Interviews

Benita Winckler
Daniela Uhlig
Articles
Alien vs Predator
Inferno
Tutorials
Painting Female Face
Elements Digital
Painting Series
This month Skin
Making Of’s
‘Beast’ by Yu Cheng Hong
‘Mining Machine’ by Tomáš Müller
Galleries
10 of the best 2D digital artworks
from
tw
o infuential
fgures in science
fction m
ovie history.
From
conception to
creation : Alien vs. Predator
Concept Art, Digital & Matte Painting Magazine
Issue009 September 2006 $4 / €3.25 / £2.25
Artist
The Original Total Texture collection
was created in 200l, utilising the
best methods and technology of the
time. Since then, techniques and
technology have both moved
forward, and here at 3DTotal we felt
that although the original collection
is still widely used and highly
regarded among artists and studios
of all calibers, it was time for an
update...
This enormously improved version
of the original texture collection
now contains l38 individual
Materials, comprising of over 550
individual, hand crafted texture
maps and are all fully tileable. Lvery
Texture now has its own unique
colour map, bump map, specular, &
normal map.
what's newI : Total Textures v2
original collection consisted of l0l
materials comprising 202 individual
maps (Colour & 8ump maps). This
new collection consists of l50
materials, comprising of 600
individual maps!! (Colour, 8ump,
Specular and Normal maps). Lach
individual material now has a unique
matching bump, specular and
normal map.
8onus Maps |nclude dirt masks,
shadow maps, skies and reference
photos. This new improved version
of the Original Collection is now
more versatile, broader ranging and
larger then ever. There are 53 8onus
maps included on this DvD plus 44
reference photos used in the
creation of this collection.
DvD Contents:
29 8rick Textures
23 Metal Textures
l9 Miscellaneous Textures
5 Paint Textures
8 Plaster Textures
25 Stone Textures
l8 wall Textures
23 wood Textures
3l Dirt Masks
7 Shadow Maps
l5 Skies
v2: r2
aged & stressed
l5 Collections of amazing Textures
for full information and pricing including discounts of up to 25% visit www.3dtotal.com
Lxisting vl owners can get the new upgrade for only $29 usd! thats for 3x more content than the original!
This issues
Contents
Issue 009 September 2006 www.2dartistmag.com page
2DARTIST
www.2dartistmag.com
EDITOR
Ben Barnes
ASSISTANT EDITOR
Chris Perrins
MARKETING
Lynette Clee
CONTENT MANAGER
Warin Pismoke
DESIGNERS
Matt Lewis
Alex Price
INTERVIEWS
Benita Winckler
Daniela Uhlig
TUTORIALS
Richard Tilbury
Adonihs
Emrah Elmasli
Yu Cheng Hong
Tomáš Müller
Tiberius Viris
GALLERIES
Raluca Iosifescu
Kuang Hong
Waheed Nasir
Tomáš Müller
Svetlin Velinov
Pavel Mikhailenko
Seung Ho Henrik
Holmberg
Paul Wright
John Kearney
Freelance Artist from Berlin
Benita Winckler
Freelance Artist from Berlin
Daniela Uhlig
Concept art from 2 influential movie legends
The Concept of Fear
Matte painting walk-through from Tiberius Viris
Inferno
10 of the best images from around the world
Galleries
Elements Digital Painting Series
Skin by Richard Tilbury
Elements Digital Painting Series
Skin by Emrah Elmasli
Digital Painting by Adonihs
Painting a Female Face
Project Overview by Yu Cheng Hong
Making Of ‘Beast’
Project Overview by Tomáš Müller
Making Of ‘Mining Machine’
About Us
Zoo Publishing
000
000
000
000
000
000
000
000
000
000
000
INTERVIEW
INTERVIEW
ARTICLE
ARTICLE
GALLERIES
TUTORIAL
TUTORIAL
TUTORIAL
PROJECT OVERVIEW
PROJECT OVERVIEW
ABOUT US
welcome
Editorial
Issue 009 September 2006 www.2dartistmag.com page
Welcome
To Issue 9! We’re still going strong and have a
lot of new stuff planned for you in the next few
months. We are going back to basics soon with
some amazing tutorials & articles on traditional
art skills. So, if you read 2DArtist every month,
staring in awe at the amazing artwork then stare
no longer! Now you too can learn how to create
stunning 2D images from scratch!
Artist Interviews
We talk to 2 Berlin based Female freelance
artists this month. No coincidence intended...
Benita Winckler, and Daniela Uhlig.
Tutorials
Focusing on Tutorials this month, Elements
Digital Painting series gets onto the
technicalities of painting Skin, Adonihs shows
us how to paint a female face, and Yu Cheng
Hong and Tomáš Müller show us the processes
of creating their images ‘Beast’ and ‘Mining
Machine’ respectively.
About us
Zoo Publishing is a new company comprising of
a small team here in the Midlands UK. 2DArtist
is our second magazine project following the
successful 3DCreative (www.3dcreativemag.
com). We are very grateful for the support of
the following CG sites which have help promote
and spread the word about our publications.
As well as ourselves, all digital artists owe
a lot to these communities for the incredible
amount of work they do for the CG Industry.
3DKingdom, 3DLinks, 3DTotal, 2DValley,
3DM3, CGUnderground, ChildPlayStudios, DAZ
3D, 3DExcellence, Epilogue.net, GFXArtist,
the3DStudio, CGDirectory, MattePainting.org,
Max-Realms and Mediaworks, we look forward
to lasting and successful partnership with these
CG community sites
Interviews
Benita Winckler
Daniela Uhlig
Articles
Alien vs Predator
Inferno
Tutorials
Painting Female Face
Elements Digital
Painting Series
This month Skin
Making Ofs
Beas by Yu Cheng Hong
Mining Machine by Tomáš Müller
Galleries
10 of the best 2D digital artworks
from two infuential
fgures in science
fction movie history.
