Zhu paints
a galactic scene
Paint this expanded
cover in Photoshop

“The Force is like
interview your artistic
talent, it needs
Aaron to be trained
McBride
The Star Wars art
and challenged”
Andrew Theophilopoulos
director reveals all

The art of

Find out what it takes to create
art worthy of the new trilogy
fantasy card art
it’s magic! terese Nielsen on painting 225 pieces of

Editor’s letter

to a double whammy!
Every great space opera franchise called Star
Wars has a classic feud. That’s just fact! And
in anticipation of The Force Awakens, we’ve
put it all on the line and printed a ‘split run’
(media jive for ‘two covers’ – I know, we’re
idiots), featuring our best guess at who the
two new feuding characters will be: the
potential young padawan Rey and the
possible Sith badass Kylo Ren who, quite
frankly, we’re just hoping isn’t Yoda dressed
up on stilts playing a prank on everyone… actually that would be
pretty sweet. But I digress.
After his fine Game of Thrones workshop from issue 125, it was
Andrew Theophilopoulos who came to mind for these two covers.
I had a good idea of what it should look like, so sent him a stockpile
of photo references of me in my pants, depicting the exact dynamic
stance each character should hold. Like any professional, Andrew
thanked me, set fire to his computer, washed his eyes with
industrial-strength soap and, after some intense therapy, started
work on his own photo shoot... Whatever. He’s the artist, I guess.
The result (page 62) makes for two amazing covers. Its quality is
also befitting an issue that boasts exclusive interviews with film art
director Aaron McBride (page 40), card art connoisseur Terese
Nielsen (page 46), as well as the specially extended sketchbook of
Mr Film Art himself, Iain McCaig (page 54). Have a root around,
and if you feel the need for any reference photos, ping me an email!

Our special cover for
Beren Neale, Acting Editor subscribers this issue.
beren.neale@futurenet.com

Claire Howlett is on maternity leave.

Contact us
Email: mail@imaginefx.com Tel: +44 (0) 1225 442244
Art submissions: fxpose@imaginefx.com
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Christmas 2015 3

Terese talks us 46 34 37 through her fantastical career. But the Art of Star concept artist owes his stellar journey to. turkey jerky! Wars stuff really got me going” Star Wars man Aaron McBride looks back Q&A: regal character 46 Terese Nielsen From rural dreams to trading- card queen. Lovecraftian witches and much else besides. 54 Sketchbook Entertainment industry veteran Iain McCaig still feels the magic of picking up a pencil… Reviews 90 Hardware & software Terese Nielsen Q&A: bar wars Q&A: Star Wars baddie 95 Training 96 Books 54 20 24 Regulars 3 Editor’s letter 6 Resources 28 Letters 29 Back issues 30 Subscriptions: US Sketchbook: 73 Subs: worldwide Iain McCaig Turning pro Artist in residence 80 Next month 4 Christmas 2015 . Darren Yeow is still searching for the perfect workspace. used universes.. and more.. 33 chase scenes. News and events 20 Become a pro in 10. Features 40 Aaron McBride “I didn’t see a lot of film concept How the Star Wars fan turned art growing up.000 hours What does it take for a newbie to nail it in art if they’ve come from a different field? 24 Artist in residence Despite sound-proofed walls. baddies. 1 Your questions See page 8 for the best new art 32 Artist Q&A Star Wars themes include seedy gambling dens. 40 beautiful decay. Save money when you subscribe to ImagineFX! See pages 30 and 73 Contents Your art 8 Reader FXPosé Happy submarines. regal characters. underdogs.

104 Star Wars epic Charcoal Creatureart advice design Marc Seeley Dave Gabbana Christmas 2015 5 . 81 Go beyond Krita layer basics Advanced layer features. 68 Be inspired by the visuals of cinema Josh Viers conveys a moody Star Wars moment. 66 Develop exciting book cover art Bruno Wagner uses a 3D model for his character. your chance to win a BB-8 DROID! 31 106 114 Inspiration and advice from the best traditional artists 100 FXPosé Traditional 104 Star Wars epic Painting the saga’s cast. 106 Film poster fun Film poster skills Hugh Fleming paints Rey and BB-8. 112 Creature design 112 Brynn Metheney on reference. 114 First Impressions Dave Seeley talks libido. with Katarzyna Oleska. Issue 129 Christmas 2015 Download resources Turn over the page for this issue’s art assets Workshops 62 Advice and techniques from pro artists… 62 From photograph to finished art Andrew Theophilopoulos uses live models for his art. 74 Create innovative designs Brian Sum develops futuristic mechs. 82 Produce concept artwork for film Feng Zhu creates a Star Create dynamic Star Wars imagery Wars production painting.

PC or Mac www.com/imaginefx Daniel Vincent art editor Post ImagineFX.com +44 (0) 1225 687832 Facebook www. Photography Future photography studio ImagineFX is the registered trademark of Dan Oliver group editor-in-chief Future Publishing Ltd. Get your resources You’re three steps away from this issue’s resource files… 1 Go to the website Type this into your browser’s address bar (not the search bar): http://ifxm.ag/1FlnypM Nagano.vincent@futurenet. Just visit our dedicated 3 hourrs web page at http://ifxm. Josh Viers. Richard Hill.imsnews.com nOLA COKELY ad production manager UK. Katarzyna Olesk. Tsuyoshi nial ferguson director of content & barnes & noble nook http://ifxm. Feng Zhu 6 Christmas 2015 . Vaughan Future Publishing Limited Apple devices http://ifxm. The Ambury.com/imaginefx Contributions matt ellis senior licensing manager digital Subscriptions Chaanah Carr. All Rights Reserved. UK daniel.com (on maternity leave) website http://imaginefx. Bram Sels.facebook. photography. John Petersen.ag/google-halfprice Hood.uk Alice Pattillo staff writer Licensing US and canada Dominic Carter staff writer Regina Erak licensing and syndication Phone (toll-free): 1-800 428 3003 director web www. Matthew Pierce head of content & android. Paul Tysall. Brynn Metheney.ag/force129powers 2 Find the files you want Search through the list of resources to watch or download. Ed Ricketts. Rob marketing amazon kindle http://ifxm. Mark Molnar. Tim Hardwick.myfavouritemagazines. Hugh Fleming.com Twitter @imaginefx beren.ag/kindle-ifx Redman.hope@futurenet. artwork and Ove brushes is quick and easy.co. Next issue On Sale Friday 4 december 2015 Darren Yeow.neale@futurenet. Rodney Dive group art director Advertising Contact us sasha Mcgregor advertising manager Phone +44 (0) 1225 442244 Editorial email mail@imaginefx. Tanya Combrinck. Bath. Tony Foti.com Chris Mitchell account executive Beren Neale acting editor chris. 3 Download what you need You can download all of the files at once.ag/force129powers of workshop a Q&A videos tond watch and learn from! Workshop videos From photo to finished art Andrew Theophilopoulos uses photographs of models in costume to paint dynamic Star Wars imagery. Jem Roberts.mcgregor@futurenet.mitchell@futurenet. Resources Resources Getting hold of all of this issue’s videos. Europe & rest of the World Nathan Drewett ad production co-ordinator UK Phone O844 848 2852 Tom May group content editor Michelle rogers operational purchasing outside of UK +44 (0) 1604 251045 Julia Sagar commissioning editor manager email contact@myfavouritemagazines. Quay Print & Production House. Future Publishing Ltd.creativebloq.com Claire Howlett editor +44 (0) 1225 687675 art submissions fxpose@imaginefx. creative & design google play http://ifxm. Richard marketing.ly/r938Ln Damian Hall.ag/apple-ifx Emerson. BA1 1UA.com sasha. or individually. Garrick Webster. Sara Forlenza. Andrew Theophilopoulos.bit.uk Sammy Maine deputy commissioning editor web www. Zillah Byng-Maddick chief executive Brian Sum.co. Bruno Wagner.com vivienne calvert production controller Cliff hope OPERATIONS EDITOR Mark Constance production manager Print Subscriptions clifford.

in this clothing on a regal Star Wars figure. in Illustration from Imagination. Josh Viers. Plus WIPs and final image CUSTOM BRUSHES Tony Foti Understand the Star Wars films and their key aesthetic differences. and use lighting to dictate focus. Christmas 2015 7 . created by to a professional standard. in order to design and paint a cockpit for a small spaceship. Bruno Wagner. pro artists including Brian Sum. We are giving away 39 pro artists’ custom brushes – the perfect tools to help you hone your art and all this! WIPs and finished art available to download. generated by staying true to its central issue. Feng Zhu and others. Issue 129 Christmas 2015 Exclusive video tuition! Watch our videos to gain a unique insight into how our artists create their stunning art Q&A videos Sara Forlenza Study casinos and the Wild West to create a seedy Star Wars gambling den. brushes they use. Plus WIPs and final image Training Download and use pro artists’ custom brushes As well as reading and watching step-by- Sara Forlenza Cameron Scott Davis step art tutorials from the finest fantasy Take inspiration from history to paint The artist shows how a painting is artists in the industry today. you can use the same custom Plus WIPs and final image concept.

” 8 Christmas 2015 Email your submissions to fxpose@imaginefx.the place to share your DIGITAL art Sara K Diesel 1 Location: US Web: www. Some of her biggest inspirations have been Moebius.” says Sara.saradiesel. and says she was lucky enough to have had their support over the years: “When I was only 14. A goddess shows distress over her creations – the sleeping wolves surrounding her – and how to tame them. and included classic Lovecraft elements. Donato Giancola and Tran Nguyen. 1 The Lamentation of Gahl “I based this painting on a short story that was written by a friend.” 2 She Walks in Shadows “This piece was supposed to encompass a series of works of Lovecraftian inspiration by female writers. I took inspiration from witchcraft and ritualistic representations. and I try to make that reflect in my work”. “I think of digital painting as ‘painting with light’.com .” This gift started Sara’s career as a digital artist. all for different reasons. “They’re all artists that have made me work hard and love the art form.com MEDIA: Photoshop Sara has been working as a freelance artist for over three years. my dad bought me my first Wacom tablet and I had it all through college. She grew up in an artistic family.com Email: contact@saradiesel.

achieved in part by the character’s pose and expression. Even with the bright reds in The Lamentation of Gahl.” Email your submissions to fxpose@imaginefx.2 Jana Schirmer is more than happy to enter Sara’s atmospheric worlds of fantasy and myths “I think Sara’s good at capturing a dark mood. the scene feels intense.com Christmas 2015 9 .

using lots of photo textures and focusing more on mood and atmosphere than accuracy.com . but who can resist that smile? I built a 3D model as a base for the architecture.” she reveals. Cinema4d Concept designer Johanna enjoys working in a realistic style using photographs and 3D bases made in Maya and Cinema 4D. colourful and stylised work. sketched variations of the submarine with pen and paper. 1 Forgotten “A little speed painting done for fun and to try out a quicker way of conveying ideas. but with a playful and fun atmosphere. But the German illustrator also shows a persuasion for painterly. Johanna Rupprecht Location: Germany 1 Web: www.com Email: artist@lyraina.com MEDIA: Photoshop. then used Photoshop to create the final piece.” 2 Post-apocalyptic Playground “I created this as a part of a personal project: a post-apocalyptic world where kids had to build a safe zone for themselves in a ruined city. “Both nature and human history are incredible sources of inspiration for new and exciting designs.” 3 Submarine “This is me having some fun concepting a submarine.lyraina. I’m not sure it’s entirely functional. Maya. Having studied biology. Johanna uses her scientific knowledge as inspiration for new artwork.” 2 10 Christmas 2015 Email your submissions to fxpose@imaginefx.

” Beren Neale.com Christmas 2015 11 . Acting Editor Email your submissions to fxpose@imaginefx. 3 IMAGINEFX CRIT “It’s always good to see artists display a sense of humour in their work – who wouldn’t want to be on board Johanna’s cheerful- looking submarine? She’s also adept at filling her concept work with colour and light.

Marjorie began her artistic journey at a very young age. “I remember coping stuff out of Nintendo Power and the art in the booklets I’d get with my Gameboy games. Decay. Marjorie Davis Location: US 1 Web: http://ifxm. Discovering she could create her own little worlds.ag/m-davis Email: marjoriedavisart@gmail. I wanted to find a way to paint flower petals and smokey.” 2 Alirrah “A character commission. Marjorie was attracted to creating gaming and fantasy art. I was trying to convey the sense of floating in an atmospheric haze and slowly fading into decay. It was fun to do the layers of clothing – I was looking at nomadic costumes to get an idea of how the leathers and furs would work with the stitches and straps.” 4 Wither “This was inspired by my previous piece. cloudy goodness!” 2 3 12 Christmas 2015 Email your submissions to fxpose@imaginefx. striving to make a living from her passions. but also by flowers withering as they bloom. I love the challenge that comes with a new project. I love going through fashion blogs and taking inspiration from the models and clothing. and the chance to grow and learn more with each piece.com MEDIA: Photoshop Inspired by Disney cartoons drawn by her siblings.com .” she says.” 1 Decay “I was live streaming when a song came on and the rough Idea for this piece popped into my head.” 3 Mavis Tran “Trying to get a mix of style and personalities on the page is the goal for me. “I really enjoy the range of things I get to work on when doing freelance.

Operations Editor Email your submissions to fxpose@imaginefx.4 IMAGINEFX CRIT “Marjorie’s Decay and Wither pieces are gorgeously fantastical. disturbing and imaginative. A double whammy!” Cliff Hope. and their properties and limitations. her character design art shows awareness of real- world materials.com Christmas 2015 13 . In contrast.

com . 1 14 Christmas 2015 Email your submissions to fxpose@imaginefx.

com Christmas 2015 15 .” she says. Nothing I learned at art school prepared me for it. the king of the Baltic Sea. “It’s a dream job that unites my love for books and fantasy illustration. very cold. destroys the church. “I get to illustrate my favourite authors. worked on video games and more. designed posters and websites. and occasionally I come across red deer.pl MEDIA: Photoshop. The cover depicts the Fool: a not-quite human. Smoke And Mirrors. I live in a small village close to a forest. They’re incredibly impressive. The Fool is a wonderful. Art Editor 1 Mermaid “This is a personal piece.” 4 The Golden Fool “Cover illustration for The Golden Fool by Robin Hobb. It shows Snow White as she’s described in one of his stories: beautiful but very.” 2 Smoke and Mirrors “Cover illustration for the new Polish edition of Neil Gaiman’s short story collection.” 3 In The Woods “This is a personal piece.pl Email: dagmara@rosarium. but currently paints covers and designs typography for a Polish sci-fi and fantasy book publisher. androgynous being in his guise as Lord Golden. inspired by a local legend about a mermaid caught and held captive in a church in order to be baptised. She dies and her father. I’m still learning and I plan to keep on learning till I die!” 4 IMAGINEFX CRIT “I’ve never seen Snow White portrayed with such intensity as in Smoke and Mirrors.rosarium. Painter Dagmara has achieved more than her teenage dream of illustrating fantasy novels. very complex character and a joy to paint.2 3 Dagmara Matuszak Location: Poland Web: www. something I’ve dreamt of as a kid. Any passing handsome prince may want to think again before rescuing the fairest of them all from her eternal slumber!” Daniel Vincent. She has drawn comics.” Email your submissions to fxpose@imaginefx.

decadent palette of sunset colours throughout. metalwork – and jumbled them together to create hits of light and mysterious detail in the background. too. I loved using a rich.” 2 Dragon Temple “I allowed myself to explore a highly graphic. and love to fill my work with symbolism and imagery from archetypal legends.” Alice Pattillo. Painter Stephanie grew up in upstate New York. Followed quickly by an appreciation of how she handles shapes as visual shorthand to develop a scene.stephaniedraws. alien ship on the horizon. Stephanie uses her art to explore the spectrum between the mechanical and the organic.e. Staff Writer 1 The Hobnob “This is the name my grandfather gave the cabin he built in New York. It’s very abstract and was a ton of fun to make.com . my natural go-tos with landscape. I used a range of photo textures – Buddhist statues. digital mark making. muted pastel colours to create a dream-like world that contrasts with the intrusion of the jagged. Stephanie Cost Location: US 1 Web: www. I wanted to use creamy.” 16 Christmas 2015 Email your submissions to fxpose@imaginefx. contrasted just a few times with sharp edges. “I was raised on video games and mythology. stealing paint samples from hardware stores and swindling her brothers out of Pokémon cards.” 3 Storm “I used a lot of texture-rich Round brushes and vague transitions. I let myself play with saturated colours and an impossible scale. Groovy use of muted colours. I made this piece for my mom a few years after he died. oriental rugs. hinting at rich layers of psychology behind our love of pop culture and scenery.com Email: stephanie.cost@gmail.” IMAGINEFX CRIT “It’s the sense of scale that first strikes me when I view Stephanie’s artwork.com MEDIA: Photoshop. After studying art and computer science she moved to Seattle and is still there happily drawing Washington state’s abounding trees.

com Christmas 2015 17 . 2 3 Email your submissions to fxpose@imaginefx.

because it commemorates having spent 10. for as long as I can manage.” says the Californian native. I’ve experienced countless ups and downs.com MEDIA: Photoshop “Every picture is a story. Creativity is just too special a thing to ignore. Truly inspired by people who have passion for what they do. Denzel Jackson Location: US 1 Web: www.denzelajackson. or the 23-year-old artist that pushes.” 2 Only Battle Kings “I love the underdog. and as an artist who has tracked ImagineFX since my beginning. and no one should pass up the chance to influence their surroundings. Not just in real life. the world would be much funnier and a more interesting place to be a part of. it’s been a wild trip and I look forward to the long trek ahead. I’m steadily in hot pursuit of being a great and respected artist. the small team that survives the zombie apocalypse.” 2 18 Christmas 2015 Email your submissions to fxpose@imaginefx. I’m very honoured to have finally earned a spot in its pages.” 3 Always Be Yourself “I believe if everyone put effort into becoming exactly what they would like. 1 Never Leaving “I’ll always be here.000 hours of dedication and practice towards my skill.com . “I have a long list of aspirations that I’m hounding. but in stories.com Email: denzelj91@hotmail. Denzel hopes to keep that wave flowing by strengthening others to be doers as well. rather than what is easily acceptable.” 4 Jaaz 10K “This is a milestone for me.” reveals Denzel. too: David from David and Goliath.

whether he’s depicting a warrior in action. UK All artwork is submitted on the basis of a non-exclusive worldwide licence to publish.com Christmas 2015 19 .com (maximum 1MB per image) Post: (CD or DVD): FXPosé ImagineFX Quay House The Ambury Bath. both in print and electronically. His female characters certainly exude confidence – something that’s great to see!” Alice Pattillo. an explanation of your techniques. along with their titles. a photo of yourself and contact details.3 4 IMAGINEFX CRIT “Denzel’s got a lovely touch with the brush. Images should be sent as 300DPI JPEG files. Email: fxpose@imaginefx. BA1 2BW. Staff Writer submit your art to fxposé Send up to five pieces of your work. tattooed skin or Día de Muertos makeup. Email your submissions to fxpose@imaginefx.

like this piece.000 artist Tom Fox started freelancing with world-famous studio Aardman Animations. Nothing unusual in that. “I’d recently read a book called hours Outliers by Malcolm Gladwell. Since dedicating his time to mastering illustration. All the early life drawing pro status… I wanted to jump ahead. with only a life- drawing class in his artistic arsenal.000 hours or so I More of the same. Proof that the hours of study were hours to still lifes. I knew I couldn’t control the circumstance. After two years (3.000 hours of study – and fortunate circumstances. but I did Go pro What does it take to have the discipline to study something. I had proved to have shaped my understanding of light and form.” level up your art if you’re On 28 March 2010.500 hours) he received a Day of the Dead for a Brainstorm field? Julia Sagar finds out scholarship to attend online school The Art Challenge. This was the I received a merit-based 50 per cent his 10. I was 22 paying off. “It suggested that to be extraordinarily successful you need a combination of a skill – derived from a minimum of 10.000 hours 3. Artist news. Become a pro in This summer. software events At the core of the Digital art community Daniel Tyka learns new techniques through self-initiated projects. Two-and-a-half years (some TOm Fox charts 1. to work harder than anyone else. concept and storyboard 10. and this helped me in class. Smashed. Maybe not the most productive.000 hours 2.000 hours For the first 1. Tom Fox has seen his skills – and career – blossom. but scholarship to an online art course. you might think.” he says.000 almost exclusively did observational drawing: life-drawing sessions and most intense study I’ve ever done. It was frustrating because I really put the hours in. studying the fundamentals. Tom embarked on a challenge that completely changed his life. Except that five years ago Tom was a zoologist. But I knew that I had to give priority to and I knew there were people at my level who were 15 or younger. Department. Unsatisfied with his zoology degree. Tom started studying Daniel created coming from a different for a minimum of five hours every day. 20 Christmas 2015 .

000 hours 5. for you to learn 2D? It’s a remarkable story. all in an game. In addition. On a recent vacation.” to put that creative joy back in my Daniel Tyka agrees that it’s Daniel’s work falls on the darker side life. www. Since then I’ve been trying to do it consistently. Siberian Dawn.” he says. I realised many animators can create convey as much form as rendering. composition. but he’s my ZBrush sculpting work. Futuristic opening a new studio the vault dawn “I’m never satisfied. What advice would you for mastering a new skill? Starting a new habit takes motivation and time. Slowly I realised that making an interesting image Observational drawing became wasn’t about meticulous rendering.000 hours? I imagined.” says developing fast enough as an artist.” cost. That’s what you wake up for Jose Alves da Silva’s portrait of art connoisseur every morning. He quit his bank job of the sci-fi and fantasy spectrum. and affected the quality of my work. What do you think about the 10. still 2.000-hour theory? I don’t think that it should be taken literally. Award-winning freelance life. building the skill tough. narrative and I realised a well-placed line can storytelling. and practise artist for Universal Studios. It’s about drawing forms from imagination. These sketches often have more life than in different views and poses.artofjose. 7. year. Get yourself 4. It takes its toll on your week in his “dark cave” came at a mental Developing my 2D skills has social life. but I firmly believe that if you’re passionate then you’ll dedicate all those hours to your craft. Consistent drawing has really “It was much harder than I imagined. there’s a Le Rabbit is one of his most famous 3D pieces. relationships Ctrl+Z option – you learn to accept and your body  mistakes.000 hours) later. I decided to practise my drawing on paper so there’s no Can anyone do it? And what’s the cost – both physically and mentally? your social life. Progression was fast and rewarding. evocatively titled planning his next. no gain become bolder and embrace risks. as he great networking Stephen Winterflood’s shows us around his opportunities and new deck-building card workspace. he was offered a first job The best artists I know consider in the UK film industry.000 hours short of his target. as a junior concept themselves students. he They’ll go far beyond 10.000 hours a sketchbook and take risks. games and film. started producing illustrations. underground vault. and after a while you No pain. But sitting alone week after What’s been the outcome? hours on top of that. based freelance 3D character movement. sketch. Portugal- interesting shape.000 hours took the next step in his new career and in their lives. However. danger that if you feel you’re an expert. An award-winning. Book of my hand has directly benefitted after deciding he wasn’t jackets are his speciality. narrative and story in a 30-second I spent days drawing simple figures artist Jose works in advertising. Page 24 Page 26 Page 27 A scan from Jose’s Industry insight Jose Alves sketchbook. Tom. to improve my skills. everything is possible to reach an expert level of proficiency with a new skill in 10.com Christmas 2015 21 . da Silva Why sketching has reignited the character artist’s passion for 3D Why did you decide to teach yourself how to draw? Drawing is a really valuable skill when I’m planning my 3D characters. concept art How challenging has it been  It was much harder than and storyboards at Aardman Animations. In August this and research to keep evolving. “It meant no more free When I got back to work I wanted illustrator and concept artist evenings during the week. “I had to sacrifice most of my social ignited my passion for 3D again. “At one point I was working 30-35 hours dedicated 16 hours per day to learning new a week in a coffee shop and studying 40-plus techniques. where he practises his 2D drawing. I decided to draw for a couple of hours every day for a month.” How London’s Industry A dystopian Europe admits Singapore-born Workshops provide is the subject of game Australia-based artist pro-artist advice. while free beer. It takes its toll on challenging. designer and artist Darren Yeow. paintings laboured over for hundreds of hours. your progression will stop. But is it really When you’re learning. relationships and your body.

“Many characteristics once new illustration techniques during his spare time. are closely related to assessed each moment. People are always generating new meet the supervising art director. He thinks it’s possible to master a away for 10. there for four months and learnt so much. but students find it very hard to an impressive portfolio of the way for Malcolm’s inspirational book.000 hour rule – arguing that it isn’t a Rebecca agrees that the quality of himself to improve his 2D magic number – he believes “deliberate practice is crucial. only to motivation.000 hour mark. then switch to traditional media if they don’t professional 3D illustration and while he disagrees with the author’s know it. work. by concept artist Efflam Mercier. 22 Christmas 2015 . “With practice practice” is an essential component in away at 10. “It’s all about for what needs improving  Fine artist Rebecca Guay is the founder of organising your time well. such achieving expert proficiency.” programme SmArt School.” says the concept artist and is continuing to develop professor. too.000 hours of figure drawing. “It’s not enough to grind sketching skills. a 3D spent pushing the boundaries of your ability. When we met he said I didn’t ideas. I was given the opportunity all my time at Aardman Animations in Bristol. In The key.” to do so correctly. but I could have a week or moving into animating and storyboarding. than ever. Tom is almost at the 8. and these things are performers.” says Daniel. example. In the end I stayed 8. I’m slowly have a very appropriate portfolio. a specialist on expertise.” he says. the more you’re able Class and its online sister become overwhelmed and disheartened. I’ve seen no plateau to learning visual arts.” It depends what you’re learning. and evolving your skill in of the human foot. although I’m spending almost Universal studios – my big break. or you could “The more you draw. ImagineNation News Elves. if you’re not trying to see what as how to draw that curve on the inner side “Individual differences.000 hours 7. professional mentorship “Learn the basics before you move into added to your mental art library. The freelancer has built up Professor Ericsson’s 1993 research paved images with.000-hour theory. lies in the to take traditional skills into a digital “Don’t expect progress to happen type of practice: it has to be focused time environment than the other way around. You can practically because I emailed and rang around. who’s “getting back into traditional drawing”.000 hour mark and says he’s progressing faster than ever. and was asked to come and feel the creativity in the air here. instantly. and progressing as fast. but recently challenged 10. “Digital tools are often easier to start making character artist.  It’s not enough to grind recently been working as a video game amounts of deliberate practice. but points out that it’s important to you’re not actively looking a minimum of 10 years. or faster. programme Illustration Master more complicated aspects. even among elite needs improving. it’s faster Modest expectations Ericsson.000 hours if believed to reflect innate talent are actually the result of intense practice extended for new skill by applying the 10. says Professor K Anders her experience.000 hours I began working on Snow White and The Huntsman 2 for My work continues as a freelancer. I’m almost at the two and we’d see where it went from there. for you learn something small everyday. take a structured approach.” says Jose Alves da Silva. introducing you to new artists and influences. You need to be fully present 6.” she says.

” form. “I recognise want to be the best you can be. A traditional oil on canvas piece. light and working 40 hours a Philadelphia-based artist week to become a out by hanging out at the tip of the iceberg. “I study anatomy. That’s what separates you from the competition: you dragged yourself out of bed and squeezed another 500 hours out of that year.” her five years of you’re learning. “But after you’ve done it for a while it’s like doing physical exercise: if you don’t do it then your body 8. Little Fish.000 hours becomes a useful benchmark for any artist hoping to master a new skill. composition and professional artist.” Christmas 2015 23 . your an individual reaches their peak of tools are built on.000 hours. it’s not just about rolling up around and be guided by limited information. painted by Rebecca Guay. who used to work in a bank. set your your hard work and ability – would you like to work for or with me in the future?” What a feeling that is! sights higher. Scientists believe there are significant fluent in a medium by learning also crucial to invest in down-time to keep genetic and environment factors in the mix the technology. Artist news. “You have to proficiency. “I’ve had periods where I’ve got up at 4:30am to draw. Now I know I’m committed to a lifetime’s study – and I love it. it’s no longer about hitting thing is for certain: the job offers are starting to come to 10. it’s effort. Winona Nelson. Porcelain Skin by Nevertheless.” Where and what will that work be? Who knows? One For Tom. and focused. After so many months of study there’s nothing more gratifying entering the industry. and those factors include personality.” points out “I see a lot of people who are missing advises Tom.10.” brain needs time to recover. taken as shorthand for ‘a Daniel.” “Starting a new habit always takes motivation.000 hours starts asking for it. don’t forget down-time your sleeves and putting in the time and You become so much more If you’re committing to 10. Deliberate that can affect the time period over which the logic principles that the practice is fatiguing and. It took away in your sketchbook. colour theory as my main categories.000 . “and then let says French concept artist Efflam Mercier.000 figure is great for me now rather than having to hunt them out. How do you find that sort of time? Tom advises getting up early and learning while you’re fresh. software & events Efflam says learning core art skills is as important as knowing the software.” he reflects. “The 10. not just mindlessly drawing “Break down your subject into Open Your Eyes. linear perspective. the history and your pace of learning sustainable. “But if you than someone emailing or ringing to say. 10.000 hours. like your body.” manageable and discrete categories.” agrees Jose. cognitive ability and age. by process the information that Winona Nelson. significant amount of intense practice’. “Want to learn 3D? Then don’t just click Of course.” it bake in”.

sculpting and woodwork. ImagineNation News My open-chassis Monster Rig – I chose The downlights in the ceiling were upgraded with this chassis because I absolutely love dimming capabilities to adjust for better video the rugged beastly aesthetic. creating primarily for my own brands – and production. I sometimes need to hit tight schedules management and team leadership as my cooled monster that can handle almost any and this setup enables the necessary business develops from client work to task I throw at it. While I love but I also have many other responsibilities. that my son and wife are home most of the such as sales. the Australia-based artist explains his quest for the perfect work space Over the past few years. logistics The work rig is an open-chassis. liquid. 30-inch monitor to to enable my business to function more I still sketch on paper. time. I don’t tend to use place references or do business stuff. space and I also upgraded a bunch of things shortens the client-feedback process. from concept artist to a investor meetings. For instance. Pimp my ride From sound-proofed walls to optimum lighting. the room has an 24 Christmas 2015 . While and a third that’s a large. to it: two of which are Cintiqs (21UX and builder so that I could increase the studio My method is primarily digital because it 27QHD) for on-screen drawing and painting. I have three monitors attached We altered the original floorplans with the I think my office reflects this. my ‘messy’ media because I keep my main have a separate television to review footage freelance career has shifted office as clean as possible for client and and do presentations. If I need textures. I’ll I’ve been in this office for about six creative-business role. exposure if I’m recording video. from 2D or 3D to 4k video physical separation when necessary. marketing. painting. finance. and it’s on the second floor to design and draw every day. I still create them in the garage where I have a months now. I also effectively. My dark grey glass table is Darren Yeow fitted with a side return to keep everything within easy reach. second workspace setup for tasks such as the rear of our newly built home.

Reference and inspirational books on a myriad of subjects. which means I’m able to Skype international clients at any time without waking my family. Artist news. I never had the chance to go to art school. relaxed and ready to do good work whenever I enter the room. software & events The walls have embedded sound-insulation. Darren created the Nomad Art Satchel. NBN connection (the fastest residential internet in Australia). art and technology. Thanks to my rear shelves. Christmas 2015 25 . Found gifts from my toddler and a photo of when my wife was pregnant – to remind me of what’s important. I’m never satisfied and already planning the features for my next office/home. and you can see his art at www. email and files. so these books were my education and they mean a lot to me. and I also upgraded the sliding wardrobe doors with ceiling-to-floor mirrors so that I could use myself as an art reference and practise presentations.stylus-monkey. I feel inspired. to-do lists.com. making it possible to upload client files in 10-15 minutes instead of a day or more. but I do admit the current setup works well. I’m surrounded by inspiring properties. Lots of screen real estate for easy access to references.

but with the offered classes at the event. even if learn from. as well as the infinite want to showcase your skill in the real world opportunities to network.” organise an event!” Titus Lunter offered This year’s event has grown from last year Find out more about the 2015 and 2016 expert advice to ward off creative block. Thomas Scholes. “At events like this you can place yourself times the amount of recruiters.” says joint include 2D. selfishly. Highlights his experimentations organiser Richard Burns. I can talk to people get to the point where we can align with I enjoy the company of. and discuss cool people who share our vibe and can mutually ideas with. “It’s included Mark Hill’s insight into designed with stylisation at IW. play harder This year’s Industry Workshops provided budding concept artists with a thriving networking hub Stepping into a dark and damp tunnel London Atelier of Joint organiser Daniel Matthews pours a pint of leading under central London might not Representational Art (LARA) complimentary craft ale for an eager attendee. Being able to exist in that.industryworkshops. who could say no? Set in an underground vault. share ideas and – people might even offer you a job. ImagineNation News One of Titus Lunter’s concept environment pieces – Titus was one of this year’s speakers. with over 400 people and six events at www. promise of top art industry professionals and free beer.’ That’s important if you stylisation. The content on a spectrum and meet others who face offered has also extended this year to Dave Neal showed off the same issues. Throw a few contrarians into the only for a few days a year. “Industry Workshops is a little bubble Richard admits his plans for IW are: “To universe where. A vault of opportunity Work hard. seem like fun on a sunny day. Titus Lunter delving into I’m out here. 3D and traditional art. giving the opportunity to mingle with the best in the field and learn from live demos and lectures. Dave Neal believes you need to understand reality before adding stylisation to your art. 26 Christmas 2015 . Boasting the likes of Min Yum. storytelling. this year’s Industry Workshops looked more like a games environment than a conference – complete with loud sound effects shaking the exposed piping. enjoy yourself alongside contemporaries. Noah Bradley and Suzanne Helmigh.co. it’s an packed event for concept artists and wannabe concept artists alike. you might dig my psychology and Dave Neale looking at stuff. Creature and concept artist Dave Neal passes on his invaluable industry advice to the audience. Nikolai Lockertsen. on every level. is probably more mix and trust people with it… then we’ll important now than it ever has been. also a good place to say ‘Hey.uk.

“Each group of costumes are heavy and protective. strange opulence. Stephen Winterflood has already made mobile puzzle games by himself. Work on what would become Siberian Dawn started back in 2012. His latest online deck building card game. says. “The Stephen used strong shapes to make his cards stand out on the design echoes a grim industrial civilisation Stephen that the artwork had to incorporate online deck builder… combined with a harsh environment. the characters in the game were all created in Photoshop. “I’ve used medieval themes and looked but also show an individuality that would at European comic art to achieve a look of make them easy to distinguish.com/SiberianDawn.” he says. so the the mechanics of gameplay.” Siberian Dawn will be available on PC and …before unifying his artwork by Studying the likes of Magic: The Gathering Android later in the year. which Photoshop lighting effects help he thought would have more appeal. software & events Hatboy by Vaughn Pinpin Building a continent one card at a time… Cold war Stephen Winterflood’s latest project is a deck-building card game set in a dystopian Europe With years of industry experience. to the background. having worked as a game designer and artist. From soldiers to cultists. with Stephen originally aiming to make a Victorian horror game. channels his skills as a novelist to create a futuristic Europe on the brink of war.facebook. After deciding that the theme was too dark. Artist news. textured layers and a diverse range of other games showed at www.” Stephen characters needed to share a distinct look. Christmas 2015 27 . to enhance the 3D appearance of Stephen’s characters. Follow its progress applying gritty. Siberian Dawn. the project was shelved but he kept the engine and used it for Siberian Dawn.

in issues 126 (Brian Matyas uses SketchUp) thumb. but it only someone’s hard work. We’re used to evaluating an image at on and off for years. Just loads of the difference between your best and your cool points from fellow artists. In addition. whether take on characters from the He-Man cartoons was section). They were brilliantly done. He probably favourite. Which is bad. another artist/company’s IP (intellectual property – like Harry Potter). but I have noticed one thing that’s a more details to small team often doesn’t find the time to little lacking: 3D workshops! respond to entries that aren’t quite up to Just finished something you want us to shout see how you can about? Send it our way on Twitter I think these days it’s becoming more get hold of it and the job.facebook. I’ve been a professional concept artist for a make sure the images aren’t going to kill our year now. totally jive. we can. The Ambury. 28 Christmas 2015 . I’m no Follow us on twitter: stranger to free 3D software packages like www. but I’d like to see tutorials that Tell us your thoughts on: bridge the gap between the two dimensions. and possibly @johnnygarciac will. in the Q&A “Wouldn’t want to be second. but be sure to check out past issues under this guy’s you’re starting out as an artist or you’re just a personal project that garnered a lot of praise for some dynamite 2D/3D bangers. No doubt. get an honest artist friend to tell got paid work off the back of it too. I have to admit our See opposite for artists.” not sure about copyright. while. Google or Facebook. I’ve been to ImagineFX’s Facebook you’re making a stack of pennies from page where you provide a link. He emailing us a link to your online portfolio artwork for this game got a lot of attention for his personal (not (as long as your site loads a little quicker commissioned) series of the characters from than a comatose slug!). However. or not 2D? If you’re sending us images via email. especially on Society6. tutorials on SketchUp (see issues 109-116). seem to find the guidelines anywhere on This kind of bleeds into other areas of the main website. that is.com/imaginefx Iwan Turner.com/imaginefx SketchUp. Beren Neale. Whether they made money Beren replies Hi Stephen. copying it and then selling it Mat Sadlet off as their own. question all the time. Short answer: we do it already! We’ve I can’t help but wonder about had a series of single page ‘Core Skills’ copyright. too. than an image that you see as the turning point of your skills. There are infamous cases of like to know how I can get my art to you. As a rule of and raised his profile. UK “My latest piece! :)” have not only 2D skills. so don’t sweat it. We may be more interested in your it was a showcase for his talents. ImagineNation Your art news that’s YOUR FEEDBACK & OPINIONS grabbed our attention Contact Acting Editor. As for comics issue? workshops are full of great tips for digital waiting for a response. who used SketchUp to compose and light the scene.com or write Frida Lundqvist to ImagineFX. Future Plc. but also 3D. people taking artists’ work (whether in part Stephen Rogers. quite frankly. please He-Man. If you’re I’ve been trying to find a list of your doing it because you’re inspired by said submission guidelines for the FXPosé character/world. it’s fine to do your own version of and 125 (Matt Kohr takes on Blender). via email concept art. @fridouw This moody concept piece was created by Brian Matyas. Also illegal. and the simple answer Back to your question: just look at is: just send us your art! Usually it’s a case of “I’ve created loads of professional artists like Dave Rapoza. on beren@imaginefx. Is there a way around it.twitter. that’s utterly sends me to your home page and I can’t ungroovy. and he your best art at the fore. Bath. Quay House. keep on Kickstarter. I’ve noticed hundreds of artists out because the subject has been on the there who draw the Harry Potter ImagineFX team’s collective brain for a series. notably command. most recent painting. further work in Photoshop to create mega Johnny Garcia Jentry Taylor. www. If you’re not sure of go back it!” wasn’t making cash from them. I receive this @matsadlerart or not. or is it that they don’t care? I just and this issue’s workshops by Josh Viers and want to be careful before I start Feng Zhu follow initial steps in 3D and making my own artwork. I still find your our indie thumbnail size. BA1 1UA. this is something that (@imaginefx). I’d artistic honesty. as long as Just send it! you’re not making money from it. too! we’re working on. incorporate more 3D elements into the Beren replies First of all. via email We’re all fans of art! Beren replies This is a timely email. and have been buying ImagineFX DID YOU MISS inbox. this is a great question. or find us on Facebook! expected in the industry that digital artists others. nice name! And Dave Rapoza’s realistic magazine (for example. then all is groovy! But if section. via email or in whole). because you. 2D.