From conception to
creation : Alien vs. Predator
Concept Art, Digital & Matte Painting Magazine
Issue009 September 2006 $4 / €3.25 / £2.25
Artist
Editorial
this months
Contributing Artists
issue 009 September 2006 www.2dartistmag.com page
Yu Cheng Hong
Concept artist / 3D animator
Freelancer, Taipei, Taiwan.
I studied “Graphic Design &
3D Animation” when I was in
Shih Chien University in Taipei,
Taiwan. After graduating, I have been to Australia to
study “Digital Cinematics” in the Geelong, Gorden
Institute of TAFE, and also went to Auckland
University of Technology to study “Animation and
Visual Effects” in New Zealand.
http://web.my8d.net/digifyart/
beziermix@yahoo.
Every month, many artists from around the
world contribute to 2DArtist Magazine. This
month, we would like to thank the following for
their time, experiences and inspiration.
Contributors
Benita Winckler
Student / Freelance Illustrator
Berlin, Germany.
I’m usually a 2D person (very
much in love with my wacom
tablet and my sketchbooks) but I
also enjoy sculpting and working with real materials.
Designing fantasy characters and costumes is what
I fnd most fascinating. Currently I’m doing more
and more jobs for the entertainment industry. In my
freetime I’m working on my graphic novel.
www.dunkelgold.de
benita@dunkelgold.de
Daniela Uhlig
Berlin, Germany.
I “suffered” at school for 13 years
until I fnally graduated, then I
was educated for a job (that I
won’t mention now) for 3 years
which was even worse than school. However, I have
been working as a graphic designer & illustrator for 2
years now and I might eventually study art sooner or
later. So - to keep it short - I have loved painting since
I could hold a pen in my hand and it is my passion.
http://www.du-artwork.de
libita@hotmail.de
Tomáš Müller
Concept artist / illustrator /
Graphic designer / Freelancer >
Prague, Czech Republic. I have
6 years of experience in the
creative domain, especially in
Graphic design, illustration, concept art and matte
painting. I have studied a high school of art. Now I
work as Freelancer.
http://www.temujin.cz
temujin@temujin.cz
Emrah Elmasli
Concept artist / Digital Illustrator
/Freelancer. As a Graphic Design
graduate, i’ve started to work
digitally in the year 2002. I have
been creating digital illustrations
and concept designs since then. I’ve worked with
Crystal Dynamics, Irrational Games, Australia,
Fantasy Flight Games, Cgtoolkit and vs. remotely. I
would like to work as a Concept Artist in a video game
company someday.
www.partycule.com
emrah@partycule.com
Benita is a Freelance
artist and Student
from Berlin, Germany.
After recently
swapping computer
science for the fne
art section, she takes
time out to talk to
3DCreative Magazine.
issue 009 september 2006 www.2dartistmag.com
An interview with
Benita Winckler
page
Hi Benita, can you give the readers a brief
introduction / biography about yourself?
Hi. Ok, where to start? I’m a student / freelance
illustrator from Berlin with a soft spot for
elves, cats and fantasy things. I suppose it all
started with my love for costumes. I had my
own sewing-machine and used to design the
dresses I would wear on party weekends. Lots
of black velvet, fake fur and torn up tights (just
to give you an impression) I always thought
I would study art or costume design, but the
odds were against it. So I was studying “Media
Computer Science” till a few months ago. It
was intellectually interesting but on the other
hand also a little dull and too demanding to
allow yourself the pleasure to paint during the
classes or even after them. So I fnally brought
that to a good end, got my life back and now I’m
planning to switch over to the fne-art section
here in Berlin. For what I have heard they loathe
everything non-abstract or even “fantasy”, so I
guess I will have a funny time getting along with
them. But I’m really looking forward to it.
Sounds like an interesting path you have
followed so far, when I was talking with Tim
Warnock in an earlier issue he was saying that
there can still be some bad feeling towards
digital art in fne art Universities that want to stay
strictly with traditional mediums, have you come
across this? And do you think it’s a good idea to
teach students traditionally (no computers) for
the frst few years?*
Umm I don’t know.. Personally I don’t really
care if it’s digital or traditional as long as the
stuff is well done. The basics will always stay
the same, no matter what medium you use. And
yes, sure it will be much easier for a teacher
(and the students) to deal with one subject
after the other. First the basics of drawing,
an interview with
Benita Winckler
issue 009 september 2006 www.2dartistmag.com page9
perspective etc - then the software. It’s the same
with keyboards and pianos. Sitting in front of
the electric version of the thing won’t make you
a better player if you haven’t practised your
scales.
Looking at your portfolio we can see you
specialize in fantasy characters, can you tell us
why that is?
I’m really not thinking too much while I’m
painting. But I love everything with a sparkle
of ‘otherworldliness’ to it. When the borders
around this world become shine through and
you begin to see little creatures lurking in the
shadows. Think about the movie “Labyrinth”,
when the Goblin King is dancing with Sarah. All
these beautiful costumes!

I personally fnd your backgrounds as
interesting as the characters, they seem
beautiful yet creepy at the same time! Any
reasons or inspirations for these?