PC or Mac? Google Play: http://ifxm. Sara today. Check out all of our partners editions are at the bottom of the page.bit. or download us straight from the Newsstand app already on your device. Forlenza paints a historical drama Donato Giancola painting a scene of Hellboy. Elsewhere. in our indie break into the video game 10 key artists who thrive on of the most unique artists working comics special that also features industry. Christmas 2015 29 . here’s how you can order yours today! Want a recent print edition of ImagineFX? See what’s available at www.ly/ifxbackissues. iPhone or iPod Touch? Get the free ImagineFX app for your iPad or iPhone at http://ifxm. available in print While PRINT and DIGITAL Back issues stocks last! Issue 128 Issue 127 Issue 126 Issue 125 December 2015 November 2015 October 2015 September 2015 Brett Parson reveals how he paints Discover the skills you need to Our monochrome special features Inside this illustration special are 10 the iconic Tank Girl.ag/google-halfprice Zinio: www. Back issues Back issues Missed an issue of ImagineFX? Don’t panic. with advice from pro limitations. Game of Thrones art.ly/r938Ln Got some other device? ImagineFX is available for all kinds of Only the most recent devices. and Patrick J Jones uses charcoal.bit.ag/apple-ifx. from Tolkien’s The Silmarillion! Buy print editions of imaginefx at: www.ly/ifxbackissues GET YOUR DIGITAL EDITION THROUGH THESE OUTLETS: *Resource files are available from issue 85 onwards. and comic storytelling tips. and Tintin in action! Ilya Golitsyn and Eliott Lilly.bit. On Android. a caricature artists including Remko Troost. Got an Apple iPad.

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www. between two speeder bikes in I build up my scene around a one-point Axis Animation.petersenart. using ZBrush. During this stage I make the middle of the Email help@imaginefx. different areas of the composition. Inc.com composition. depth. resources See page 6 now! www. and to strengthen my Wideshot Entertainment. He’s also an How can I enhance my futuristic racing scene? illustrator whose clients Chad Maloney. made the move to digital. perspective. Need our advice? start with the perspective and racing scene you have to place the viewer in and the details.tonyfotiart. digital card games and RPGs. www. Time Warner.markmolnar. ImagineNation Artist Q&A Struggling with a painting technique or topic? Email help@imaginefx. Weta Workshop. Eidos. Because I’m keen to use an extreme perspective even further I place the two www. simple point. This not only adds an extra level of speeder bike 3D models.saraforlenza. but gives my scene much more Then I do a quick render without any dynamism and speed. because this helps add some additional we’ll provide all the answers! Now I jump into Photoshop and start effects to spice it up. and use the Free and concept designer. Canada include Monte Cook Games and Catalyst Game Labs. 32 Christmas 2015 .deviantart. sharp light sources in Keyshot after setting From this point on the whole process To create a dynamic up my camera. Applibot and Fantasy Flight Games. This gives me a good head involves painting to develop the scene. www. I use different such as Radial Blur. and after spending many years as a traditional painter. His past clients include Lucasfilm. 3DTotal and the back alleys of Tatooine. He depict a dynamic racing scene Transform tool to adjust their positioning.com Sara Forlenza Sara lives in Italy. use a strong an effort to introduce as many overlapping with your art questions and whole digital painting process. and acts as a base for the action. perspective and then elements as possible. the viewer understand what’s going on in blocking in the alleyways.com John Petersen John is a production artist and Question animator for Engineering Systems.com Answer Bram Sels Mark replies Bram is a freelance illustrator To answer this question I’ll photos from Morocco.com perspective I do a rough thumbnail sketch speeder bikes coming from my vanishing and then pose a couple of free. She works mostly on book covers.com today! Special Mark Molnar Mark works on projects for film and game companies. has worked for a range of companies including Ubisoft. most get your often for Fantasy Flight’s successful Star Wars lines.com Tony Foti Tony is a freelance illustrator whose work can be found throughout the publishing and gaming industries.artofboco.

This enables me to adjust the fabric and folds on the body. Christmas 2015 33 . 1   Creating a simple 3D scene to block in a more extreme perspective can help when creating action-oriented artwork. A light fabric. I do exactly this with the two speeder bikes. Even if you’re not a 3D expert. It helps me to direct the In the Star Wars universe. The tunic lines. To make the fabric of the skirt look shiny and soft I can either use a Soft brush without any texture. I also paint in the two figures on the speeder bikes and establish the positive-negative space ratio. I take inspiration from Greek and Roman tunics for the skirt. I lay down flat colours with a Hard brush and add basic light and shadows with the same brush. and inserts in the tunic using a Hard brush. I enhance the only on the waist. I draw the anatomy of my characters under their clothing. For the headpiece and gold inserts I look to the queens of ancient Egypt. I try to keep the style tool. give an idea of softness. 2   I use some photos to composite the background together. play around with royalty-free models and set up a couple of lights and a camera to quickly try out more interesting compositions. They have elements that are both futuristic and bizarre. This describes areas in the image that Answer either contain visual information or are Sara replies relatively empty.. To this end. sandals with rounded lines to which strengthens my focal areas. my photo textures. from royalty often wear rich. I paint gold metal on the headdress. Finally. or the Smudge tool. and have the characteristics of historical clothing. elegant clothes. US I note where the fabric of the clothing meets the ground: at this point the folds will be essential even if I choose to paint a very stiff-looking fabric. I set my brush’s Opacity to 50 per cent and using hard and broken rough and painterly and cover up most of add some shades of red to the skirt. Step-by-step: Question Use 3D models to What advice can you give me for painting help develop a scene the clothing of a regal Star Wars figure? Ray Hickman. and medieval clothing for the dress.. many folds that I draw detailing around the two figures and bikes. shoulder and floor. Your questions answered. Artist’s secret The skirt creates folds that follow the body Depict folds My goal is to create an impressionistic shape and the tunic casts its reflected colour on A stiff fabric produces 3 storyboard frame from one of the it. figures viewer’s eyes more effectively. so I pick the red colour with the Eyedropper a few folds that I draw films. using brushes that and the mantle will remain more rigid and fold such as silk produces emulate oils and acrylics.

I start with the playing cards. My gambling den has an atmosphere that’s reminiscent of a saloon from the Wild West: it’s smoky and dark. where futuristic elements blend with those of the past and faerie tales. To create the smoky atmosphere I use a cold main light coming from the 4 When I finish painting characters. eye patch. I don’t want room and use rough textured the chips to be round and look brushes to accentuate the dirty like Earth currency. character-led keep in mind that famous phrase: “A long scene. varying their costumes. shapes and sizes come and go. and gamble and drink. This gives me a better this is the key to capturing that authentic idea of what the final Star Wars ambience. ImagineNation Artist Q&A Question Please help me compose a seedy Star Wars gambling den Justine Cottle. Australia Answer The scene is chock full of characters and is a Sara replies bit confused. I paint them as right hand side. With an orange colour them a rectangular shape with I also add areas of rust. and enables me to bring designs of traditional playing out the scoundrel who’s cards. Some turn film noir. In this way I can show the aggressiveness of the regular customers that frequent these gambling dens. Here and there I draw I draw him wearing a cowboy aliens belonging to the same hat and a full-length coat race. To help heights. a meeting place where people of all races. the environment and the types of games being played. and that’s exactly what I was I start by developing an idea of hoping to create! what I want to draw. far away…” I think beforehand. They won’t feature the art. his angry expression. and introduce an element of storytelling and tension to the scene. I’ll have to put all these elements into the Star Wars setting. just to ensure that others look down. instead. I sketch on them dressed in a dark warm brown. weights and physical support his sense of character features. result will look like. I When painting a complex. Who knows how many to the viewer! fights occur in a place like this! 3 . I study the attitude of people to the casino. so I give look. The light blue hologram that cast a reddish is perfect for science fiction light. I pay attention to their that’s taken straight out of a body language. I give him a pirate’s toward the angry protagonist. others ignore his scoundrel nature is clear him. 34 Christmas 2015 . as well as the atmosphere. I work on den. Step-by-step: Create tension around the table I put the main character in Taking cues from the 1 the middle of the image 2 animal kingdom I draw and draw him in the act of other players in the gambling pulling out his gun. a bar code on them. I choose to represent the moment when one of the players realises he’s been cheated at cards and draws his gun to threaten the robot that he’s playing against. I’ll plan it out time ago in a galaxy far. To create an interesting-looking composition. by collecting references and documentation. some signs that give the idea I paint the metal walls of the of an alien script.

scratches. dust. the lines of the panelling. more I always try to create a little story in my silhouette of my ship based on a rough complex elements. aerodynamic shape. If weathered and aged materials. Christmas 2015 35 . designed for carrying goods around bigger surfaces with small details. the materials. Your questions answered. I try to find a balance 3 to all the materials on display. You can enhance the head and imagine what the ship has been sketch. metals and woods – can be elements adds extra details. You also have to you’re really serious. The come into contact with other objects. drawing. dirt. dents and peeling paint. to paint them. and medium. Usually you can find more an invaluable experience. such as rust. visiting a scrap yard and Adding ageing and signs of erosion to your materials gives create a little personal story for these objects.. and quickly block in the between larger shapes and smaller. such as using different distressing techniques on the planet. while painting aged on top of a metal surface – and why. because that’s where they shiny surfaces and materials. how paint becomes futuristic shape language. Question What’s the secret to painting the ‘used universe’ look from Star Wars? Jess Cordingly. Step-by-step: Paint materials with a sense of history First I create my two-point After changing the shape of my ship Now I add the ageing and weathering 1 perspective grid to support my 2 I add details. I imagine that this is a fast cargo realism of your piece by breaking up the gone through. so I lay down a simple.. Answer Mark replies The easiest way to achieve the used scratches and dents around the edges of the universe look is to avoid depicting objects for example. studying all the different worn materials that an idea of its age. to understand how owners – plastics. You can achieve this by giving it a worn look. peeling paint and dents around certain materials look in real life. Study the key is to use the same modern and appearance of rust stains. England The key to create a believable spaceship is to show that it’s in regular use and seen a lot of action. Try to vary the ageing by ship. sized shapes like the paint scheme. Using I would recommend studying how various have been disposed of by their previous scratch marks.

rugged would function as a vehicle. take place largely on advanced worlds. the visual aesthetic has changed somewhat over the years. visual feel. polished machines trilogies have a very different kept in pristine condition. These ships are Wars product that has so many instruments. or just the fact that it’s more visually take some time to make things look like they’ve been thoroughly used. primitive than your average 747. hunter. budget. ImagineNation Artist Q&A Question What’s the key to achieving the Star Wars design aesthetic? Simon Newy. or axes for vibro. try mixing and matching parts with something that feels unique. the prequel trilogy. These items will help. I’d labe something with that particular silhouette I draw thumbnail silhouettes . Here I’ve away. droid. US Answer Tony replies The original and prequel more likely to be slick. It could be When you’re all done putting like they’ve been maintained on a tight the advanced technology. Episodes I-III. planes have instrument panels busier than a the ships from those movies tend to look shopping mall on Christmas Eve. Episodes IV-VI all have far fewer buttons. before fleshing out the design. The original trilogy. several pieces of real-world guns to create axes). a bounty drawn a spread of bounty hunting hunter must to be able to handle equipment as an example of the shapes and rancors and Jedi textures of a galaxy far. As such. alike. Question Help me design a cockpit of a small spaceship Corey Martins. a bit thumbnail drawings – much like the way a otherworldly. and the video games (I’m mostly thinking about The Old Republic here) each have their own specific look. real-life peoples and a struggling rebellion. If the object has some kind of real-world counterpart. there are a few thoughts to consider. In contrast. the two than modern jets. When starting off. and that’s only It’s worth noting that the original X-wing partly due to the decades cockpits look more like old fighter planes between them. appealing. on the other hand. futuristic shapes to your silhouettes and voilà! You’re on the road to Star Warsiness. far away. Boba Fett’s Slave I and the Describe – then dr aw ! Millennium Falcon are based on a radar best to start When designing a prop it’s dish and hamburger (with olive the toothpicked to the side) respectively. the astromech together the interior of your ship. wea the red and dan gero us. 36 Christmas 2015 . but I’ve yet to see a ship in a Star often in the midst of royalty. So should give you some idea of how far you feeling you ’d like the item to con bounty can take things. Take space ships. but there is a thread of Star Warsiness (that’s actually a technical In a galaxy far far term) that runs through them all. Use inspiration from the for a blaster being carried by a as objects around you and then imagine how l it with words such For creating something unique. cars and ships. More importantly. For one thing. such as In the second image I’ve combined hand guns for blasters. which off with adjectives that describe vey. there are two main approaches I use. Artist’s secret for example. lights and gauges are all about desolate planets. Australia Answer Tony replies When creating anything for the Star Wars universe. My second approach is for when you want to design something that looks unlike anything from our world. and yet still recognisable as a prop creator kit-bashes construction projectile weapon. The films’ ships interiors stories they tell are different. Try adding a few models of aeroplanes.

but I’ve Mix and ma tch noses. downward-tilting eyebrows.. eyes. and keep things the story I’m going for and has that Star ship. it’s 1 small value thumbnails to figure out 2 instruments. and some kind of focal point for your viewer. binations. Painting common. II. mechanical obedience. chins. Other than that. and when something captures pull-chord help convey that this is a real lights are all turned on. A cool colour palette dominates the look of Imperial troops’ uniforms and equipment. If you look at classic villains (especially Disney). Sharp facial features. a hooked nose uniforms are similar in colour to the and thin lips are a great ‘feldgrau’ of the Nazis from World War starting place. but Imperial officers are known for their I like my villains to have cold. a screen for the Anything that’s illuminated becomes a list of descriptive words. ambition of an unstoppable character who doesn’t even let the destruction of their physical body hold them back. I play around targeting computers. as they reflect the relentless dark circles around the eyes can help. For instance. and their hats have a similar shape to those of Imperial Japanese officers. Force lighting are a typical visual and this should be reflected in their grim anchor. a case of what feels right for the narrative. many of them are characterised by sharp features. Working from a monitor for the main radar. and other features for end less com the scariest because they reflect . and generally wear red and Sith Lords are consumed black outfits. It’s a cold. narrow eyes Artist’s secret Get some old referenc e surrounded by dark circles. Their smiles aren’t reflected If you’re having trouble figurin ury ent in their eyes. Question What tips do you have for painting a film baddie? Charlie Reddy. my main structure first. I start off with Now it’s time to figure out your Now that everything is in place. too. Prosthetic limbs are also countenances. It’s easy to portray the bad want your villain to look . there are certain conventions that are upheld. 19th-c of ght ful sour ce photographs are a deli guy as a fang-toothed monster. Clutching hands radiating by a lust for power. Focus (because we already know it’s going to be form over function. There are exceptions. it’s really influences the rhythm of your piece. Things like an ejection on avoiding boring areas where all the in space) . It’s a great warm-u p exercise mankind’s capacity for evil. always thought humanoid villains are inspiration . England Answer John replies There are an infinite number of ways to portray a villain. but in the case of Star Wars. and smug g out how you expressions. Step-by-step: Apply form over function Like most of my art. We’ll need a large 3 time to turn on (and off) some lights. but when it comes to gauges it’s just balanced enough to not draw attention Warsiness. Sith Lords usually wield red lightsabers. and heavily with shapes against a black background control device. where it isn’t wanted. intelligent look probably no coincidence that their to them.. Your questions answered. I know I can move on. Christmas 2015 37 .

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I see it like a Simply add your image composition. so try to place layers of the buildings according to the layer of rock image in light and make a certain area feel shapes on top of each other to give your they’re place upon. After that I drag and drop everything. This makes it easier to especially warm or cold. make Once I’m satisfied with the Finally. then the structures should fit into be aware of the traps you can get caught in. Furthermore. Scotland Answer Bram replies An important thing I always and keep a close eye to how the image 3D programs can help individual part. and when everything falls into up your mind up front about where the big 3D program such as Blender or Modo. ready for painting. That way you have maximum control correctly. add details to them later on. is to add little lights and we’re done! next month: paint a flamethrower in action | show a giant stomping beast selective detailing advice | depict a roaring creature | urban environments | and more! Christmas 2015 39 . and start to detail and how they relate to each other. It helps to make It can save you time if you work with a as a backdrop and start big puzzle. place I sort of feel it ‘click’. I focus on the lighting and 1 an effort to focus on the big shapes 2 composition I start blocking out the 3 colour scheme. so it. around to build up your image. image or painting. and try to separate an Overlay layer you can quickly bathe an become lighter. Step-by-step: Let shapes guide your composition When starting a new painting. Need our help? If you have a question for our experts. When structures in 3D.com Question Please show me how to create a Star Wars-inspired environment Edith Waters. Adding which you can create a backdrop of your Afterwards. over the scale and placement of each your mountain ridge perfectly. in building in front of it. it becomes when you need to add consider when starting a new changes when you start introducing new structures to an existing quick and easy to duplicate and move parts illustration is the overall shapes to your artwork. All that’s left now scene a sense of distance. email us at help@imaginefx. I drag my renders into building structures and an Imperial mountain ridge and then quickly block out Photoshop. If you’ve set shuttle to a mountain ridge can the big shapes of your structures in front of up your camera in your 3D program significantly change your composition. shapes in your image will go. By using a large Soft brush on shapes recede into the distance they them into Photoshop.

Lords of the Sith Cover art for the book by © Del Ray Paul S Kemp. one of the first entries in the new canon begun by Disney. 40 Christmas 2015 .

They Photoshop. “There was a supermarket down – where Aaron still works – and had been the street and I said ‘Do you know what. when the art department asked the Sith and Iron him casually enough if he could just work Man. reveals Ed Ricketts aron McBride may snacks for the journey. cursed zombie crew. said leap at the time. and a lot of the concepts I was Davy Jones The tentacle-bearded can’t look like a fresh kill. Gore Verbinski. From a sci-fi loving child to becoming a Star Wars concept artist. she packed was Turkey Jerky. of his two-day gig on the film.’ doing were in Photoshop. One of the things now be a world. I spent three or four days on the train artist for films such looking at that stuff…” as Noah. assigned to produce some designs for first I’m going to go buy some Turkey Jerky. It was kind of intimidating ‘I don’t want these to be bloody zombies – – especially because the supervisor of the I don’t want them to be just skeletons. “The director. HAMMERHEAD Concept art for Maccus in Pirates of the Caribbean: Dead © ILM Man’s Chest. Pirates of the Caribbean film. Revenge of Thus. but he owes some of his success to his up a concept for one of the skeletons as part wife – and a certain snack food. Aaron’s story is a dream come true. desiccated director and concept flesh. They show was John Knoll. it’s basically dried. a collection of concept McBride artists’ work. Aaron ended up being the decomposing. who invented need to look alive but decomposing. “It was a bit of a says. It looks like A renowned art human skin. country and my wife had packed me some invented the program!” Christmas 2015 41 .’” challenges was coming up with a look for Long story short. “One of the I’ll be right back. So it was a little baddie of Pirates of “So I had just taken a train trip across daunting doing concepts for the guy who the Caribbean: Dead © ILM Man’s Chest.” he art director for the film. something At the time he was a concept artist at ILM clicked. The Art of Aaron Old Wounds © Dark Horse Comics Aaron wrote and illustrated this story for Star Wars Visionaries.

The pressure was on me to impress him.ag/a-mcbride production assistant. school studying artistic assignments.” Fincher and Favourite Star Aaron says. US. My dad always said. to do after hours.” That was just one of the many stages on the journey of the lad who grew up in man on a mission Mystic. “I would try to find out Aaron’s concept where the artists that I liked went to school. but I was making sure the aesthetics stay faithful to wondering how to do that. and while that couldn’t really fulfil young Aaron’s studying at school he made it his mission to © Marvel /Disney discover as much about this tantalising Rango world as possible. sitting in Facebook. Here’s a matte painting. to how the shots have turned out.” Another. leap – from production Vital statistics assistant to concept artist – came on the “I grew up pre-internet. Wars character: Episode I. It seemed so far what the director and the production away from where I was growing up and the designer want for their film. art for the titular character as voiced or where the directors that I liked studied. though. dead trees The Avengers “Keep your eyes shut. Aaron McBride by Johnny Depp And so I applied to go to a lot of those in the 2011 film. 42 Christmas 2015 . The only thing that other CG artists. the pressure wasn’t © ILM on. “‘Here’s a storyboard for Michael Mann. you’re going to wanted to work on: Star Wars Episode 1. I got to design the Leviathan that the Hulk punches Aaron says he learnt a lot. Website: “If you want to be an artist. so I ended up going to Rhode Island School of Design.” is how Aaron cryptically describes this scene from Tóraidhe. as your sister “I was working a lot for David Nakabayashi Favourite artists: works in medical and on Episode I he would throw me little Travis Charest.” academic subjects I was doing.” Ilya Repin. Do a Who’s inspired I always liked concept for this. offering suggestions as was out there was the Art of Star Wars stuff. http://ifxm.’ you the most: My Uncle Owen. schools. but they were mostly film schools and I realised what I liked most was drawing and painting. earlier. Connecticut: a pretty remote place But Aaron was tenacious. It involves staying with ways to. so you didn’t really see a lot of dailies with the animation supervisor and concept art for movies. There was maybe just one turns out it’s much more than just being in comic book store you had to drive quite a charge of design. Location: work at it as hard California. thirst for movie magic. “So it was funny: because I was a parents. “There wasn’t much about what an art director actually does – access there. “It’s That really got me going. I grew up pre-internet. pre-Facebook…” film that everyone in the design industry Age: 41. You won’t want to was a lot of fun – remember this to anyone… least of all yourself. David to be a doctor. pre- the project through production.

don’t kill yourself trying to do every little detail in 3D for something you can render out or paint in Photoshop. so I used that hour every week to watch the Lou Ferrigno Hulk TV show. there is his beloved Star images from Aaron’s long-awaited graphic Wars. “I was always a huge fan of the Hulk. of course. For instance. many more. which he’s and while he’s reluctant to talk about the also writing. Aaron worked on Episodes I to III. you need to be more efficient. “The Avengers was a lot of fun – I got to design the Leviathan that the Hulk punches.” he enthuses. When I was young my mom would only allow me to watch an hour of TV a week. Rango. the Pirates of the Caribbean franchise. novel. but he’d give me lower priority stuff in case it didn’t work out.” Since then he’s worked on a mightily impressive range of films: Minority Report.” Avengers Concept art for the Hulk’s face-off against the Chitauri Leviathan in the 2012 blockbuster The Avengers. make time savings by picking your battles “When you’re working against a deadline. critical reaction they received at the Christmas 2015 43 .” Tóraidhe One of the many Then.

because of the repetition. I got to work “Growing up. Twilight company Aaron painted the cover friends and you’re not quite sure what’s canon and what’s not. When you’re kids that’s almost like on the original trilogy. I had heard all these stories of what people thought of the way art for Twilight Company.” he says of the production the benefits of So he’s busy. So I was really guys from the fought. I’m a really big fan of your stuff. he sometimes finds himself starstruck when meeting fellow artists in the flesh. As you might expect. but don’t hold your breath.’ I realised we’d never met!” with every page looking like a breathtaking world and play with it for story ideas. You kind of theorise with your Gawley and Lorne Peterson. heresy. then a good. inspired by EA’s “I was one of the art directors on the battle on Mustafar. and commercial work. understandably. I got to work with a lot of the he looked as he did under the black guys in the model shop who had worked and dialogue himself. for instance – I’m a big fan.. and you sort Aaron’s star-bound trajectory continues. this is the scene everyone has been talking about!’ original trilogy or he had been burnt somehow.” he believes.Direct the viewer’s eyes with clever detailing “I think a lot of being prolific is being a good editor and knowing where to put your detail and where the audience is not going to look. but has he also been working on Star Wars Episode VII and process. Aaron has another get into a career. and the current plan armour. if you don’t know how to and then I realise I don’t know you!” he laughs. and he couldn’t be happier. Doubtless we’ll get to dead in the ground before I ever get other artists at ILM. But I was so nitpicky about ILM) is strictly controlling the amount of every little thing that I realised if I needed environment once in a while is always a good idea information it releases about the new films to draw these over and over again I’d be Aaron says he’s fortunate to work in a studio atmosphere with before their release. “The first pieces I did traditionally: sketched them out. and outside of his film back into it now. in with my graphic novel. I’m not a huge novel. Raphael Lacoste. intense work “It’s wonderful to see someone in person for the first time. labour of love in gestation: his graphic ethic will get you anywhere. including Steve is to get the first issue out in early 2016. He sculpted “I realised early on that I had to build the asteroid that the Millennium Falcon things in CG if I wanted to reuse them over hides on in Empire!” and over again. And even now. so it was really kind of cool when I met him at a show last year and I said is a gloriously illustrated dark sci-fi tale.” 44 Christmas 2015 . the audience probably doesn’t want to see that.” “I mean. of get to know their work through publications like ImagineFX… then you see them for the first time and it’s sort of like an odd artist turns writer then. but he still enjoys going to festivals and see concept art and other designs in due anything done. Aaron wrote the story sort of doing my dream right now. then scanned them meeting people Aaron believes that escaping from the busy studio beyond? Possibly. which was the lava with a lot of the Obi-Wan Kenobi and Darth Vader had hugely anticipated Star Wars Battlefront game. course. you follow a lot of people on Facebook.. It was explained in interviews about how Vader had fallen into a volcano excited to work on that: ‘Oh.” © Del Ray time. this “And it’s fun to have your own world to play gamer but I love the aesthetic of Assassins Creed. Disney (now owners of into a computer and coloured in Photoshop. planet in Revenge of the Sith. a novel by Alexander Freed. Tóraidhe. CG. “Looking celebrity thing where you recognise them and go ‘I know you!’ For the moment. I’m piece of concept art. I can create this ‘Hey. possibly not. So that’s why I worked with shows to catch up with his peers. Because if you have a lot of details everywhere. That’s why It was a thrill. he’s in no doubt about how much he learnt and what enormous fun it was.

which he describes as “a period story in the spirit of Last of the Mohicans and The Guns of Navarone. as seen in the first two films.” Christmas 2015 45 . featuring the Umjauk. © Marvel /Disney Iron Man Concept art for the design of Iron Man’s elaborate suit-assembling machine. The Art of Aaron McBride Dead tree Walker Early concepts from Aaron’s graphic novel Tóraidhe. mid-air encounter More from Aaron’s Tóraidhe.

” recognisable name in farmhand on a planet far. and another ambitious young you see the seasons turning.” Terese says. an immediately young Terese. with a twin and older brother painter and mixed. but had a lot in college early on. so there family. trading card artwork for wasn’t anything to do! I would stay home going on there – my mom took art classes the likes of Magic: The Gathering and Harry and draw. and video games Spencer). but then got married Potter. and of course Star Wars art. like she was a cultured lady. Given of time to learn how to do stuff without and did the stay-at-home mom thing. We didn’t have (fellow fantasy artist Ron media experimenter computers or cell phones. I wasn’t ever bored. creativity ran in the at the top of her were barely beginning to happen. tiny farming town. Jem Roberts follows the artist through her fantastical adventures erese Nielsen is irresistible to draw comparisons between today. “Probably one of my most personal and meaningful M:tG pieces. She’s a “I’m from Aurora. far away… Sharing an upbringing fantasy art. textured work is unmistakable. But the star-skipping theme of this issue. Descendants’ Path © 2013 Wizards of the Coast A 2012 Magic: The Gathering illustration from the set Avacyn Restored. it’s being distracted by a million things. “We have a strain of it fields – notably. Terese Nielsen From rural dreaming to trading-card queen. Terese’s rich. It features portraits of my own family history. Growing up on a farm. “a teeny.” 46 Christmas 2015 .

But I don’t think he’s trustworthy © 2013 Wizards of the Coast dating material. cocky smirk – and hair.” Christmas 2015 47 . Blast of Genius “I like Ral Zarek’s confident.

It’s a tiny portrait of M:tG planeswalker Dack Fayden for a charity auction held in 2015. We got a trading card workshop.” symbolically. but it doesn’t appeal to me. Her gender made breaking into any – me and my brothers – all three of us possible to do with a paintbrush. but some of the ways he life and growing things. and then depicted women stuck in my craw. feeling particular desire to break through and distinction. and I like to sit there and pull out different books and be inspired. setting her on the right track. It was great fun rendering her and all from there. symbols. I was an honour and a the female form are infamous. because some people enjoy seeing that. “My older brother was a huge comic Galvanic Genius  book guy. “I just Swords to Boris’ work was much more empowering supporting any kind of passion we had. US Magic: The © 2013 Wizards of the Coast Favourite artists Gathering Gustav Klimt. in an to. the farm. Nebraska favourite fantasy Current location franchise? Nevada.” she says. ‘All right.” But working alongside her the magical elements.” she reveals.” © 2010 Wizards of the Coast  Dack Fayden “Portraits. above all. Becoming a Thomas Blackshear.” Frank Frazetta. “My first art crush was the skin tones FROM THE RUINS Marvel provided the first entry into paying Sydri. Definitely there’s far more options now. springboard into any direction you want. I love the way Even today. And then I’ll go. and I was a pretty big Marvel fan “When I grow up. fantasy field where unrealistic depictions of Studying art at college in Idaho. you have the basics to of women remain rife. – the musculature. or even that many books. Spider-Man. and then moved into comic for the photo shoot for books and collectibles and it all snowballed this piece. amazing room for creativity. fantasy. experimenting. part of Magic! They have Julie Bell. 48 Christmas 2015 . jobs. I bribed my daughter Kristi to model gig early on.” then-husband Cliff Nielsen. raising money for good causes… some of my favourite things.” “My parents were both cool about totally Boris Vallejo.be inspired “I have this nook in my studio. but in the of war and death to new would sit around and draw.” from the early days. negative depictions Vallejo painted “Once qualified. my little library. in with a solid grounding in all the core principals that matter. she feels. I like depict the transformation industry an extra challenge. Brad Kunkle. highlight? Mark English. probably a lot of other women. I like to just let a lot of influences seep in to what I do. his “The challenge to wanted to relate to those women. and still do – the Plowshares with the type of women he painted. “You still see it. but all of us skin tones – I just couldn’t imagine that was Escher-like tessellation. and But Terese was. let’s try this!’ I’m excited and I’ve got a little fire going. I want Sydri’s powers and her – X-Men. Career Alphonse Mucha. where she graduated with remember even as a young girl. Maybe it’s just always gonna be there.” Pasadena. March 1966 Tran Nguyen Place of Birth What’s your Aurora. gave her a crucial escape from make some changes. tiny things. inspired by the artists whose work she hungrily consumed the vibrant colour. there was a tremendous challenge. we didn’t have art classes to go musculature and the vibrant colour. I on the farm. Out loved the way he painted. Terese’s Vital statistics “Frazetta’s female depictions stuck in my craw” Date of Birth Yoann Lossel.

with textural gouache washes added immediately after “I was more than thrilled at the opportunity to depict to cover the ‘white’ of the paper. I shot photos of a model (in this case me) for basic anatomy. Terese Nielsen Luke: Legacy of the Force Mean. starting with gouache washes in the background as an underlayer of colour and texture. so all I needed was glazes of oil and an airbrush was basic pose/lighting/costuming. They wanted Luke in his black. After all the white of the paper was covered with general colours.”  Christmas 2015 49 . After sealing Luke with a more badass feel.. From there. Acrylic washes were laid in on the figure. photo reference values and texture. The final art was painted.”  the paper. battle-rebel- commando stealth suit: lightsaber in hand. no helmet. oil was used to render out all of the lighter values and details. lighting and costuming. The glory. “This was created for Star Wars Miniatures: Legacy of the Force packaging in 2007.” used for the lightsaber glow. a sketch was worked up and approved by the Lucas team. and the rest was “Here I am.. eye contact and an aggressive stance. Frazetta’s Tanar of Pellucidar bubbled up in my mind.” © Lucasfilm Ltd. in all my ‘Force-d’ built up and rendered out in oil. I had the Hamill face background was revisited with more reference. moody and magnificent: Mark Hamill’s cornball hero reveals a darker side under the influence of Terese’s paintbrush. & TM luke final Luke sketch “The sketch was printed and wet-stretched.

an symbolic layers will alternate universe where the Hulk gets always be part of me. coloured pencil.”  50 Christmas 2015 . & TM “I was asked to reference Randy Gallegos’ M:tG Soul Warden illustration. everything goes wrong for superheroes. reasons for making art. and they all have psychological breakdowns. My longtime muse/wife was the perfect model. His elegant depressing. “An opportunity to paint a powerful female character – always love that! Being asked to sign cosplayers dressed up as Liliana has been an unexpected perk. which © 2007 Wizards of the Coast Essence Warden  © 2007 Lucasfilm Ltd. but replace the human cleric with a wise. calm Yavimaya elf. “Despite that. Liliana Vess Acrylic. Alphonse “If you’re painting something dark and Mucha. oil. deep bow to proved a mixed blessing. Although the darkness of the plot “A hats-off. cranking it out and staying on schedule.”  © 2009 Wizards of the Coast Padme Amidala: first real coup came from marshalling Celebration IV the paintbrushes for dystopian offshoot limited print Ruins. you had to paint real fast.” tumours from the gamma radiation. my greatest inspiration and influence. rich. it’s depressing! Ruins was where draftsmanship. it was a great gig early on in my career – painting pages at breakneck speed. Oh my God – it was an awesome story! But super-depressing. really intense. Just to make a living.

You had to paint fast wasn’t so fun. To do a great piece “I was grateful this Leia Also. At some points in my career originals. Terese on another level.” some great “side benefits”. because it has 225 orginal pieces for Magic. and gave far more But she admits now that. cranking it out and staying on schedule. hiding myriad symbols and odd books and symbols and sacred geometries. You’re going to be drawing and redoing things forever. No room for experimentation or when you consider Terese has created some risking making a mistake. or hidden It was Magic: The Gathering that really put meanings – is one of Terese’s trademarks. of the visceral nature of old-fashioned Leia Boushh: “That’s one of the reasons I love Magic paintwork.” Dictate of Heliod “I’ve long had an appreciation for sculpted. the fanbase is awesome and huge. I just love it. Trying out different effects in her a kind of magic painting – throwing in leaves. It was really intense.” do well signing and selling prints and trying new things. “To my mind. frustrating job. It’s a worldwide success and you can like the physicality of all the mediums and for a ‘I got this’ look. It’s got more specific with style guides any of her contemporaries. muscular bodies. effects. I just hairstyle.” she admits. you’re the artist’ – that’s a recipe for disaster. recipe for success “I learned early on. if anyone commissions you by saying ‘I don’t know what I want. dark-skinned. & TM – it keeps changing and I never get bored. magical figure is a lot of fun. so just one painting can be it really felt like a conveyor belt on my art maximised a lot of different ways ” And table. so painting a powerful. another way of painting.” © 2014 Wizards of the Coast Painting at breakneck speed. but I’ve never felt restricted by that. you still need to know what you’re doing. despite her love now. so commission didn’t require the doughnut-buns and it’s done so great with the brand for 20 I think it’s entirely valid in every way. “Magic has changed a lot over the somehow it all wants to be in there…” years. those are to be done right now. You learn how to ferret out what they’re really looking for. selling original Christmas 2015 51 . Plus. godlike. I was going years. “I’m not really scope for her passions: mixed media sure I could explain it. like old painting. “It used to be really wide But she’s as on board with digital art as open. digital is just Imperial Entanglements © Lucasfilm Ltd. otherwise it’ll be a really crappy.

Reference photos were Basandra. which was like 24 different thoughtful with young ones coming up and paintings just for those. Fantasy art requires some made-up areas. I’ve surrendered to my own “I’m not up on all of the extended universe Star Wars characters. but it didn’t take long to figure out she’s totems have engaged my a powerful. colour comps and into the mind of that character. There’s no higher compliment. Asajj Ventress: Creatures of Spirit “The journey to authentic Galaxy at War A lesser-known part of the Star Wars universe self-expression can be long was a chance to get away from tried stances… and meandering.“ In general they require far less time when it comes to: reading a single character for each design. and I’m tired of most of them. You rarely get 3 Time efficient “From the beginning. multiple sketch submissions. like 20 years years. where animal Asajj Ventress included. shot of my wife holding broomsticks. I was moulded his career. “sneering” in her Battle Seraph underwear. A menacing female with two glowing wands provided me with something a little different to play with. Basandra would be it! Dozens of women have told me that it inspires them. There’s a finite amount of poses soul for decades.” 52 Christmas 2015 . favourite. That was my everyone just loves to share. That’s the her favourite? She laughs: “My favourite then final art revisions. I feel like packaging illustrations for the Star Wars the fantasy art area is so generous and miniatures.” fun part to me. mediums. and get But which of her fantasy-art jobs has been manuscripts.“ 1 Sketch poses “I scrawled out three or four loose gestural poses. but I think I’ll keep those pics to myself!” “If I had to pick an image to represent my brand. wondering why it isn’t working and have nothing to check it against. but let those be the stylistic aspects.”  The fantasy art area is so generous. however. There’s rarely competitiveness or secrecy art is very hot these days! You can’t Terese has worked with the best: “I really compare a print-out to a painting. I find inspiring. sinister character. For Star Wars Galaxy magazine.” remember Donato and I sitting next to each And what about Star Wars? “My very first other in Artists’ Alley at Comic-Con for Star Wars job was early on. and it’s so awesome to see how he’s ago.” 2 Photo reference © 2011 Wizards of the Coast “Photos with dramatic lighting are vital. and she’s started this school me to do comic and book covers for them. everyone just loves to share. I did they share it.” for figures with lightsabers. Then Dark Horse Comics asked and changed. RPG and CCG jobs have spoiled me. with “crossed lightsabers and a sneer”. I liked several. Without good reference you end up mucking about in the drawing or painting phase for hours. and how it’s evolved Calrissian. a more commercial job People whose art is amazing. and then took her fancy: “Several years later.” fantasy world is probably my life. because you could just focus on a feeling of competitiveness or secrecy. dreams.” [Illustration Master Class] that has become Despite the quality of her work for those a phenomenon. so in this case (to save time) I ran the loose thumbies by the art director to see which direction he wanted to go in. I received feedback from the Lucas team that she needed to be more aggressive. Then there’s Rebecca contacted to do a painting of Lando Guay and her work.

and at most. one sketch revision. & TM the final painting. Terese Nielsen 4 Final painting “Having worked in several other genres and industries I have a great appreciation for the process I’ve used here: one sketch. a slight revision on © Lucasfilm Ltd.” Christmas 2015 53 .

the apprentice is a brawling project: the only brief was to street rat who flattens design a rag-tag band of opponents with her adventurers. a blood relative of Mad Max’s Furiosa.iainmccaig. profile Iain McCaig ai g Country: Canada c C Iain is an artist and writer. game Iain and illustration credits to his name. Thank God for sequels!” "Titanfall was a gift of a project: the only brief was to design a rag-tag band of adventurers" 54 Christmas 2015 . I tried to capture the moment just before her inner armour comes down. He carries Tombow pencils and a hand-cranked er ta i n m en t indust u p a pencil… pencil sharpener with him everywhere. M with 35 years of film.blogspot.” Terminator 2’s Sarah Connor. He’s best known for his album cover for Jethro Tull’s Broadsword and the Beast. Sarah is my nod to enchanted fists. www. her eyes betraying a whisper of vulnerability.com Ent gi c of pi ck i n g feels th e m a Ellie “I’ve made umpteen SARAH attempts to bring Terri and Vektor “Titanfall was a gift of a Windling’s Sorcerer’s Apprentice to the big screen. and for his Star Wars designs for Darth Maul ry ve ter an Iain still and Queen Amidala. In this version. for his contributions to the Fighting Fantasy gamebooks. And Vektor is also a ‘yet-to-be- used’ character from the game.