Thank you. I always try to not see “background”
and “fgure” as something parted from each
other. They belong together and should be
treated equally. At frst I made a few mistakes
with that, I put the elements on different layers
for too long, so in the end everything was 2
elements: background and fgure and that way
the ‘connectedness’ inside the image suffered
a little. Now I try to merge the layers as soon
as possible to make sure to always work on
the whole image. Overall it’s as much fun to
paint the details of the environment as it’s fun
to paint the character. You can nearly play god,
while you explore the setting. Will it be cold or
warm or humid and misty? How will the grass
feel to the touch of her feet? Every thought
about the characters “life” outside the frame of
your screen will add to the believability of the
image.
The fact that the characters really belong to
their backgrounds really shows though with
your work, do these environments evolve and
change as you paint them or do you have most
of the ideas ready in your head when
You start out?*
It’s diffcult to say. Most of the time it’s just
a feeling that I want to convey. So while I’m
painting I’m always open for those happy
Accidents when some brush strokes suddenly
begin to look like steps etc.. And of course it can
happen that a whole forest has to be cut
Down in the painting process. If it’s for the sake
of the image, one has to be rigid.

Are the images in your online portfolio
created purely for pleasure or do you receive
commissions?
I’m receiving commissions too and they can be
lots of fun to work on but normally I just love my
freedom. When there are no restrictions at all
and I’m just doing what I want and when. The
images in my portfolio are all pleasure-pieces
although Lucrezia Navarre was a commission. I
usually take commissions in which I’m interested
in personally, so that the work will not only be
“work” but also something special.

Yes having total freedom is great, I guess the
challenge of the restrictions commercial pieces
offer can appeal to some too. Talking about the
business side again, do you have any ideas or
dreams about what you would like to do when
you fnish your studies?*
Right now I am doing some concept work for
a small movie project, which I enjoy a lot. It’s
great having the chance to work with interesting
people. More of that in the future would be
great. And talking about dreams: it would
be nice to see my graphic novel published
someday.
an interview with
Benita
issue 009 september 2006
issue 009 september 2006 www.2dartistmag.com
An interview with
Benita Winckler
page12
Looking at your website, you divide your works
into your main gallery and sketches, what is
the average time period for these works that
defnes which category they fall into? And is it
the case that a main gallery piece is basically
just a polished detailed follow on from a sketch,
or do they follow a very different process right
from the start?
Oh, my website needs a relaunch! Never mind
these division. It was an idea I had, so that I
could post my quick doodles in another section
Than the big and polished projects. But in the
end I have fgured out, that I like to use my
daily sketch box for the doodles and so my
real “sketches” section is getting a little old
and dusty.. Ah! Chaos! :D But you can say,
the sketches are usually fast works, studies or
ideas, fnished in a few hours, some in a few
days... The gallery images are big projects with
more time involved. The smallest ones in there
took 2 months.

an interview with
Benita Winckler
issue 009 september 2006 www.2dartistmag.com page1
Can you tell us about the software and
hardware you use? Are you a 100% digital
artist these days?
Normally my tools are Photoshop, Painter and
my old Wacom Intuous 1. But the moment I’m
leaving the house, it’s back to traditional
Sketchbooks and all sorts of pens.

Does your local area have some nice spots to
sketch and be inspired?*
Berlin is a very interesting place to live.
Lots of ruins and lost buildings if you know
where to look. There is even the ruin of an old
amusement park with a huge Ferris wheel and
trains that haven’t been used for years, all rusty
and covered with weeds, surrounded by woods.
And not to forget the East-Berlin TV Tower,
which is actually one of the secret gateways to
Aion. But this is another story...

What are the inspirations for your characters?
When I was younger I collected the “Elfquest”
graphic novels of Wendi Pini. These 20 books
had a big infuence on me. I even had dreams
where the story somehow continued with
different characters and different stories and I
was thinking: Hey! There are more than these
20 books out there and I didn’t knew about
them! And I felt like fnding the holy Grail or
something. I get a lot of inspiration from my
dreams. I grew up in a village near a huge
forest and so my friends and I had the chance
to spend a lot of time in an “elven-friendly”
environment. At night these images somehow
mix up with scenes from my favourite movies or
ideas from books and form new symbols.
When your not brushing what do you like to do?
I started Kendo last year and enjoyed it
very much. But at the moment my life is too
unpredictable to commit myself to this art form.
It’s one of these things which you can’t do just
like that. It needs 100% attention. But as soon
as things are back to regular again, I’m sure
I’ll continue with it. Whenever I fnd some time
I’m writing on the story for my graphic novel.
Computer Games are great for relaxation and
issue 009 september 2006 www.2dartistmag.com
An interview with
Benita Winckler
page1
so is spending time with my friends. I love art
supply stores, books and our local coffee bar..
But normally I’m more of a workaholic.. I get
nervous if I sit around too long doing “nothing”.

Well whatever you are doing Benita we wish
you all the best, as long as keep painting your
fantastic art that wows us all that is. Many
Thanks for your time, it’s been great speaking
with you.
Benita Winckler
You can see more of this artists work at:
www.dunkelgold.de
and contact them via:
benita@dunkelgold.de
Interview by : Tom Greenway
>>
Daniela Uhlig
is a 24 year old Graphic
designer and artist living in
Berlin, Germany. At the moment
she is working for a big frm with
around 500 employees, where she is
busy designing and creating wallpapers
and screensavers. We spoke to her about
the unusual, and sometimes quirky,
digital art that she creates...
>>
issue 009 september 2006 www.2dartistmag.com page17
an interview withDaniela Uhlig
Daniela
Uhlig
Can you give our readers a short introduction
please; age, location, employment etc.?
My name is Daniela Uhlig, I’m 24 years old
and I live in Germany’s capital, Berlin. At the
moment I’m working for a big frm with around
500 employees, where I’m busying myself
in the graphical feld; designing and creating
wallpapers and screensavers.
Are you self-taught? Or did you attend college?
I haven’t studied anything in the artistic feld,
but I have been painting all my life, on ordinary
paper and canvas for the frst 21 years of my
life, then, because of my job, I had to learn how
to paint digitally. I was placed in front of a PC
with Photoshop running and was told to go and
learn how to handle it. And that’s what I’ve been
doing for the last 2 years: learn, learn, learn,
every day! At some point, I started painting in
my private time, and roughly a year ago, I think
I made the largest progress because, through
the infuence of a number of art communities, an
issue 009 september 2006 www.2dartistmag.com page1
An interview withDaniela Uhlig
ambition arose in me.
Do you believe in ‘talent’ or is just daily practice
of drawing shapes and forms?
I believe that one can learn many things about
graphics by practice; drawing clean lines,
hatching, chromatics, composition, a basic
understanding of anatomy and so on. But these
are merely techniques; they don’t automatically
amount to a good picture. I think a certain
measure of talent is involved. There will always
be a difference between great technique and
real talent; without talent one will sooner or later
reach one’s limits. I’m not so sure if I’ve actually
got a specifc technique. I’m still experimenting a
issue 009 september 2006 www.2dartistmag.com page19
an interview withDaniela Uhlig
lot, just painting from the top of my head. During
During lunch breaks I often sit in a café with a
pencil and some paper, and then an idea pops
up sooner or later. I make a sketch, run off to
the scanner and begin to just paint colour over
the scanned copy. I let my feelings take control
over what I’m doing in these moments. I haven’t
yet arrived at the point at which you can start
planning what goes where and why.
Do you have your own drawing techniques or
tips for us? If yes, please tell!
As for tips, I don’t actually know how to answer
this. I don’t think I should give general tips, apart
from just one: avoid shadowing using the colour
black!
Do you have a ‘zone out’ time, where you try not
to think about your work at all? Or, are you the
kind of lady who lives for her work all the time?
As far as I can see, every one of your images is
cartoon based, why is this?
Hmm… When I’m actually not painting I’m still
always thinking about it, directly or indirectly,
even when I’m out with friends. It may happen
that I ponder a new idea or go through a work I
had previously begun. Or I collect impressions
unconsciously, i.e. look at objects, see how
light falls on them, where, what, how and when
they cast a shadow and the effects they have
on colour. But sometimes, I take a break and
completely relax. I have my little rituals to make
myself completely and thoroughly focus on
nothing.
Well, not everything I paint is actually cartoon-
based, but I admit that a lot of it tends to go
in that direction. It’s basically a style in which
you can run riot - you can paint a great deal of
things; funny, romantic, perverted, sick, nasty,
mean - without them being as extreme as they
would be in a naturalistic painting. There are
simply more possibilities when you’re not limited
to reality - you’re not constrained to proportions
and so on. Sure, I like painting naturalistically as
well, but it isn’t half as much fun!
issue 009 september 2006 www.2dartistmag.com page20
An interview withDaniela Uhlig
Combining cuteness with an evil
nature on very cute and simple
cartoon characters seems to
play a very important part in
your images. How do you go
about planning your drawings?
Ok, I guess this question refers to
small dreadful animals? They emerged more
or less by chance, and I have only created a
couple of them because people liked them and
they thrilled them. They only take a little time
to make, as they are drawn quite simply, and
they are a way of getting a break from complex
paintings, a kind of stop-gap.
issue 009 september 2006 www.2dartistmag.com page21
an interview withDaniela Uhlig
What or who are your inspirations for this subject?
You see, the ideas for these things come very
spontaneously most of the time. I stroll around,
look at people and wonder “what if…”, suddenly I
burst out laughing and ‘bang!’ - there’s the idea.
Then I sit down at the computer, make a basic
sketch, draw clear outlines and paint them up.
What are you plans for your future career?
Oh boy, that’s by far the most diffcult
question to answer! I haven’t a clue! I
sure want to stick to the graphic feld
for the rest of my life but if that will be
my job for just as long, I really can’t
say. I do often think about taking
up studies, but not necessarily
to make a living out of it, rather
for self-realisation and out of a
thirst for knowledge. I’ve always
thought there’s so much to
know and wanted to quench
that thirst. But since I’ve been
working for 3 years, going
to university would be a
fnancial step backwards
now. I’ll probably think
about it for some more
time and save up some
money, before I make
up my mind. Maybe I’ll
get that supreme job
offer… Who knows?!
Thanks for your time
Daniela! It has been very
great talking with you!
Daniela Uhlig
You can see more of Daniela’s
work here:
http://www.du-artwork.de
Or, you can email her at:
libita@hotmail.de
Interview by : Warin Pismoke
in 1978 HR Giger created
a world in which belonged
one of the most feared
monsters in Cinematic
History. Nearly 30 years
later the Alien ‘Xenomorph’
returned to face the
ultimate battle with Stan
Winston’s ‘Predator’ in
AVP, the long awaited
movie translation of the
cult Comic Book. We take
a look at how 2 ‘middle
aged’ concepts still amaze
and inspire artists and
audiences worldwide...
issue 009 September 2006 www.2dartistmag.com
Concept Art
Alien Vs. Predator
page2
Both the “Xenomorph” and the deadly extra-
terrestrial hunter the ‘Predator’made their on
screen partnership a reality in the 2004 movie
Alien vs. Predator directed by Paul W.S.