Sketchbook Iain McCaig INTERVIEW WITH A MONSTER “A portrait of me on a typical day in my studio. fresh from fighting deadlines and greeting an unexpected visitor.” Christmas 2015 55 .

but I’ve found that dressing them up with claws and wings or little floating droids tends to make them sell better. ‘cause passion makes better pictures. PELLUCIDAR “Draw what you love.” 56 Christmas 2015 . What I love best are people.

Sketchbook Iain McCaig

YODA
“Wendy Froud channelled
the essence of faerie into her
sculpt of the Jedi Master, and I
could happily sit and sketch him all
day. One of the world’s most
perfect designs.”

HATTER
"I started sketching Frankenstein’s AND HARE
Monster the second week of school, right “Reinventing well-
illustrated icons like those in
Alice in Wonderland is always

after dinosaurs, and never stopped” a challenge. You have to look
for yourself in the characters,
or search for inspiring
models (I found my Mad
Hatter in a tea shop
near Stonehenge).”

FRANKENSTEIN
“Speaking of perfect
designs, Boris Karloff’s
Frankenstein’s Monster takes the
cake. The trick is in his expression,
the naive child inside his big,
square head. I started sketching
him the second week of
school, right after dinosaurs,
and never stopped.”

Christmas 2015 57

the muse
“Muses rarely bring inspiration when it’s
convenient. Often, it’s the middle of a movie,
or a good night’s frolick.”

KING KONG
“I’d just watched Johnny Cash’s
music video Hurt, and something
about Cash’s expression reminded
me of King Kong. Moments later,
this sketch tumbled from an
8B Tombow.”

“The first rule of
concept design:
never fall in love
with a drawing”
CHEF
“The first rule of concept
design: never fall in love
with a drawing. Even Titanfall’s
Chef eventually hit the
cutting board.”

58 Christmas 2015

Sketchbook Iain McCaig

TINKERBELL
“JM Barrie’s Tinkerbell was a
common sort of faerie, ‘…gowned
in a skeleton leaf, cut low and
square, through which her figure
could be seen to the
best advantage.’”

DARTH
MAUL
“Drawing Darth Maul,
you have to remember
not to overplay him. He’s
not evil, like Palpatine;
he just wants to kick
some Jedi ass.”

JOHN
CARTER
“Good keyframes try
to capture a pivotal
action or turning point in
the scene. Here, John
Carter attempts to steal
the amulet that will send
him back to Earth, but
Tars Tarkus catches
him in the act.”

Want to share your sketches? Email us with a selection of your artwork, to sketchbook@imaginefx.com
NEXT MONTH: Boris Vallejo and Julie Bell

Christmas 2015 59

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Advice from the world’s best artists 62 This issue: 62 From photograph to finished art Andrew Theophilopoulos talks us through creating two key figures from the forthcoming Star Wars film. which he achieves in part by painting over 3D models. Christmas 2015 61 . too. 74 Create innovative mech designs 66 74 82 Brian Sum develops futuristic mech designs through a series of art principles and Photoshop techniques. And if you see the video workshop badge. get your resources See page 6 now! Workshops assets are available… Download each workshop’s WIPS. you can watch the artist in action. 81 Go beyond the layer basics Learn about Krita Desktop’s advanced layer features and how to use them. taken from a book. 66 Develop exciting book cover art Bruno Wagner reveals how a simple 3D model is the basis for his female character. 68 Easy 3D steps for cinematic impact Josh Viers clearly conveys an atmospheric Star Wars cinematic moment. final image and brushes by turning to page 6. with Katarzyna Oleska. 82 Paint Star Wars concept artwork Feng Zhu taps into his extensive film pipeline experience to create a production painting for a Star Wars project.

Workshops Photoshop From photograph to finished art Andrew Theophilopoulos dresses up and takes us through his process of using photo references to paint an image fit for two ImagineFX covers 62 Christmas 2015 .

In depth Using photo references

Christmas 2015 63

Workshops

he Force is like your artistic minuscule amount of official The Force icons? What I wouldn’t give to be on the

Andrew
T talent: it needs to be trained
and challenged, and without
enough practise you might
Awakens imagery troubling. Even more
so when the female character of my
commission is a relatively unknown
level of Drew Struzan, the illustrator of
the Star Wars poster art, who’s had the
tremendous opportunity to meet the cast
Theophilopoulos lose it. One of the best ways to train is actress with little to offer in terms of and have them pose for some of the most
Country: US
to set yourself up for failure, bite off more portrait photography. iconic film posters out there.
Andrew lives than you can chew, give yourself a tough What about painting the portrait of a For this workshop, I’ve spent $20 on
and works
lesson to learn from.  stealthy Sith, who only appears in the thrift shop supplies to dress as Kylo Ren,
from his
lighthouse When asked to make not one but two dark in the trailers? How on Earth – or in and my partner as Rey. My photo shoot
in Florida’s cover illustrations for an unreleased film, the galaxy for that matter – does one will be the starting point of a lengthy
Sarasota Bay area, I found the idea of digging through the create a picture resembling two future push and pull of pixels. Let’s get started!
freelancing in film,
games and television,
as well as publishing.
www.andrewtheo.com

get your
resources
See page 6 now!

Sketching thumbnails Presentation to client
1 Before jumping into Photoshop, I put my imagination to the test with pencil and paper. 2 Presenting cleaned-up thumbnails to a client can be
I like to doodle my ideas at a micro scale. Typically less than an inch tall, I create a few dozen daunting, and in this case the editor has a different vision for
thumbnails to push through pose, composition and the graphic flow of my image. This how the illustration should look. Regardless of the amount of
portion of the process is for speed: the smaller the thumbnail, the quicker my unique ideas effort put into your sketch, it’s important to listen to the team.
will flow. These micro doodles are for my eyes only and are likely unidentifiable to most. After discussing our thoughts and concerns I had enough input
Once I’ve worked out an appealing composition I scan it into the digital realm for detailing. to start the photo shoot. Off to the thrift store…

Photography for reference
Brush size/ 3 Using a tripod, I shoot with a zoom lens on my D-SLR
hardness
k (PC) placed 20-30 feet from my subjects. Standing way back captures
Alt+right-clic
ac)
Ctrl+Opt (M the figure in a flat yet 3D illusion without distortion – perfect for
ag to change
Click and dr illustration. An action pose looks best and I have my model
ss.
size or hardne
swaying back and forth with force, changing poses every
30 seconds. I now have a few hundred shots to choose from.

64 Christmas 2015

In depth Using photo references

Tracing photography Photo bash and photo texture
4 After spending several hours and hard cash preparing 5 Top artists are master painters, but they also use high-end
these shots, this photography is my artwork – just one of the tricks to collage, imprint, texture and manipulate designs using
many tools in our modern artistic arsenal. And I use it by tracing photography and 3D. This painting’s background comprises
it. I never let a photo dictate the decisions that lead to a final 30 or more photo layers, utilising Layer Modes like Multiply, Soft
illustration, but good reference translates into educated decisions Light or Screen to collage a big environment. Once a realistic
based on reality. So here I loosely trace Rey. landscape evolves from the photo bash, I hand paint the details.

photoshop
standard brush:
ROUND BRUSH

I’ve been using the
Round brush since
eighth grade. It’s the
DNA of all brushes
– with high-end pressure
sensitivity you can create
anything! Looking for
a challenge? Create a
custom brush by
painting a rock or a tree
from scratch using the
Round brush... Then
you’ll see how powerful
Draw, paint, erase
6 Using colour, value, edge and texture, I bring my sketch
this basic brush is. I use
the pre-installed hard
Round brush with the
to life. It’s about pushing and pulling shapes to make the
Shape Dynamics set to
composition readable from a distance. The editor and I move Size Jitter and Transfer
away from a space-themed background – Kylo Ren’s costume was set to Opacity Jitter,
using Pen Pressure, to
virtually invisible. Now, the lightsaber doesn’t read with a snowy
control the flow.
background, so I surround the red saber with a black cape.

Luxury in every square inch
7 It’s exhausting creating the perfect stroke. Ctrl-Z is my best
friend, allowing for several attempts at the important stage of
polishing. John Singer Sargent was notorious for scraping paint
strokes that weren’t spot on. Like him, a stroke may take a dozen
attempts before I can move on, standing back or zooming out to
ensure the latest swipe doesn’t stick out like a sore thumb.

Christmas 2015 65

wanted the cover to be engaging for that that. and went into a lot of detail freedom of the heroine. a painterly finish. Fantasy genre with the likes of Conan the Barbarian. The author was keen for the reader also keen to avoid an overly masculine artwork. Job done! illustrator for the entertainment industry. She was me know she was very happy with the own agency and an horse. I choose an appropriate Opacity Used with the Smudge or a quick sketch. The brief was specific. and for the hair I use a brush tool. The key here is to find the smoke and fog in front of and behind my and Hardness. these brushes are starting composition to serve as a foundation. one that’s often seen in the Bruno Wagner T commissioned for a book cover. Photoshop & ArtRage develop exciting book cover art Bruno Wagner reveals how a simple 3D model provides the basis for his female character. hair. To create I found that the difficulty with this and combine soft and feminine tones Bruno was it. I gradually increase my the horse’s body I use a brush with a larger stage. because the author also loved 1979 and he character would look like. Then I use my brushes with the very well be a photograph that inspires you particle effects to the scene. for example. character. female audience. tip on a low Opacity. and it was interesting to compare visual tone. To smoothen ideal for the paintover The image quality of the reference doesn’t on multiple layers. to increase depth. because I’ll be working on top of it. I worked directly with the author of the commission was achieving the right with a dynamic. taken from the pages of a book his illustration was to feel the strength of character and illustration. www. more realistic textures and layers. I also introduce Smudge tool. everything came graduated in applied arts.com How I create… get your resources a quick. But it could clothing. 66 Christmas 2015 . Now he’s The girl is a rebel and heroic princess age group without it becoming too kitsch together in the end and the author let the art director in his escaping on a powerful and muscular and a caricature of the heroine. born in book. Thankfully. clean paintover See page 6 now! resources Photoshop custom brushes: Natural and Faux finish brushes 1  Develop the basic composition I use a simple 3D render for the basis of this 2  Building character up the I change the face of the character. helping to create matter. elegant composition. add 3  Cleaning up   and paintover I take the time to sort and then flatten my illustration. Because the book’s readership while keeping some of my personal Strasbourg in our thoughts on what we imagined the is a young. While working with a strong and fine point. colour range from pink to blue. So I had to find the right atmosphere Country: France about the character of the girl. Workshops Daz 3D. created in Daz 3D. the author darker style. as well as the impressive and somewhat frightening- looking mount.yayashin.

while the top becomes colder with blue-green tones. brushstrokes that result in movement and another that emphasises texture. I use the Smudge tool with my custom Faux I create two versions: one Finish brush. to retain lights and shadows. traditional painting style. engine. bottom half features tones of reds and gold. Artist insight Book cover Background paintover Final colour with the Smudge tool correction When it comes to painting the background Once my image is finished. This helps to reinforce the depth of field and enriches my chromatic scale. like a traditional painting. and lay down large me to follow the curves of the brushstrokes that are thick horse’s muscles and body and dense. which gives a slight patina This means I’m able to quickly effect as well as a warm add realism and fine details. such as ArtRage or The Transform tool enables Painter. Then I put this volume. random that strengthens the reds. I use the textures with above over my old image different Overlay mode layers at 30-40 per cent Opacity. Paintover effect Apply snake and with ArtRage reptile textures As a last step I open my I use several real-life textures image in software known from various reptiles and for its traditional paint snakes for the horse’s body. It also the blues and greens. contrasts well with the more accurate Then I combine them. The portrayal of the character and horse. I lay down some large. Christmas 2015 67 .

Okay.com composing a scene.conceptbyjosh. My end result will often be very and TV. With even the starting point for your art. I’ll bet because Roger Deakins acts as director advice into practice! 68 Christmas 2015 . it’s time to put my to start with that as my inspiration. www. I know that using a Coen Brothers film as the launch point is a safe amazing resource for great cinematography. so choose wisely!  I can emulate Roger’s work then I’m heading in the right direction. If you’re simplest 3D elements I’m able to define that was lauded by critics for its look –  not sure where to begin.  blog (www. He’s recently started using 3D in my process. I’ve only just favourite films and use it as a starting point. games f give you a little insight into how I create some of my Star Wars art. Remember.  Since I love film it also makes sense For example. but worked for Warner Bros. Evan Richards’ get your and compose my space in a way that a film with great cinematography. Pick a movie inspiration it’s hard to go wrong.evanrichards. Workshops Modo & Photoshop easy 3d steps for cinematic impact Josh Viers clearly conveys a moody Star Wars cinematic moment. You’ll be building your art on the selected scene. just because you love different from what I started with. If Josh has over 15 years’ experience in film. and I’ve found it’s invaluable in Clueless doesn’t mean it’ll be a good with a solid foundation and good ILM and Microsoft. achieved in part by painting over 3D models Josh Viers location: US or this workshop I’m going to often take a scene from one of my of photography for most of their films.com)is an resources See page 6 now! makes it tangible.

featuring a figure standing between two 4x4s. In depth Inspired by cinema resources Photoshop custom brushes: Flat Brush This is a great brush for carving hard.turbosquid. Christmas 2015 69 . Then I fire up Modo and drop a A brush from Sergey Kolesov’s collection (http://ifxm. I keep my No Country and my favourite! still side by side with the Modo window so I can compare my framing. The program’s great for helping me visualise my shots. Soft Brush I use this at the end of the painting process. Textured Brush Visualise the basic shot using Modo 1 I select a still from No Country for Old Men.com/Search/Artists/rynalan) into a scene.ag/s-kolesov) couple of X-Wing models (purchased from www. decisive shapes within a scene.

so don’t get married to anything early on! 70 Christmas 2015 . Bring in a moodier sky 3 I cut out my mountains and drop an overcast sky behind them. Your composition will evolve during the painting process. create a new layer above the others and then fill that layer with the sampled colour. Colour wash Sample a colour from your image. start with great inspiration. While it’s important to layer styles. so they don’t stand out as too bright against the dark sky. Workshops Create a simple render with a basic environment Mass copy 2 As soon as I have my basic shot all set up I kick out a very simple render. I’ve found over time that simply using Modo’s basic and paste Shift+Cmd+C or V (Mac) environments for global illumination gives me enough to start painting. Drop that layer to 50 per Moving things around to suit the scene cent Opacity and cycle through the available 4 I decide to move my X-wings around after dropping in some of the original elements from No Country. I often don’t even need any lights! Shift+Ctrl+C or V (PC) Copies everyt hing that’s visible and pa stes it on a new lay er. Overlay works well for me. I’m careful to darken the values of the hills. I mask out parts of my X-wings so they look like they’re sitting on the ground. don’t be afraid to mix things up and resize them constantly.

Strengthening the mood 6 I select colours from my mountains and ground. dust and garbage blowing around. I find an image of an old World I often have to push the levels pretty far to get rid of unwanted elements. Also. In depth Inspired by cinema Sharpen up your act As a very last step I often copy everything that’s visible onto a new layer at the very top of my document. More drama. This is easy to visualise once I place a soft shadow under the ship. This is a great way to imbue a scene with mood while removing areas that might otherwise need a lot of detail work. continue to refine my character. This is extremely helpful selection of images online that have dirt. This is a great way to add just a little bit of snap to your image. Christmas 2015 71 . Hint at some gusts of wind Making the wind work in the scene 7 Wind is great for drama and I can use it to lose some of the 8 I need to be more specific with the wind. But be careful! It can cause your image to sizzle if you overdo it. I also using features dark debris in front of a light-coloured storm so I use it on a Multiply layer. and then sharpen that layer. I start sketching on that Darth toy to get started on my own Sith Lord. War II gas mask and plop it down as my face. I realise that my scene will be much more dramatic if I levitate my foreground X-wing off the ground. The photo I’m for getting the stink off of my simple Modo render. with the help of some Force levitation! 5 After I replace the actor from Old Country with a Darth Vader toy. so I start adding blowing debris. I find a good hard edges on my foreground X-wing. and use the Gradient tool to create bands of medium values.

and paint directly on that layer with a large. I cut out the bit I want. I pick warm and cool colours from my image and through layer styles. When I find a photo of an abandoned car tweaking its levels until I have the desired amount of detail. set it to current tool. There. drop it onto my X-wing and cycle through my layer styles until I find one that works well enough to paint over. Layer styles Cmd + [+] or [-] (Mac) 13 Pushing the compositions’s colours and values Ctrl + [+] or [-] (PC) When the Mo I use colour washes and levels adjustment layers to push the colours and values. soft brush set to Color Dodge. pick a saturated. doesn’t it? Gradient tool to create an even band of red at the level of the lightsaber. Ta da! 72 Christmas 2015 . I make sure to desaturate the metal texture as well as needs to look like it. Workshops Introduce foreground detail 9 Now I finally begin to add detail to my foreground X-wing. medium-value red and use the gradient behind the X-wing at the back. ve Tool is the this cycles Lighten. that feels better. but it just doesn’t feel dark enough at the 12 Lens flare on the lightsaber I want lens flare coming off the lightsaber. I create a moment. fill it with black and use a Radial Gradient in the Layer Mask to paint the red band back in. Time to brighten the scene 11 This piece is coming along nicely enough. lightly dodge the layer to brighten the nose of my X-wing and highlight my Sith Lord. Then I create a Layer Mask. This is where I break out my trusty Gradient tool again and drop in a medium-dark Lighten layer. For this I use a photo of 10 Depicting car crash art This X-wing was on the losing end of a dogfight and it scratched-up metal on an Overlay layer. with what feels like the right kind of damage. I paste my entire image onto one layer.