Anderson, and the relationship between them
could not be more deep rooted. Long before the
release of the Alien vs. Predator movie, in which
the 2 characters (now owned by 20th Century
Fox) are slung into ferce battle against each
other, the Aliens, born of the fantasy of the
surrealist Swiss painter H.R. Giger and the
magician of special creature effects wizard Stan
Winston, have been the individual stars of 6
movies. Beginning with ‘Alien’, directed by
Ridley Scott in 1979 and winner of the Oscar for
the best special effects created by Brian
Johnson, Nick Allder, Denys Ayling, H.R.Giger
and Carlo Rambaldi, ‘Aliens’ (1986) directed by
James Cameron (of ‘The Abyss’ and ‘Titanic’
Fame), there then came the 2 predator movies
‘Predator’ (1987) and ‘Predator 2’ (1990), before
we saw the return of the “Xenomorph” in ‘Alien3’
(1992) directed by David Fincher (Fight club,
Se7en) and Alien: Resurrection (1997) directed
by French Director Jean-Pierre Jeunet (Amelie,
Delicatessen and the most recent ‘Alien Vs.
Predator’, steered by the capable marketing strategists from 20th Century
Fox. As a prequel to the flm, we have seen the Xenomorph Alien creature
battle with the Predator in at least 9 cartoons published by Dark Horse
Comics and this has also spilled over into at least 5 videogame licences
on home and arcade machines. There have also been 3 ‘Batman vs
Predator’ comic strips, however there seems to be a longer standing and
fercer rivalry between the 2 Aliens that they have even had Action
Figures, collection puppets, the comics of the Dark Horse mentioned
above and the real-time strategy, frst-person shooters for PC CD-Rom
and the Microsoft Xbox and Sony Playstation 2 ( Alien versus Predator:
Gold edition, Alien vs. Predator 2: Primal Hunt and Alien vs. Predator
Concept Art
Alien Vs. Predator
issue 009 September 2006 www.2dartistmag.com page2
Extinction, developed by Rebellion, Sierra and
Electronic Arts for the Fox Interactive). So, why
does the Alien fascinate us so much? Certainly,
for H.R. Giger’s very original creative vision of
both ‘biomechanic’ and ‘insectoid’ coming
together, loaded with asexual allusions, in which
the organic parts meld with seemingly machine
and vice versa. Add to that the sheer terror and
fear which the creature can generate from it’s
appearance alone and then throw in a
frightening reproductive cycle which evolves in
all four movies, and you get the beginnings of a
creature created with one purpose; to terrify
worldwide cinam audiences! ‘Alien’ was always
intended to be a dark and anguishing flm, the
creature is the perfect metaphor for our
unconscious fears, and has changed for ever in
such a radical manner the way in which we
conceive aliens in general, and the way that Sci-
f movies are made. So, if that’s the case for the
issue 009 September 2006 www.2dartistmag.com
Concept Art
Alien Vs. Predator
page26
Alien, then why does the ‘Predator’ have the
ability to almost amuse? With less of the
seemingly mindless destructive capabilities of
the Alien, the relentless hunter from another
planet, plays with his enemy in the same way a
cat plays with a mouse. This behavioural code
almost forbids him to persist attacking
defenceless creatures or adversaries who are
not at the same level. This was delicately
illustrated in Predator2, directed by Stephen
Hopkins in 1990, where Leona, a female police
offcer in Los Angeles is almost killed, and then
saved by the Predator after he scans her body
and discovers the heartbeat of a foetus,
revealing that Leona is in fact in an advanced
state of pregnancy. And who can forget the face
of an amazed Danny Glover inside the Predator
spaceship, perusing the Predators ‘trophies’
hung up around the internal walls of the craft.
Look carefully an you will also notice the head of
the Xenomorph Alien! Visually extraordinary and
with the same ‘beast hunts man’ formula which
has since been replicated over many flms, the
Predator created by John Mc Tiernan in 1987,
with Arnold Schwarzenegger and its sequel
Predator 2 were able to maintain suspense at
the limits of human endurance and also
managed to say something new and not banal
about the fear of the unknown. So it was
inevitable that the two more famous monsters of
science fction were to end up meeting each
other. However, Before we plunge into the movie
‘AVP’, it’s interesting to go back in the time and
revisit the special effects which originally gave
life to “Xenomorphs” and “horrible monsters”, to
use the exact words of Lieutenant Gorman of U.
S. Colonial Marines in Aliens and of Arnold
Schwarzenegger’s Major “Dutch” Schaeffer in
Predator. What amazes us for certain is the
progress made in special effects from 1979 to
today. To give life to the creatures, every little
trick was utilised, from the rubber-suits, to cable-
actuated controls, from camera tricks to John
Hurts’ fake stomach, which actually used fake
blood pumped up plastic tubes over the real
entrails of animals aquired from the local
butcher. By the time Alien: Resurrection was
Concept Art
Alien Vs. Predator
issue 009 September 2006 www.2dartistmag.com page27
made, the frst flm of the quadrilogy that makes
use of digital effects, they were using 3D scans,
modelling and animation software, thousands of
Aliens in CGI worlds and digital skeletal
structures of the warrior Alien animated using
hundreds of joints and many controls using
Inverse Kinematics. These are not new
technologies any more, but not many flm
Series’have made it through such as technologic
transformation and still come out looking like the
original in so many ways. This is purely down to
great and original design at the concept level.
The Alien of 1979 was played by Masai Bolaji
Badejo, His role as the title character was
practically tailor-made to suit him. Badejo was a
young African design student when he was
picked up from a bar by Ridley Scott. He was as
big as Scott wanted the alien to be: at least two
metres (6ft 7in) tall. In fact, he stood at well over
7ft. It was Scott’s intention to create a monster
that looked as if no human could be behind the
mask. It was to be long and angular, with an
impossible frame that only a few men would be
able to fll. Badejo flled the role. The Italian
Carlo Rambaldi, winner of 3 Oscars for the
remake of King Kong in 1976 directed by John
Guillemin , Alien and E.T. The Extra-terrestrial
by Steven Spielberg, realized the mechanical
head, worn by Badejo like a helmet, with the
second interior retractable mouth controlled by
cables. The sculptor and modeller Roger
Dicken, active in television and in the cinema
since the 1960’s on the puppet series
Thunderbirds, was charged with creating the
“small alien forms” for the famous “chest-
burster” scene. The idea being that the creature
is implanted into a living host organism and
once it has grown enough, comes tearing out of
the hosts body. The alien eggs were created by
Nick Allder. The supervisors of the special
effects Brian Johnson and Nick Allder worked
together in the television series Space: 1999
and were interested not in supervising the model
photography, but also by the physical special
effects realized on the set during shooting. Brian
Johnson already had a strong two year
experience in the industry, with the special
photographic effects unit for 2001: A Space
issue 009 September 2006 www.2dartistmag.com
Concept Art
Alien Vs. Predator
page2
Odyssey by Stanley Kubrick. He had decided on a very “low tech”
approach for the space sequences using miniatures, as the budget would
not allow for blue screening and camera motion tracking technology. The
four miniatures of the commercial space vehicles U.S.S.C.S. ‘The
Nostromo’, the lifeboat capsule ‘Narcissus’ and the derelict Alien
spaceship on the planet ‘Acheron’ , were created by modelmakers Martin
Concept Art
Alien Vs. Predator
issue 009 September 2006 www.2dartistmag.com page29
J. Bower and Bill Pearson, using plastic forms
of EMA, Perspex sheets and an incredible
quantity of tiny details coming from commercially
available model-kit boxes. During modelling they
used over two hundred kits of the Airfx Space
Shuttle and German tanks from the famous
Japanese model frm Tamiya. The miniatures
were suspended from the ceiling of the studio or
mounted on heavy supports of steel covered by
black velvet, invisible when the correct exposure
was obtained during model photography with
the camera itself on a little dolly to create the
spaceshi . The stars were added in afterwards.
To show the actors inside the Nostromo and
Narcissus cockpits, it was necessary to build
some larger sections of the spaceships in 1/24
scale, big enough to contain small television-
screens on which the actors were shown. On
the surface of the alien’s planet, modellers and
sculptors employed real Animal bones to mould
the rocky formations around the alien derelict
spaceship, which was created from expanded
polystyrene covered by EMA plastic tubes and
plasticine so as to sculpt the external details.
The planets of the stellar system toward of
which the Mother computer deviates The
Nostromo, were white plastic spheres on which
were projected slides so as to obtain an three-
dimensional. The matte-painting of the egg
chamber was created by the artist Ray Caple,
who has created Matte Painting for other huge
blockbuster flms such as ‘Superman’ (1978),
‘Brazil’ (1985) and ‘Batman’ (1989). Several
years after ‘Alien’, the producer and director
James Cameron who in the past had been an
art director, miniature creator and operator for
movies such as ‘Battle Beyond the Stars’ (1980)
produced by Roger Corman and Escape from
New York (1997) by John Carpenter, succeed in
interesting the 20th Century Fox and
Brandywine Production in his story for a
possible sequel of ‘Alien’, entitled ‘Aliens’.
Lieutenant Ellen Ripley is asleep for 57
years in one of the hypersleep capsules of
the lifeboat Narcissus, which is found
drifting through. Once back on earth she
presents her report about the death of the
crew, equipment and the destruction of the
stellar cargo U.S.S.C.S The Nostromo, but
isn’t believed by the Weyland-Yutani
Corporation. In the meantime, on the same
planet where the Ripley’s companions had
originally found the derelict alien
spaceship, human colonies have been
established. When the communications
from these colonies suddenly stop, Ripley,
escorted by the U.S. Colonial Marines,
venture back to the planet to investigate.
The flm, lead again by movie-star
Sigourney Weaver, discovers that there
are now hundreds of the Aliens as
opposed to the single attacker she had
defeated on the Nostromo. This meant that
production costs were going to be much
higher than in Alien, especially as the
special effects that Cameron wanted to
give the realization were going to be so
complicated. He immediately employed
brothers Robert and Dennis Skotak of the
L.A. Effects Group headed by Creature
legend Stan Winston. The shooting for the
flm took place in London, UK in the
historical Pinewood Studios and the flm
was eventually rewarded with an Oscar in
1986 for ingenuity and creation, practically
having used all existing techniques in the
‘book’ of special effects. The terrestrial
colony on the LV-426 planet Acheron was a
miniature built in sections, so that one or
more sections of itself, could be
reconfgured according to the requirements,
behind that was a matte painted backdrop.