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A Brian is a senior freedom I had to imagine and invent The following are a few tips and tricks unique silhouette. This can help to start that sense with this piece. It’s important to reference material is from Prometheus. an interesting hook concept artist something that didn’t exist. He’s worked on Mass Effect 2 today. They range from general areas and negative space are just some of Montreal. I was instantly hooked on the ideas. Your Wars as well as the ship possible. I really note that inspiration doesn’t essentially attempting to loved the heavy machinery necessarily have to come focus your thoughts and idea and wanted to convey from the same subject ideas. Some of the pieces of work that will be shown may either be intended to feel photorealistic. Although a lot of the mechs that design principles that are good to keep in the principles that I focus on. colour or piece I was inspired by the I always start by gathering texture may be a good AT-AT walkers from Star as much reference as source of reference. Fortunately. to Photoshop tools that every artist Brian Sum A transforming robots and sci-fi vehicles through Saturday morning cartoons appreciation for industrial design and have more functional considerations. But some key genre. and 3. and is now busy creating art for Mass Effect Andromeda. this bodes well for a more graphic in nature. www. Sometimes an shape your idea. principles always remain consistent. Workshops Concept artist Brian Sum shares how he creates futuristic mech designs through a series of design principles. 74 Christmas 2015 .com get your resources See page 6 now! 1 use reference matter. I’ve picked up over the years for designing and a contrast between highly detailed at Bioware It’s still a very liberating passion for me sci-fi mechs. and Dragon Age: Origins. the inner-child still loves to push for wilder should use. and Photoshop tips and techniques s soon as I was introduced to I design today have evolved from an mind. With pencil in hand. while others are LOCATION: Canada as a kid.briansum. In this for Inspiration image’s shape. I loved the career in film and video games.

In this piece. Christmas 2015 75 . Artist insight Mech designs 2 make the effort to find the hook When striving to create something original it’s important to think about what makes your design truly unique. You might find that using photos in the thumbnail phase helps you to find interesting silhouettes 4 Focus on thumbnails first A good way to get ideas out quickly is to start with a series of thumbnails. this means and combining photos together. A successful design will always have interesting silhouettes. Usually. By moving a silhouette that reads well. This makes striving for something that’s never been seen before that much more important – and difficult. but there’s relationship between the shapes will determine plenty of clean-up work that follows. it’s important to think about what your hook is. whether the design works or not. Focus on an interesting You might find that using photos in the thumbnail phase helps you to find silhouette. much like seeing shapes in the clouds. established first. In the age of Facebook. Tumblr and Pinterest. A design almost 3 Photobash for happy accidents always suffers when the major shapes aren’t There’s no right or wrong time to start using photographs in the process. but also be manoeuvrable enough to get into hard-to-reach areas. Fire Fighter 2025. Whether it’s the idea. I tend to generate a lot of interesting that there’s a certain flow to the design and it shapes and ideas that I wouldn’t have if I were to paint using traditional doesn’t feel too rigid. This method helps to give me some rough shapes. I was going for a sleek sci-fi mech that’s able to carry enough fire extinguishing materials for the largest of fires. This helps to focus the attention on major shapes and less about minor details at this point. The shapes and the methods. I wanted the firefighting theme to be instantly recognisable so I kept the fire truck red a dominant colour to help convey that idea across. art and inspiration is easily available online and as a result easily imitated. the shape or just the colour.

non-destructive painting gave every artist the ability – and confidence – to paint worry-free. the leg. In this example I’m shading the legs of this mech. 2  Paint in the shadows I adjust the brightness down on the slider. With the mask selected. I press Ctrl+G to make the layer a clipping mask over my main layer with Place the adjustment layer above the layer you want to adjustment will affect every area where there’s white. you have all the flexibility to of the other way around. paint the shading where you see fit. Workshops 5 Clipping and Layer masks Ever since Photoshop introduced Clipping masks and Layer masks to its armoury. The Clipping mask enables me to paint over my shape using however many clipping masks as I want without having to worry about going over the main layer’s silhouette. which means that the 3  Precise adjustments With the adjustment layer selected. This enables me to paint on the mask without shade. By default the mask is white. 76 Christmas 2015 . Painting with layer masks also means I’m able to paint with textures rather than the traditional method of painting with one colour. Because this effect is (now all black) so that I can paint in the shading instead applied through a mask. Painting with layer masks means that I’m able to paint with textures rather than with just one colour Shading with Brightness/Contrast tool Follow these tips to quickly give your mech art a greater sense of volume and realism 1  Introduce volume You can quickly create volume by shading your shapes with a Brightness/Contrast adjustment layer. This creates more colour variety and results in more happy accidents. I hit Ctrl+I to inverse the mask going over the edge of the leg.

they make the design pop! But often a design with too many details on show makes it feel too noisy for my taste. 7 Think about negative space Balance out areas of detail with empty space. I usually stick with a maximum of two main colours (one of them being a more neutral colour).Artist insight Mech designs 6 Limit your colour palette I find that a design always suffers when there are too many colours used. with smaller. They tend to compete for attention and make the design look too noisy. Sci-fi designs tend to have smooth and clean shapes anyway. Christmas 2015 77 . Remember. less is more.adobe. The eye needs a place to rest. secondary accent colours.com. overlapping fabric. so there are plenty of opportunities to incorporate those emptier areas. I love adding the micro details to a piece. For more colour ideas. This could be a smooth panel surface or a clean. I like to go to https://color. I like to balance out a design with areas of less detail. Sometimes it may be that the colours have the same amount of saturation or intensity.

like a mirror. I don’t like to clutter the design with decals since it’s only meant as an accent and not be the main focus. it helps to gel the overall piece together. Adding can also give a bit of reflectivity to those hard surfaces helps to convey a sense of realism. apply a Gaussian Blur filter Incorporating those details will sell to it. nuts and bolts. having depth to the scene. It’s secret project. Blurring the background helps to convey a sense of depth to the scene 10 Make it functional 11 Blur the It’s always good to think of how the background mech is going to move. trying adding a to give that giant four-legged foreground element and walker a giant drilling mechanism! blurring that as well. Chrome. it’s background to catch their always fun to come up with eye. Although it’s important helps to convey a sense of to create a strong silhouette. Along with adding a bit of graphic flare 9 Introduce reflective surfaces to the design I think decals Sci-fi design and hard surface design usually go hand in hand. Workshops 8 add decals and text to your machinery Where appropriate. Quite a design that functions in a logical often I’ll take an existing way will add believability. fly. To lead the viewer explanations for why you decided even more. has highly intelligence agency for a reflective properties while brushed metal will have less reflectivity. I find it helps to complement the overall design. of its surroundings and show hints of that on the surfaces. and I’ve always enjoyed logo design and branding. This focuses the the functionality of the mech to the viewer’s attention on the viewer. By placing text and logos strategically in specific areas. And of course. Add background photo and hydraulics. I studied graphic design in school. This also helps add that mech itself – because extra level of detail and realism to there’s nothing in the the design. The amount will Maybe it’s the logo of an depend on how reflective the surface is. I like to apply logo decals and text on the surface of the mech design. shoot or Blurring the background whatever. cables. Think backstory to the mech. 78 Christmas 2015 . who knows? important to note that by adding the colours and tones of the Just have fun with it! environment on the mech.

It can result in overkill agile may need flexible fabrics for easier manoeuvrability. Christmas 2015 79 . material? Thinking about the mech’s purpose can help determine what since the eye will naturally look at the areas type of materials should be used. Think about shiny and matte surfaces. But unlike a JJ Abrams film. This will create an effect where it looks like the red/blue/green channels in your image have shifted. rigid light. while a mech that’s required to be more the lens flare sparingly. I find that photos to easily sell the illusion of different materials. Artist insight Mech designs 13 paint Emissive lights and lens flares These eye-catching light sources help to 12 Show material variety enhance that sci-fi feeling. when used too much. you’ll notice this effect. A military mech may need a more with light. If you examine a shot from any movie. What kind into the future as soon as I throw in an emissive of pattern does the fabric have? Is the fabric stretchy or is it a hard. select Lens Correction and a separate window should pop up. This adds variety and any concept I’m working on instantly jumps believability to the piece. apply armoured surface to protect itself. 14 Create a filmic effect When the piece is finished I like to apply a lens correction filter. Use concepts in the Mass Effect universe. Go to the Custom tab and play around with the Chromatic Aberration sliders. When working on Consider contrasting materials such as fabric with hard surfaces. It’s a good way to lead the viewer as well. Under the Filter menu.

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these layers. you can also control them in a couple of more advanced layers (accessible via the Layers Docker) that will only temporarily affect the painting. Group Layer Group Layer works like a folder containing different values of opacity.ag/kataro with brushes and for rasterised patterns. specializing in D To create a Transparency Mask click fantasy and sci-fi illustrations as well as E an arrow next to the + icon on the Layers portraits and caricatures. Paint Layer This layer is used specifically for painting represent 100 per cent transparency and http://ifxm. and choosing one of these these special layers ensures the user has Katarzyna is options will affect the layer permanently. Here the Filter Mask only filled with colours. because they can be switched Katarzyna make use of your Layer options ways. Katarzyna Oleska lays out the available options part from the basic actions you You can also use masks and special A can perform on layers. It may increase the size of the Oleska process. Docker and choose it from the list. Filter Mask works only comparison to the Paint Layer. Filter Layer works D. You can also create sub-groups within groups and move to the original file and so any changes made to the original file will them into and out of groups the same way. scale and change the shape of the layer that it’s attached to. Select She is known as an F the Transparency Mask and start painting illustrator of some major book titles including (Color Selector will change to monochrome). E. All the user to apply different filters to the the changes you make to the original layer will also appear on the Clone Layer. circles and so forth) that layer. patterns and gradients will enable you to edit them (colours. Vector Layer independently and affects everything You can use certain tools on a vector layer and observe how differently they behave in that’s below it. but using filters. Christmas 2015 81 . To revert to this original shape simply turn the mask off. which can speed up your painting off and on. Quick technique Advanced layers Krita Desktop go beyond the layer basics Learn about more advanced layer features and find out how to use them. it acts like a new layer (a multi-layer file Move layer into group button. Shades of grey in between these two colours represent B. G. Filter Mask C. It helps organise the file and you can switch a group (and the Filter Layer vs 2 FILTER LAYER FILTER MASK layers it contains) with one click. Move layer out of or Bring in artwork on a File Layer into a group 3 File Layer makes it possible to import any image file to your To make a layer a part of a group you need to position it above that group and click the painting. To move it out will show in a flattened state). The File Layer. rotate. Each layer can be adjusted by Country: England file (for formats that support layers). also be visible in your painting. Once imported. however. A. Creating with one particular layer and affects only shapes (rectangles. F. many layers within it. unlike vector layers. without changing its original shape. The black painted areas Terry Pratchett Discworld series. Clone Layer Both Filter Layer and Filter Mask enable You can clone any of the existing layers. affects the pirate and not background patterns. remains linked click Move layer out of group. an illustrator G who works for publishers A and private B Transparency Mask C 1 LAYER TRANSPARENCY MASK clients. gradients) as you go. Fill Layer Here you can create layers filled with colour or pattern. can’t be edited once created. the white areas 0 per cent. greater control over their painting process. Transform Mask This mask enables you to move. However. image or selected layer without affecting it permanently.

Thus. actors. Workshops Photoshop paint star wars production art Feng Zhu taps into his extensive film pipeline experience and creates a production painting for a Star Wars project Feng Zhu Country: US Feng has been hen I was asked by the help visualise films for investments. individuals discover the remains of a Having these topics enable you to start resources See page 6 now! Production paintings are common in the early stages of film production. get your for this workshop.” I start production paintings by listing the basic production painting with a goal in mind. They where. who – a small group (their channel on YouTube. when. and is my favourite planets in the Star Wars to ensure they’re all on the same page. who and why?” You don’t need to w part of many high-profile ImagineFX team to paint a also help set the mood. The descriptions allegiance is unknown). Design Inc. They crashed Imperial shuttle on Hoth. they are as follows.com in the 1980s. but the game and film Star Wars-themed scene. www. and why – this them both into a single themed painting reads: “A small group of unidentified part is left for the viewer to decide. painting should contain information that projects. What – a crash-landed Imperial Shuttle. I decided to combine visualise the scene.” They are “what. This is particularly important are used in the pre-green light stage to the five “Ws. He I jumped at the chance. where popular Design Cinema playing with the Imperial shuttle toy back description from an imaginary script and – Hoth. and the FZD School of Design. The production designers. also the creator of the universe. and I have fond memories of In this workshop I’ll take a short when – a few hours before sunset. For this painting. executives and enables the viewers to see those elements. when working with tight deadlines. direction for the project. founded Feng Zhu ice planet Hoth has always been one of illustrators all use production paintings. Directors.fzdschool. styling and design answer all of the “W” questions. 82 Christmas 2015 .

as in this case. Having this grid saves me about 10 minutes of hand-plotting. Christmas 2015 83 . It usually comes down to an almost instinctive feeling before I start the piece. Here. which method I prefer to start with. In depth Concept artwork Levels Adjustments Establish the fundamentals of the composition 1 I start most paintings and drawings by establishing an initial horizon line and camera position. I use a pre-built Cmd+L (Mac Ctrl+L (PC) ) I’m constant ly using this perspective grid that I made almost 10 years ago in 3ds Max. I don’t have a clear rule in terms of my Levels. shortcut to ad just Sometimes I start with a rough line sketch or jump directly into a rough painting.

I can quickly add in the Imperial shuttle and start balancing the composition and energy flow (indicated by the same areas where details red arrows). Just imagine that you’re standing inside the environment. Finalise the rough composition 3 The initial rough is complete at this stage. In a painting. During production. I also place the camera low to the ground to simulate human height. camera mid-distance. A bit of three-point perspective adds to the sense of scale. fluid and exploratory in the beginning. things change all the time. Workshops Put yourself in the picture Sometimes students would ask me where to add details. to details and clean-ups too early. 4 Upon feedback from the ImagineFX team. I usually like to start five or six roughs on my first day of work. When working in a studio. I haven’t committed to any details or clean up. those are the 2 Using the grid. In a production schedule. rough. Keep things loose. Where would you look? Which area would you find interesting? Identify those areas and add details. I can’t stress the importance of working rough. the most important element is the shuttle and how we first see it. as if we’re just seeing this shuttle for the first time. They are not finished pieces by any means. We don’t tend to place priority on every object in front of us. Photoshop standard brush: Chalk brush I know CS6 has some amazing brushes that simulate natural media. Because it’s a “discovery” shot. This is still the rough which is the medium that stage and so moving elements around is relatively easy. many roughs can be completed in a day. If you commit move to digital. I place the are applied. so there’s no danger of losing I used before making the previously finished work. 84 Christmas 2015 . the shuttle is moved more to the left to allow for a wider shot. those six roughs can be reviewed at the end of day by the director or production designer. This can save a lot of time by narrowing down the design by the end of the first day. For this shot. but good enough for in-house presentations. it can bite you in the butt later. It takes about 35 minutes to reach this step. but I like sticking with just the default Chalk Responding to feedback and rebalancing the scene brush. It does a good job of emulating gouache. We focus on importance objects first and “feel” Develop the flow through the composition out the rest. I use a very simple solution.

I do this to emphasise the difference between using photo textures and photo-bashing. Introducing details Material indication throughout the scene 7 Once the composition and shot design is locked. snow and radar dishes. In add details. the thinking part of my brain can basically surfaces mostly matte to so that they contrast with the shimmering snow surface. almost as if shut off. During this stage. I take the time to indicate material and surface materials. because adding those details can take a long time. Then I fill this layer with solid black. I check the black and white values by adding a layer on top of the layer stack and setting its properties to Saturation. The common value balance is darker for foreground. Value checking and mirroring 6 I often flip the canvas to check composition. At this stage. I start to 8 In addition to my details. In this case. it’s faster to simply paint everything and use photo-textures to add details. I usually do this step on this case. mid for mid-ground and lighter for background (sometimes referred to as atmospheric perspective). Now I simply turn on/off the layer to check black and white values. such as rocks. In depth Concept artwork Applying visual shortcuts: textures and photos 5 I lay in a few photo elements to save time. snow (semi- the second day (the first day is used to generate many roughs as glossy) and rocks (matte with semi-gloss to indicate the presence of ice). Photo-bashing works if the entire scene can be easily produced by using photos. Christmas 2015 85 . But you have to be patient. a thin layer of ice has built up on the snow. Now it’s just muscle work. A good composition should work mirrored (and even upside down). When working in a studio. Both methods are used during production depending on the situation. there are three main materials on show: the shuttle (matte metallic). I keep the rock I can). because the main element – the shuttle – isn’t real.

Workshops Adding complementary colours to the composition 9 I bring in a few complementary colours at this stage. but areas that require contrast. Mirroring Opt+F9 (Mac ) F9 (PC) 10 Apply visual tricks to pull in the viewer There’s no ho tkey for this. so adding a bit of pink pulls the eye to the upper left. Mine is guide the viewer’s eye towards the wreck of the shuttle. composition’s eye level – in essence. It also grounds the camera by quickly enabling the viewer to see the set to F4. the viewer can still imagine a story taking place. 86 Christmas 2015 . If certain elements are too 12 Adding scale This is mostly an environmental shot. how high or low the camera is placed. Even though these characters are not clearly indicated. They don’t play a major role in this piece. viewer’s eye into the main composition. so use the Ac tion shortcut To help push the perspective and camera angle. Because shadows are mostly in the cool ranges of the colour wheel. I also darken the bottom left and right corners to lock the element. Additional value check 11 Now it’s time for another black and white value check. I add in some cloud streams that follow the perspective grid. Second. The entire piece is looking too blue. are required for two reasons. it gives the painting a story using blue works most of the time. First. Then I use a dark blue colour to darken the are a late addition. I keep this pink colour on a layer for almost an hour thinking it might not work (I usually don’t work with layers except when adding strong elements. This will help to record on e. which will contrast nicely with the characters walking on the lower right. such as this pink colour). human- sized characters help add scale to the scene. so my characters bright. I create a new layer and set it on Multiply.

You can test this yourself by looking at your studio table. Let your imagination and hands flow. the surface becomes more reflective. to ensure that I’m happy with the composition. Now. those elements are brought to the fore. And then I call the painting finished! Christmas 2015 87 . Thus. design very stiff. reflections and dirty lens were elements that film makers used to hide. You should see the table become a lot more reflective. As a surface becomes tangent to the viewer’s eye angle. Sometimes 13 Place lens flare on a separate layer thinking or concentrating too much can make a I add lens flare for fun. the easier sometimes the ideas will flow. In depth Concept artwork Work loose Don’t stress out in the early stages of design. This is true for both matte and reflective surfaces. especially in games. And they are fun to look at and very easy to add. the surface is most likely semi-matte. The more loose and relaxed you are. but it’s something a lot of next-generation games are doing. If you stare straight down. The key is to get the ideas down on paper and evolve the design in real time. Don’t worry about quality at this point. And let your instincts take over. we’re sometimes asked to introduce these elements. Now lower your eye until you’re parallel to the surface. as concept designers trying to match the look of the final product. here’s a quick tip. but just put them on a layer – just in case! Matte surface 50% gloss 90% gloss Light is scattered Viewed straight on View is tangent to surface 14 Understand reflections There’s a lot of science behind reflections. Just flow across the canvas and find shapes naturally. Things like lens flares. However. I also use a bit of Color Balance to adjust and make the overall palette uniform. This is kind of silly. I mirror check the completed piece one last time.