For the scene where an alien attacks the
pilot of the Drop-ship UD-4L”Cheyenne”,
the landing shuttle of the Marines, the
model effects technicians used a wire-
rigged suspended model. For the vehicle
carrier troops M577 APC (Armoured
Personnel Carrier) there was a full scale
version for the actors and also a Radio
controlled model “piloted” by an operator
out of camera view. Although the Skotak
brothers favoured effects which didn’t
require blue screening or camera effects, it
was evident that many shots of the
spacecrafts in fight, required long and fuid
camera moves which couldn’t be obtained
without motion-control cameras controlled
by computer. After large scale arguments
with the L.A. Effects Group over wether to
use blue screeneing or full model sets, they
left the project. Veteran Brian Johnson,
double Oscar winner for both Alien and Star
Wars Episode V: The Empire Strikes Back
was called in while he was on holiday in the
Caribbean, to complete the work with his
studio Arkadon Motion Control. The gigantic
military carrier spaceship U.S.S. Sulaco,
the lifeboat Narcissus (rescued when the
flm begins) and the landing Drop-Ship 4D-
4L were photographed with the motion-
control system in England just in time to
start the fnal cut of Aliens in the editing
issue 009 September 2006 www.2dartistmag.com
Concept Art
Alien Vs. Predator
page2
room.
However, now, we not only had 1 alien but now
10 evolutions, including the eggs laid by the
Queen, the big Queen herself and the “chest-
buster” thorax-breaker, Stan Winston and his
collaborators created a series of economical
costumes applying in some alien parts, so as to
allow to the stuntmen total liberty of movement.
There has been a noticeable improvement in
respect to the original full-body suit built by H.R.
Giger for the frst chapter of the series. For
close-up shots of the details, Winston and the
rest of the technicians used a head and a trunk
controlled by cables, for a better result when
compared with the head of Carlo Rambaldi.
The Queen, operated by two people inside the
body, some technicians out of camera view
and a huge steel structure of support, not in the
shot, to support the enourmous weight of the
creature. For the fnal battle between Lieutenant
Ellen Ripley in the Caterpillar P-5000 Power
Loader and the Queen, the props in the scene
are all full scale 1/1 and so too is the alien
creature. They have been replaced in certain
shots by cable-controlled miniatures built by
Doug Beswick and Phil Notaro. It’s almost
unnecessary to try and underline how the
presence of the alien warriors have ever been
more threatening, due mainly to the exceptional
Concept Art
Alien Vs. Predator
issue 009 September 2006 www.2dartistmag.com page
technical realisation and the photographic ability
of Adrian Biddle.
The next year, in 1987, 20th Century Fox made
‘Predator’ directed by the talented John Mc
Tiernan (Director of Die Hard, The Hunt for Red
October, Mato Grosso, The 13th Warrior and
the unlucky remake of Rollerball). Predator
is the story of a U.S. Special Forces unit sent
to a central American country to save both
the crew and the passengers of an helicopter
shot-down by guerrillas. After the battle
against the revolutionary forces, the group
of the major “Dutch” Schaeffer has to face
a new and apparently invincible n Peter Hal
enemy: the Predator, a powerful extraterrestrial
hunter equipped with hi-tech weaponry and
protected by a cloaking device capable of
rendering himself almost completely invisible.
The Predator’s facial design, which seemed
to be the amalgamation of an abyssal fsh, a
crustacean and an insect, was again a creation
of Stan Winston’s studio that also had to create
not only the full-body suit, worn by the gigantic
Kevin Peter Hall, but also the accessories
like the helmet, the ray gun mounted on the
shoulder and the medical kit. With the four
tusks, the facial mechanism allowed the opening
and closing of the mouth. Also, they created a
fuorescent green blood, able to ooze from the
predators wounds. As well as the excellence of
Stan Winston for the realisation of the creature
itself, the Predator success was also due to
the visual effects produced by the talented
R/Greenberg Associates of New York as well as
Dream Quest Images, for the opening space-
shot with the Predator ship entering the Earth
atmosphere and for certain matte-paintings.
The Predator cloaking device developed by the
R/Greenberg Associates consisted of ingenious
optical trickery, replacing the hunter silhouette
with a bi-dimensional effect constituted by the
repetition of distorted background images in a
concentric manner, one inside the other. The
electrical sparks caused by the accidental
contact of various Predator equipment with
issue 009 September 2006 www.2dartistmag.com
Concept Art
Alien Vs. Predator
page
water, were animated manually such us in a 2D cartoon. The “thermo-
graphic” vision given by the visual apparatus of the Predator’s helmet
allowed him in addition to look for body heat-signature. Effects were
increased in number in the sequel Predator 2 in 1990. More 2D animation
effects, more weapons such as the fying “frisbee” complete with cutting
blades, the snare or the long extensive lance used against the cruel Los
Angeles drug lords (that the alien hunter chooses to kill instead of the
police offcers because they appear better equipped and more dangerous)
but, defnitively, more Predators in the movie fnale when the stubborn
Danny Glover playing the part of Lieutenant Mike Harrigan defeats his
adversary after a hard battle. With only two movies, the Predator series
seemed to be concluded, although the franchise then preserved the name
during the following years in comics, videogames, models, playthings
and generic gadgets. In 1992, 20th Century Fox then decided to continue
the legend of ‘Alien’ with the ‘Alien3’, directed by David Fincher, author of
Seven, Fight Club and Panic Room. The action takes place on the remote
‘penal colony’ planet ‘Fury 161’. In the sea of which crashes the EEV,
Concept Art
Alien Vs. Predator
issue 009 September 2006 www.2dartistmag.com page
one of the lifeboats of the spaceship U.S.S.
Sulaco while it was onits way back to Earth,
The only survivor on board (from the survivors
of the ‘Aliens’ flm including Newt, the corporal
of the U.S. Colonial Marines Hicks and the
android ‘Bishop’) is Ripley. Tom Woodruff
Jr. and Alec Gillis (creature effects
coordinators on Aliens) continued to
use H.R Giger’s original concept,
albeit with a few changes such
as the removal of the four
‘protuberances’ on the Alien’s
back. Richard Edlund, former-
Industrial Light & Magic visual
effects supervisor, produced
the miniature effects and the
matte-paintings of the planet
and the furnace. In Alien3, there
are very few shots of the U.S.S.