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Ratings explained Magnificent Great Good Poor Atrocious Christmas 2015 89 . Artist’s Choice Award Art resources with a five-star rating receives the ImagineFX Artist’s Choice award! The latest digital art resources are put to the test by the ImagineFX team… product 7 on test s hardWARE training 90 Intuos Art 95 Illustration from Wacom has refreshed its entry-level Imagination tablets. has eight million-plus pixels. Scott Davis demonstrates how a successful painting is 93 31MU97 monitor one that stays true to its LG’s Digital Cinema 4k monitor central concept. Behind the This could be the new top choice Pixels. The Art of Hotel for drawing on an iPad… Transylvania 2. But does it really suit your needs? Books 96 New reads software Structura 3: the art of 93 Tayasui Sketches Sparth. We find out what new Artist and designer Cameron features have been introduced.

along with a micro USB port for the so choosing the right tool for the job but anything bigger than 15 inches conveniently L-shaped connector. pinch-to-zoom or £35). a battery skills’ by offering two tablet sizes welcome addition: a single finger drag compartment and wireless module slot (medium as well as small) and controls the mouse pointer as usual. The simple design of the small tablet intuitive responsiveness of built-in Mac The pen itself is battery-free. Its rubber laptop bag and has two customisable orient your draw path and there’s a banding and matt body feel solid and 90 Christmas 2015 . and a cradle holding three spare includes Corel Painter Essentials over four-finger spread to reveal the nibs (together with a handy hole to ArtRage Lite software. (sold separately at a relatively pricey supporting touch gestures. are a reveal port instructions. and there’s a flap that pops off to users with ‘more advanced artistic The gestures. The Intuos Draw is and the active canvas area can begin On the rear of the tablet are four Wacom’s new beginner offering. The medium-sized Art convenient tag on the top of the tablet M is recommended if working with a pen tablet making it fine for either left. well. you’re working on a to stow your pen. precision work. is crucial. Reviews Intuos Art Beginner’s luck Wacom’s popular entry-level tablet range has had a refresh – so how does the new Intuos Art shape up? Price £75 Company Wacom Web www. features switch are housed on the top take as a digital illustrator. making has definite advantages: it’s thin and and Windows gestures.com oving from a mouse to ExpressKey buttons on either side. A lock and touch- is the biggest step you can handed use. desktop (for example) have the detach the one in the pen). twinning with small laptop displays. and but a tap-to-click. meanwhile. but to feel restrictive.wacom. It’s also well-sized for desktop screen. thinner and more streamlined light enough to slide easily into any The dots on the canvas area serve to than previous Wacom pens. especially for rubber moulds that grip work surfaces the Intuos Art reviewed here targets intricate.or right. it lighter.

but using the three buttons requires a certain grip in order not to feel awkward. There’s no tilt sensitivity.wacom. And if you’re illustrating on applying detail or drawing fine Rating ExpressKey to Erase using the Wacom a big desktop screen. model is an inexpensive introduction for any beginner. flexible and compact. Art tools Hardware Two ExpressKeys on either side of the tablet in focus take three can be customised to suit your needs. and has an or use a wireless upgrade. of the pen. but you three colours and two sizes.5 or naturalistic stroke. do seem to have to press harder to get thicker brush strokes compared to Wacom tablets. The pen offers 1.8.024-step pressure sensitivity and is comfortable to hold. and although the surplus to requirements. while its discernible lag in use. Precision mode momentarily internet connection. making been ditched you can set an alternative. the medium-size lines that much easier. and set them as Painter Essentials pressure sensitivity of the Intuos sized fingers.huiontablet. Christmas 2015 91 . making the later. effective anti-skid bottom to prevent travel when you draw. in case of wear.com Price £37 The nibs are robust. previous generation of entry-level offer a realistic painting experience. but has a more plasticky feel for it. Eight Express keys sit along the left-hand ßside of a 10x6-inch active drawing area that has double the pressure The Intuos Art comes in sensitivity of the Intuos. Huion H610 Pro Web www. pen’s dedicated eraser function has Intuos Draw (£55) a cheaper CD/DVD-ROM drive lowers sensitivity.024 pressure. The PC: Windows 7.trust. tablets… Not keen on the Intuos Art? Then consider these three alternatives Trust Flex Ultra-Thin Web www. button and n Comes with Corel twice the buttons are well-placed for average. Pro model has of built-in Mac and Windows gestures sensitivity levels n Wireless support double the (sold separately) resolution and n Three spare nibs grippy.com Price £64 The Huion H610 Pro’s price point undercuts the entry- level Intuos range. Its paper-thin design is You can power the Art by cable. USB port. offering a more CD/DVD-ROM drive range of brush control. but there are three spares The latest Flex supplied. translating to finer control but the 1. internet Pro can recognise the tilt angle Wacom tablets and offer a decent but in an era of multi-touch mice and connection. 8 or 10. where you can also Intuos Art (£150) is a smarter option. Wacom Intuos Pro Web www.com The gestures are a welcome addition Features n Multi-Touch gestures Price £199 and have the intuitive responsiveness n Four programmable ExpressKeys The wireless n 1. System range. global settings or only for specific apps. and the two customisable modify pen pressure. There’s also no trackpads you may find the gestures Mac: OS X 10. Comes with Trust’s intuitive Artweaver software. control panel. gesture controls. USB port.024 pressure levels match the The Intuos Art delivers on its aim to Requirements at higher screen resolutions.

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com and extra Blending modes.99) brings text. Menus and work well. The real benefit of this resolution organisation.lg. If you’re used to a standard from a true grading monitor. though. offering pens. lines Screen time LG’s Digital Cinema 4k monitor has eight million-plus and patterns that fill shapes you pixels. And it is: the aspect should be pretty obvious. Christmas 2015 93 . resulting in a larger. bandwagon. Art tools Software & hardware Tayasui’s nine-tool palette retracts when not in use. The simple design of the The nine-tool palette sits on the stand and bezel means this left of the drawing paper and can be monitor encourages you to concentrate on your work. a Fill 31MU97 monitor tool and an Eraser. A long press on the Color Picker slides out your options. The colour accuracy is n True 4k n 17:9 aspect ratio fine. but it works in a slightly different way. your requirements or not. and if you work PC & Mac: Check with the latest drivers for close to 17:9). the work before splashing the cash. Rating Support for layers – as Tayasui has – is now a weigh up whether the monitor meets Just make sure it’s suitable for your 2D standard requirement for serious painting apps. the first thing you’ll notice about the to paint with. or you impede your creativity. iPad Sketches Paper killer? This could be the top choice for painting on the go… Price Free (in-app purchases) Company Tayasui Web www. but you might just find your input device doesn’t quite suit.160 resolution appealing. Otherwise Tayasui is a Keep in mind that you could be animation. with room Requirements ration is an unusual 256:195 (pretty for more time or detail. comes when working with video and Features pulls ahead. pinch to zoom. Besides. three-finger swipe for a new paper W vertical tilt and height adjustment. For such a high resolution you may need to and so on – and there’s nothing to LG 31MU97 is that you’ll absolutely invest in a larger graphics tablet. right to redo. looking at it for hours upon hours a day superb. rather than a gimmicky.096x2. The n DisplayPort n Mini DisplayPort widescreen monitor then this will look benefit to working with timelines System just slightly wider. this misses the point. but does it really suit your needs? trace. brushes. It offers a minimalist interface and a range of similar drawing tools. but Tayasui Sketches is the first app to challenge its status. dragged in and out of landscape view.tayasui. identify is the app’s poor canvas of hardware. with keyframes or curves then you’ll your GPU to see if it’s Before you go jumping on the 4k be very happy.com rating Paper has cornered the market in freeform iPad drawing tools. Get to know its innovative set of ith a decent amount of eight million-plus pixels might be lovely gestures – two-finger left swipe for undo. The tools be able to get it into a position to run the risk of inaccuracy. opacity. the display itself is colour standard. feature-packed alternative. which is where Paper glitzy consumer toy. Double-tap any brush to adjust colour. compatible. The Fill tool offers dots. with the inconsistencies suit your work setup. unassuming design. It’s an screen text can also be harder to read. size and Blending mode. meaning this isn’t far n 2xHDMI beautiful. That might sound appealing. cleaner workspace. but that reflects and although you can scale them in the The only downside that we can its positioning as a professional piece display settings. more tips. an eyedropper Price £850 Company LG Web www. with 100 per cent sRGB and n Portrait mode and the plainness becomes very even 97 per cent of the digital cinema n 4. while the Pro edition (£3. you need to The quality of this display is fantastic. Sure. of real pens and brushes.

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will give comfort to anyone who development artist. The rest of the video is more T but Cameron Scott Davis’ video shows it’s anything but.com potentially transform your work. and techniques – he’s happy to behind his Blood experiment with new Eels of the Siren’s ideas constantly. This making of Blood traditional in its approach. where Cameron designing on titles including Guitar Cameron’s approach to composition. The most critical topic under laborious. he joined Much has been written about the decisions he took before changing his DreamWorks Animation as a visual technical aspects of composition. reveals hidden depths. Christmas 2015 95 . but. blowing up his chosen thumbnail and printing it out so Scott Davis concepts. presents a warts-and-all look at the Hero and Tony Hawk. He has written and n Pencil drawing Cameron explains how the swirls n Digital clean-up Cameron makes (or un-makes) is illustrated a project called of a whirlpool inspire the arrangement n Lighting the scene informed by the concept. composition. Photoshop painting and much then scan it back in. Inspiration Training Cameron Scott Later in the video. a Kung Fu thumbnails underlying concept shapes the n Conceptual produce perfect images effortlessly. Topics covered mind. speak at events the principle of using composition Rating It’s a video that appears simple on around the world. but if you can embrace 144 minutes he were starting the painting afresh. And learn an important lesson character design at weight to the central idea of a siren n Visual storytelling about knowing when to stop. The central idea at the thumbnail stage is to find a visual symbol to give the composition extra power. but no less valuable. lending extra n Establishing mood the end.com he painting looks simple. as he the Gnomon School pulling her victims in.cdavisart. though – and the idea finished illustration feel too digital. pencil line he can render the drawing in pencil. like the painting itself. as a symbolic device. Cameron shows how he switches back and forth between Artist profile Cameron Eels of the Siren’s Ossuary is a wide- ranging. It sounds Cameron is a designer and more. art. composition You’ll also see how every decision projects. Cameron has taught n Detail and texture of the scene’s elements. where he but insights into how the picture’s n Designing with believes professionals somehow worked on The Croods. and other composition are harder to come by. it could first viewing. He makes it Length reveals the things he’d do differently if and been invited to sound simple. right up until Sleepwalker. and animation. Davis’ video reveals Cameron turns his the concepts attention to detailing. but he doesn’t want the storyteller working in video games discussion. Cameron believes that working up the line art in pencil and scanning it in helps keep the final image from feeling digital. freewheeling talk covering paper and Photoshop. Illustration from Imagination HIDDEN DEPTHS Artist and designer Cameron Scott Davis shows how one painting is generated by staying true to its central concept Publisher The Gnomon Workshop Price $49 Format Download Web www. Panda featurette. Ossuary painting.thegnomonworkshop. After character that sets this training video apart – is The closing stages. www.

a chapter dedicated to recent experimental and graphic pieces. Here. this section is such a gem that it feels a Rating 96 Christmas 2015 . Sparth pulls his geometric in an industry overtly concerned with sensibilities to the fore. and the Structura 3 follows the large format more in-depth tutorials could have of Structura 2. with A remind us there’s still room to experiment. 30-minute personal For pieces such as this the characters in these paintings act as Sparth talks the reader paintings that transport the viewer to through his process in scale devices. his new book doesn’t disappoint. Structura 3 gives us new and exotic virtual reality worlds. if you want to see those Three years! In that timespan there’s signature paintings of behemoth more craft development.designstudiopress. with over 160 pages bookended each chapter. Shorter tips would have been if we’ve been distracted from our better served as mini boxouts routine to look to the sky… punctuating each chapter. Structura 3 back section of short practical tutorials certainly delivers on inspiration. It’s as book. Each scene is being Industries’ Halo franchise together with spectated by silhouetted figures. Even when we become the sole viewer. of full-page artwork . abandons the zeitgeist. and (see left). graduated shapes. to change and grow as artists. Another constant in all this change is Work includes his concepts for 343 superb storytelling. However. with notes on processes and has us looking to the horizon for technique: it’s 22 pages of Structura 4… and beyond. In fact. Often hyper-efficient.com Available Now rt giants such as Sparth the artist in a state of transition. indispensable insight. a snapshot of three years of his work. Reviews Structura 3: the art of Sparth Master Chief Another Sparth book? Really? Is there enough in his new art tome to captivate his fans or inform digital artists? Editor Teena Apeles Publisher Design Studio Press Price £20 Web www. willingness to space-freighters departing landscapes experiment and pursuit of ideas here dominated by monolithic structures. As Nicolas Bouvier’s textures and achieves value through (his real name) colossal career the layering of flat. than can be found by reading 300 this book won’t disappoint. Sparth still shame to relegate it to the rear of the conveys a glimpsed moment. rumbles to the outer edges of its The results are vectored landscapes of second decade. but they also humanise In terms of Sparth’s signature sci-fi structures and ‘the idea’ at warp speed. feel almost ordinary. We also see eight revealing stages. blogs concerned with concept art. the paintings making the extraordinary space-age art.This includes a That quibble aside.

pester your lecturers to buy a copy today.behindthepixels. landscape for the first time. though. They have a history of being light on insight. crucially educating the the bookshelves of art and design reader on industry expectations. Indeed. but fill in Behind the Pixels deserves to be on the Why gaps. animators and talent involved and John Norton’s even director Genndy Tartakovsky nostalgic storyboards alongside both – all presented with a design aesthetic Craig Kellman and Joey Chou’s evocative of the film’s visual language.com Available Now ovie tie-in books can be too M easily dismissed. potential art career and use it as a Mark talks through In his introduction Mark talks about vehicle to navigate the concept art how he created a video having to discover all of this for himself. in regular ImagineFX contributor Mark Molnar’s treasured art book. The influences of early right into the nitty-gritty of a film’s insights from both concept artists and cartoons are prevalent throughout the production illustrators.titanbooks. is commended for doing so. and why he should be Rating The Art of Hotel Transylvania 2 gory details A behind-the-scenes look at this horrifyingly adorable blockbuster sequel that’s superior to staple film-art books Editor Brett Rector Publisher Titan Books Price £30 Web www. hastily dispatched to collectors keen to grow their mound of movie merchandise. What this book does well. His art is. often accused of being homogenised Rating Christmas 2015 97 . There really is a ton of content here. get your hands on this book. could get away with it too. Here we’re treated to in its output. Not all of it is brand spanking new. of curious minds can be exposed to a course. and regular ImagineFX readers may already be familiar with some of it. core colleges everywhere. Inspiration Books Behind the Pixels Insider intel Video game artist Mark Molnar’s new art book is a treasure trove for anyone curious about the world of concept art Author Mark Molnar Publisher Mark Molnar Price From £33 Web www. This way. Indeed not only show you the How. though. skills and best practices.net Available Now o anyone new to the world T of concept art. That’s not what Titan Books do. very inspiring too. We reckon they The book showcases different on our 3D animated screens. A fair share of the art can be found online. young. author this book. Hotel Transylvania’s quirky for those pesky kids… concepts and film stills from the second stay designs sit at the edge of a genre too at Hotel Transylvania. game magazine cover for Ninja Theory’s which is why he felt compelled to upcoming Hellblade. with publishers throwing some concept art on the page. The company has been evolving these books for decades now and The Art of Hotel Transylvania 2 follows a successful formula of getting production. but not necessarily for free. If you’re just starting out at art college. in a nutshell. paintings leave us wishing more The book reveals a collective of chances would be taken with large artists keen to see something a little animated movies. If it wasn’t plenty of sketches.

For full terms and conditions please visit: myfavm.co. 63% GIVE A GIFT THAT LASTS ALL YEAR TREAT YOURSELF A magazine subscription is a perfect OR SOMEONE ELSE Christmas gift… SUBSCRIBE TODAY  Choose from a huge range of titles £ 44 FROM  Save up to 63% off the cover price JUST  Subscribe from just £44  Free personalised gift card when buying for someone else  Guaranteed delivery in time for Christmas!  PLUS a range of stocking fillers from just £5 2 EASY WAYS TO ORDER Visit myfavouritemagazines. . Offer ends: 31st January 2016. Prices correct at point of print and subject to change.ag/magterms. If you are dissatisfied in any way you can write to us to cancel your subscription at any time and we will refund you for all unmailed issues. Savings compared to buying 13 full priced issues from UK newsstand. You will receive 13 issues in a year. Please quote Z604 when ordering by phone. This offer is for new UK print subscribers (paying by Direct Debit) only. Full details of the Direct Debit guarantee are available upon request.uk/Z604 Or call us on 0844 848 2852 Lines are open Monday to Friday 8am to 7pm and Saturday 10am to 2pm (GMT).

. Brynn Metheney on reference. 112 Creature design Be inspired. from The Force Awakens Page 106 Christmas 2015 99 . by the film poster greats Hugh Fleming depicts two new characters 114 First impressions Dave Seeley talks libido.Inspiration and advice from the world’s best traditional artists This issue: 100 FXPosé Traditional The best traditional art revealed.. 104 A Star Wars epic Paint a collection of characters.

” The artist explains that her paintings are about human transformation and the role mankind plays in personal and group evolution of consciousness. My father’s family lived in New Mexico for over 400 years before I was born. FXPosé showcasing The FINEST traditional fantasy artists Mary Ancilla Martinez Location: US 1 Web: www. 11x14in “Inspired from seeing Mango and Dango perform at an outdoor music festival called Lightning In a Bottle. the more my paintings seem to take on a life of their own and become what they desire to be. despite my original intentions.” 1  Metamorphosis Oil on wood panel. In addition to concepts. 16x24in “This one started out as a portrait of my father.com media: Oils An Albuquerque native. so I choose to include the Zia Pueblo sun symbol into the painting.” 2  Mango Oil on gesoboard. her physical form and clothing materialise into reality.maryancilla. Mango is an amazing clown who can do the splits on stilts all the way to the ground – and get all the way back up again!” 3  El Profeta Oil on aluminium panel.com Email: mary@maryancilla. Mary now works primarily in oil and paints out of Los Angeles. but morphed into something more universal along the way. “The more I start to play with the edges of paint and get lost in the pure process of creating and destroying using knives and scraping tools. And as she retreats into the wall. are represented by the flowers and petals in this painting. I started to see the character as a prophet or seer.com . As she prepares to enter into society.” 100 Christmas 2015 Email your submissions to fxpose@imaginefx. she says. depending on how the viewer chooses to view the painting.” 4  Wallflower Oil on wood panel. Mary loves the painting process. her clothing and form dissipate. 24x36in “The path of personal evolution. how we internally transform ourselves and our mental views and beliefs via life experiences. “focuses on exploring the concept of humanity’s capacity for growth and potential. Her work. 18x24in “This is about a human being emerging from or retreating back into the privacy and sanctity of an ulterior existence.

com Christmas 2015 101 .” Cliff Hope. Wallflower is a great example of this. which also cleverly leaves the storytelling up to the viewer. Operations Editor Email your submissions to fxpose@imaginefx. FXPosé Traditional art 2 3 4 ImagineFX crit “I love how Mary makes the backgrounds just as important as the characters.

the basis for the universal appeal of mythological concepts. gold leaf. This one is about the quickening pace.shadowscapes. invites the viewer to accompany him on a seeking journey. gold leaf Stephanie’s work is an exploration of mythology mixed with personal symbolism. Stephanie uses that experience of how the human body moves and emotes to create movement in her artwork. Suddenly the fabrications of the mind become apparent as such. it’s often in the form of the nonsensical and out-of- place.com media: Watercolour. ink. along with her love of dance. and the driving away of sadness. I did a series of stag pieces. But so much other lore is associated with ladybugs – luck. Her fantastical universe permeates through her visions. revealing itself “when potential and desire become actuality. 2 1  Stag Sonata Cycle: Allegro Watercolour.” 3  Her Sorrows and Her Joys Watercolour. Archetypes.” 2  Inner Workings Watercolour. giving a sense that this is a world that underlies our own. each with a musical motif for its title and theme. He chooses who is allowed to see him. Ironically. 15x19in “The strange and beautiful tie of the rules of mathematics and physics. gold leaf.com Email: stephlaw@gmail. 14x14in “A dreamsign is the elusive anomaly that a dreamer can learn to use to gain lucidity. 16x20in “Ladybugs (also known by other names like ladybird and ladybeetle) were named for the Virgin Mary. gold leaf. and with that glimpse. The contrast of these opposing forces and their interactions were what I wanted to explore.” 4  Dreamsign Watercolour. ink. bountiful crops. ink. Their seven spots were said to symbolise her seven sorrows and seven joys. 14x8in “The white stag is a guide. masked creatures and winged shadows. FXPosé Stephanie Law 1 Location: US Web: www. Having been a dancer for almost two decades. It’s a moment when clarity pierces the fog.com .” 102 Christmas 2015 Email your submissions to fxpose@imaginefx.” she says. Her art journeys through surreal worlds populated by dreamlike figures. to the organic wonder and growth of life and nature. watercolour ground. and when patterns reveal their beauty. fair weather. are one of the defining inspirations for her imagery.

Staff Writer 4 submit your art to fxposé Send up to seven pieces of your work. FXPosé Traditional art 3 ImagineFX crit “Stephanie’s delicate. an explanation of your techniques.com (maximum 1MB per image)  Post: (CD or DVD):   FXPosé Traditional ImagineFX Quay House The Ambury Bath BA1 1UA. a photo of yourself and contact details. It’s enchanting stuff!” Alice Pattillo. Email: fxpose@imaginefx. which she uses to guide the eye around her compositions. detailed watercolour art is taken to another level with her judicious application of gold foil. Images should be sent as 300DPI JPEG files. Christmas 2015 103 . along with their titles. both in print and electronically. England All artwork is submitted on the basis of a non-exclusive worldwide licence to publish.

I added yellow and blended it into Darth Sidious. then introduced red. Workshops Pencil Oils paint an epic star wars line-up Discover how Tsuyoshi Nagano composed a saga-spanning collection of key Star Wars characters Colours in space I painted the stardust by mixing oil paint solvents. I added red and pink and used black for the finishing touches. creating irregularities. the portions that have lines or outlines.  104 Christmas 2015 . are purposely left over from the Sith lords rough sketch that Darth Vader blended in with the I made using a background. out. Robot details The detailed parts of C-3PO and R2-D2. so I made the reflected mechanical light red. which also shows a relationship between the two. white and other coloured stars with an airbrush. So his helmet didn’t stand pencil.

films as I drew him. all mirrored by from editor Junzo Takagi. This also gave a sense of the presence of Boba Fett. Episode IV. lower right. for balance. which helps provide balance.ag/t-nagano Alien art It was difficult to make the Yuuzhan Vong look realistic because there were Depicting Mara Colour no photographic I like Mara Jade a lot. beneath Darth Sidious. from Jango Fett. direction in which the main characters http://ifxm. Tsuyoshi is well known among I instilled a sense of grandness and Star Wars fans for his many intensity. distance from the six main characters. composition.   tricky. From the middle to the end on the Japanese edition of Star the left and right. To create symmetry on the left and right. the characters are set to Wars: The New Essential stagger and face the exterior of the Trooping in time Chronology. Christmas 2015 105 . so it stands out in book stores. to keep the painting engaging. Artist insight An epic line-up T his painting was created for are facing. Most important was the Japanese spin-off book covers. divided into two parts for the Anakin and Luke are facing in opposite Here I show the flow of time covers of volumes one and two. So so my drawings of her Grand Admiral I referred back to tend to be full body. with the stormtrooper of Using character arrangement sketches down at an angle. I created the for contrast. When directions. you can see the whole The placement of Darth Vader was clone troopers of Episodes II and painting. through the you line them up. Her Thrawn’s skin and Mara horror and creature costume was created using Jade’s lightsaber match. This was Junzo Takagi’s idea. but I eventually put him facing III. The drawing is painting to give a sense of distance. the comics as a reference. while Qui-Gon Jinn and Yoda’s The lightsaber faces the lightsabers are the same green. balance materials. colour scheme and poses.

Like enhance the living One challenge here is to fashion a into a perpetual argument between pencil those two illustrators I’m a portrait artist quality of a wet eye or relatively singular composition from and acrylics – each medium contradicting at heart. I like the flexibility that things fresh. course. 106 Christmas 2015 . or manage tricky perspective. I’ve lent on my long-time fan of the great poster artists they may appear in real disparate lighting conditions of reference intuition far more than I probably should Drew Struzan and the late Richard Amsel. Consequently. Doing this will shots. have. while also and correcting the mistakes of the other thing I love to paint the most. Workshops get your resources See page 6 now! Pencil Oils Acrylics be inspired by the film poster greats Inspired by the work of classic film poster artists. Accentuate illustrating Rey and BB-8 from reality convey a relationship between characters I’m essentially self-taught and have had Star Wars Episode VII. And. and movie characters are the the sparkle of chrome. My painting needs to stand out covers for Dark Horse Comics The Force Awakens. where his popular confident their pairing in a montage will reference into new combinations to keep Star Wars Rock Band art first appeared. life. be appropriate. Rey’s head. Elements can be be swapped out with another of superior you through the process of juxtaposed in a figurative manner to resolution to create a unique pose. and illustrations for the Star promotional materials released so far I’m I also find it’s useful to combine Wars Insider magazine. Render bright white or get a sense of a world. I’m mad keen on Star Wars! made by other eager fan artists keen to Hugh is an Australian artist I know very little about how Rey and express their enthusiasm for the new whose Star Wars credits include BB-8 are related within the narrative of movie. and my technique has now settled this is an ideal assignment for me. but judging from the from the crowd. Hugh Fleming paints two new desert-dwelling characters from The Force Awakens F or this workshop I’ll be taking artist insight montage affords. of trying to preempt choices likely to be until a balance is achieved. limited reference materials. for example. You can have fun only minimal formal training as an As a great movie buff and highlights thicker than with a design without having to reconcile illustrator. will Follow him on Twitter: @shuggyMF.

In depth Film poster Christmas 2015 107 .

French Grey 10 per cent. Pumpkin Orange. 108 Christmas 2015 . Mediterranean Blue. The gesso texture will opaque projector. the eye downward. material. I then render the darkest values in Warm become more prominent as paint and pencils are Grey Prismacolor. Peacock Blue. Dark Umber. Brilliant Orange. These shadow details will anchor the picture and keep important structures from drifting too much. Cadmium Orange Hue surfaces n Crescent 310 Cold Press n Tracing paper BRUSHES n Airbrush: Paasche 60mm heavy medium flat brush n NAM Ruby Red round Synthetic #4 n NAM 7010 synthetic 9mm flat brush n NAM 7000 synthetic 3 Rendering a surface texture 4 Develop the underdrawing I apply undiluted Gesso primer with a wide brush I loosely draft the design on to the surface using an to Crescent illustration board. the new desert planet in the film. White. Then. taking Mid. Workshops Materials PENCILS n Prismacolor: Warm. After compiling internet reference materials I design I use Corel Painter to tint the monochrome design Vermillion. 5 Applying mid-range values with acrylic wash 6 Making an airbrush mask Now I apply diluted Payne’s Grey to fill out the mid-values. toward the vignette with the speeder the blue sky of Jakku. Poppy Red. I use a toothbrush to create a spattering dry until it’s tacky to the touch. Cobalt the character’s face. Deco Aqua. Grey 90 per cent. Skin Tone the montage in black and white. with the lines of Rey’s costume pulling cues from the prominent orange of BB-8’s markings and Turquoise. The main focal point will be and devise a blue/orange complementary palette. striving for fidelity to the reference progressively laid down on to the board. Then I affix it to the artwork of Payne’s Grey and White ink. Titanium White vehicle and out to the base of the design. and use a hobby knife to cut a mask for the sky. Raspberry PAINTS: n NAM Gesso Primer n Derivan Matisse 1 Designing in digital 2 Determining a colour palette Acrylics: Payne’s Grey. Deco Yellow. Light Aqua. Salmon Pink. to suggest I spray tracing paper with adhesive and leave it to the grit and dust of a desert environment. Cobalt Teal. Yellow Deep. n Liquitex Heavy Body Acrylics: Unbleached Titanium. Cool Grey 10 per cent.

In this case I choose Cobalt Teal for the blue sky and then. Christmas 2015 109 . In depth Film poster 7 Airbrushing a sky gradient For airbrush work I use tube acrylics that are diluted with water. Titanium White and a spot of Vermillion. a concoction of Unbleached Titanium. for the sandy atmosphere.

mixed from Teal. duplicating the process: colour is applied in washes. You’ll I return to previously worked sections with fresh interpret the shapes eyes. opacity with acrylic. I bolster the avoid dark pencils bleeding into the wash and muddying the colour. artist insight Alter your viewpoint Work with the illustration in different 11 Revising my art orientations. If I spot too much contrast creeping in. 10 Moving around the painting I migrate to other areas. I flatten it back with another wash. details then tightened with pencil. but here I use the airbrush to of Cool Grey for the lighter tones of Rey’s skin. degree of objectivity. 110 Christmas 2015 . Her that you’re trying to face will be the focal point for the design and so I spend replicate with a greater more time here than anywhere else in the painting. taking particular care in finessing Rey’s likeness. Workshops 8 Airbrushing Rey’s skin 9 Adding the tints Rey’s base skin tone is a combination of Vermillion and Skin Tone Mid. comp TIP develop an effective montage Strive for simplicity: establish a hierarchy and find lines to draw the eye through the composition. contrast is modulated with washes and tints are gradually worked up in thicker acrylics and finished in gesso where they are brightest. I favour The blue/daylight temperature informs the choice washes when applying colour over the initial drawing. Then I apply bright white gesso highlights. Vermillion and White.

while more ones disappear. I tighten the shadows with Dark Umber painting and spray with several coats of workable matte objects and how lighter pencil. 14 Final polish 15 Sealing the surface observe how the glow With the piece nearly complete I tidy things up and I finish keylines and borders in Prismacolor. spattering with the toothbrush helps to simulate dust. remain visible as darker Then I add highlights on Rey’s hair and staff. I avoid dark shadows because the sun would prevent such values from showing through here. Next I sketch shadow detail in with a Peacock Blue prisma. artist insight Glow with confidence To render glowing light effects convincingly. 13 Painting the harsh Jakku sun The airbrush is the ideal tool to simulate the outer glow of the sun. In depth Film poster 12 Rendering the background I’m unhappy with the sky colour so I respray it using a lightened teal and reapply the haze gradient with the toothbrush. I airbrush titanium white and yellow Prismacolor to complete the effect. and white highlights are gessoed for optimal fixative in case any more corrections are needed. values underneath will brightness to make eyes shine and hard surfaces gleam. sign the infringes on foreground make corrections. paint TIP pencil over airbrushed colour Mix paints from the tube – agents in liquid pigments can make paints too shiny to draw over. Christmas 2015 111 . Gesso describes the sun’s hot centre and is diluted where necessary to create a soft transition from yellow to white.

lose my original drawing as I develop my also a good idea to pull from groups of games and publishing. I can begin to find details. get your Keeping the overall shape of your creature in mind will help you 2 Find the details resources See page 6 now! convey the kind of creature or character you’re dealing with.com Shapes like squares and boxes are associated with power and stability. California. just other extinct proboscideans. I keep the new shapes light so I can build up my creature. For example. Sometimes. Pointed shapes are more sinister.brynnart. Now she refines her ideas to find a fun and unique design P art of creature design involves you should also consider prehistoric mammalian anatomy. but can reference animals that are outside of www. I’m also using general shapes from real-life reference. moving features around a bit. Workshops Pencil Refining your Creature design Brynn Metheney has used real animal reference to combine characteristics to create a new creature. n Cotton Fiber Design filling in with more characteristics. unique. Now that I’ve got some shapes laid in for general design. Once I like a design I can Brynn specialises in creature vellum paper Using vellum or tracing paper enables even use another sheet of vellum as a design. colour n Blackwing 602 Pencil can make the design more pencil to seal in the design. In this article I’ll be looking to animals that aren’t related. the Col-Erase. I work to find details like the eye placement. It’s visual development for film. n Violet Col-Erase This is especially true for colour. She lives animal. adding shapes to a silhouette I use the Col-Erase with a regular Pencil My final lesson will cover posing. I and works in Oakland. 112 Christmas 2015 . creatures like aardvarks and newts. I’m using a and specific details about my creature. I want to push the silhouette and eraser overall design and creates spaces for enables me to solidify details over top of have a strong surface anatomy. frill shape and what the feet look like. So while I’m combining basic character of this creature just by shapes. even though my Materials refining it into something animals such as the platybelodon and creature has a more mammalian form. while rounded shapes are friendly. In this example I’m change the overall identity and pulling from ancient elephants in the face and newts in the neck dewlap. The overall movement of the initial shape can help inform 1 Try out different shapes for your creature where the eyes might be or where the I lay vellum or tracing paper over my original drawing and just have some fun lightly sketching in ears might have moved to. For n Staedtler rubber exciting. fantasy illustration and me to work on top of my design so I don’t clean sheet to strengthen the design. The plain shapes break up the Blackwing pencil because the heavy lead now. I’m able to shapes over the silhouette.

Artist insight Refine the design It’s never too late to change things. I left out the feather- such as the scales like structures that along the upper lip. I’ve laid over another piece of vellum go. Here. I’ve altered the anatomy to better artist insight suit the creature’s lifestyle. around. I’m able here to match more with other digging species. and reduces smudging and the layers becoming unruly as you add more. try a few different ways to see your creature. layers. Always think about the function of your creature as you take long to build up the drawing. I can start to find the aardvarks for the feet and claws . It looks Using tape more like a carnivore. and won’t lose any layers. Blackwing pencils are soft so it won’t digger/forager. means I have all of my work saved. arm down as you build up and face structure. 3 Solidify the details 4 Go in with graphite Now I can start to pull from the reference more. Again. to solidify my drawing with markings. Lay another piece of vellum down over your drawing for your hand to 5 Now. so I’ve refer to Tape your drawings bears and big cats for its leg. value and texture. try taking another visual direction! rest on so you don’t Don’t stop at one attempt. are under the chin. This something that has a reason for looking the way it does. Keep exploring your designs! Christmas 2015 113 . It’s exciting and fun to make spread graphite the effort to push your design in opposite directions. previous design. I’m looking to Now that’s I’ve reimagined my creature. I want to make an interesting silhouette but I also want to make on top of my Col-Erase sketch so I can keep these layers separate. like moles. It’s important to remember that concepts like this are never set in stone and shouldn’t be treated as precious. This process gives you the option to omit Some details carry things without having over from the to try them out. When you start to explore options with your designs. I’ve changed the ear With the pencil. Here. This helps to keep drawings still. Use either masking tape or scotch tape because they won’t stick to the vellum layer too much. my creature has taken on a more carnivorous look. the shape language like the sharp pointed teeth. alert angled Pencils eyes and pointed ears make this avoid smudging creature look more aggressive. you can arrive in a place that you might not have thought of before. making the creature feel like more of a details and volumes of the creature.

and I’ll take that to a high degree Are you constantly refining your of finish before choosing the stylistic Star Wars: books. That’s a working on. What’s been the highlight of your career How would you sum up your work. what they want. gritty. but it took me a long time to so it was a great father-son bonding understand it. That allows me Rogue Leader superheroes were wearing silly outfits. where it was a series of real-life I grew up in the Boston heroes in police and military action suburbs. We’ll be reviewing the book in a future introduced to the company by Lucasfilm video. out those specific memories! I’m using photo collage to work up images. You can see edition of ImagineFX. The work you do begets the aspects of it. You can’t expect clients to experience. I also lived the prequels work you’ll be offered. that was a satisfying That’s my earliest memory of experience. I had lots of comic Heavy Metal magazine entirely. Overthinking can inhibit that. and understand that you “born-again” perspective. execute it. and I was Dave’s painted for the publishing. stage. I’m glad to be me. First Impressions Dave Seeley Star Wars books about a decade ago.daveseeley. when it was doing collector edition more of his work at www. though I think of my style inherent interest in. but ultimately felt like painting process? finish of any given piece. nuanced. I love a relatively wide range challenge… but perhaps I have blocked © Lucasfilm of styles as a consumer of art. as it might have put me off deep impression. intense. and ultimately. and market the hell out of it. epic. Insight heroic. and realising that Star Wars art talks my wife was subsidising my shift from architecture to illustration. spatial and atmospheric. having met the challenge understanding I was good at it. film and of Dave Seeley. could do what they are after. that’s more about the beauty of mark How did science fiction and fantasy art making. If I interpret your question differently. That The artist known seems like a huge milestone. I read Tarzan Absolutely! It’s been a kick to contribute younger self? series and Stephen King books as a teen. Nowadays. to the world building and to design new I think I’d be careful about being too and the 1977 release of Star Wars made a honest. I used to have scenes. and it helped me see the look at something very different from Star Wars universe from an innocent. I slip into a reptile-brain state Shadows of Mindor. It It’s absolutely a constant evolution. Low points all occurred while doing my income for his dramatic taxes in the early years. influences and more To date. and working on great subjects. The Goddess Animalia published by Insight Editions. 114 Christmas 2015 . a range from fully photographic to what Done as a print for Star Wars was probably Heavy Metal magazine although when laying the oil paint Celebration IV. Here’s the front cover of The Art does amazing quality books. I think the best advice for any sold me sci-fi and fantasy illustrator looking to find ideal commissions is to assign yourself your by tickling my libido dream job. Still. novel Luke Skywalker and the that sold me sci-fi and fantasy by down. what would you say has been your most challenging commission Where did you grow up. Did your upbringing influence your then the most challenging task for me is style of painting? if I take on a commission that I have no That’s a given. in so far? Any low points? under 10 words? I just had The Art of Dave Seeley Engaging.com. or assignment? and when did you realise I did an advertising commission several you had a talent for art? years ago. Then it’s battling my as flexible depending on the piece I’m lack of attention span. get on to your radar? Have you enjoyed exploring the Star I watched early black and white horror Wars universe through your art? What advice would you give to your and sci-fi films as a kid. I copied from Frazetta and Boris art books. obvious. That seems through the eyes of my then-young son. simultaneously tickling my libido. It was three weeks of very little kids hanging over my shoulder when sleep. and advertising industries. but used for the I’d consider relatively painterly. sexy. and generating many images that I made coloured pencil drawings of were rejected before getting to the yes monsters at elementary school recess.

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