Sulaco and not more than four or fve
of the EEV’S fight into space, but the
great innovation introduced by the
technicians of the Boss Film Studios
was the technical application in
order to animate the alien to give
the impression of the swift and
deadly assassin that is is. In fact, a
puppet was used, controlled
by some blue sticks
(rod-puppet), steered
by 4 or 5 operators and
photographed using
motion-control cameras in
issue 009 September 2006 www.2dartistmag.com
Concept Art
Alien Vs. Predator
page6
front of blue-screens for tracking purposes, vital
for the matching of the camera’s movements
with the ones performed on the live-action set.
Jim Rygiel, Oscar winner for the best visual
effects in the Lord of the Rings trilogy and
during that time responsible of the Boss Film
Studio’s computer-graphisc department, was
tasked with generating the alien’s shadows on
the pavements and the walls or to add, thanks
to particle systems, dust and fog present in the
atmosphere for certain shots of the planet’s
external environments. With Alien: Resurrection
in 1997, directed by french flmmaker Jean-
Pierre Jeunet. The story is moves 200 years
on, after the sacrifce of Ripley on Fury 161,
when she lept into the furnace in order to kill
the Alien inside her and destroy the race of
Xenomorphs forever. Now Ripley has been
cloned for a military secret experiment, from
drops of her blood found on board the space-
ship Auriga. However, as the new alien lifeform
has been born of a woman, the DNA has been
crossed and once again new aliens creatures
were required. Again, Tom Woodruff Jr and
Alex Gillis, now of the Amalgamated Dynamics
Incorporated (ADI) worked on the creatures
and again, thanks to the enormous progress
of CGI, Blue Sky Studios and Blue Sky /VIFX
(known today for the CGI animated movies
Ice Age, Ice Age 2 and Robots, two of them
directed by Chris Wedge) developed and
animated a 3D CG model of the alien warriors,
used especially for the underwater sequences
where they demonstrate unexpected swimming
abilities. A computer-generated Alien model
was also used for the shots in which one of
them emerges out of the water, striking a
service ladder of the spaceship Auriga and then
climbs up in the lifeboat of the Auriga killing the
crew. Alien resurrection is best remembered,
even if it wasn’t a box-offce smash hit, for the
sequence of the discovery of Ripley’s malformed
clones in the laboratory of the spaceship, and
for the NewBorn’s birth, a creature with it’s
own genetic features of the human being and
the alien’s one, too. Ian Hunter and Matthew
Gratzner of the HGI or Hunter-Gratzner apart
Concept Art
Alien Vs. Predator
issue 009 September 2006 www.2dartistmag.com page7
issue 009 September 2006 www.2dartistmag.com
Concept Art
Alien Vs. Predator
page
from the U.S.M Auriga (United Systems Military),
a big model in scale 1/1.000, 3 meters 65
centimetres with approximately 10,000 to 15,
000 optical fbres inside using halogen lamps
for the rocket engines. Two models in scale
1/32 were photograph togetherto show the
shuttle Betty and the Auriga’s docking bay. The
sophisticated motion-control equipment for the
miniature photography in front of the green-
screen was supervision by Erik Henry and Joe
Lewis, (developer of the system of visualisation
EncodaCam used for I, robot). The Parisienne
digital effects facility Duboi, directed by Pitof
(director of the interesting Vidocq and of the
disastrous Catwoman, starring Halle Berry) a
long-time collaborator of the flmmaker Jean-
Pierre Jeunet. supplied 19 artists, based in Los
Angeles to complete the matte-paintings and
Concept Art
Alien Vs. Predator
issue 009 September 2006 www.2dartistmag.com page9
compositing work for 133 shots, all done with the proprietary software
Dutruc installed Silicon Graphics workstations. The matte-paintings,
beautifully created by artist Jean-Marie Vives (who had worked with
Jeunet on Amelie and the fantastic ‘City of the lost Children’), were used to
extend both the miniature and full scale sets.
For year after Alien: Resurrection, rumours plagues the media regarding
the possibility that 20th Century Fox would produce a cross-over
movieof Alien and Predator, a kind of “fnal battle”, in which the two alien
races would be faced in a neutral territory. Dark Horse comics, and the
videogames of Fox had already represented the confict several times
before, but until the debut of Alien vs. Predator
no one would have been able to guess how it
would or could end. Set in the early 21st century
on Earth, Charles Weyland, an industrialist
billionaire, leads an archaeological expedition
in Antartica. Using thermal imaging satellites,
Weyland believes to have discovered the ruins
of an ancient pyramid temple that predates the
Egyptian and Aztec pyramids buried under the
ice. Once inside, the team fnds the remains
of humans with holes in the rib cage and the
remains of facehuggers, meaning that the
possibility of the temple being uninhabited is
very unlikely. To make matters worse, a group
of teenage Predators are coming to the temple
to perform a coming-of-age ritual that involves
fghting to the death with the aliens. Soon, it
becomes clear that only one species is getting
out alive. British director Paul W. Anderson
had already demonstrated a certain familiarity
with the horror sci-f and fantasy genres with
movies such as Mortal Kombat, Event Horizon
and the frst Resident Evil. But Anderson, fully
aware of the expectations of the battle between
these two movie giants, and also need for
a fully believable battle, was faced with the
choice of the traditional method of actors in
suits or CGI. With realism of the creatures in
mind the safest choice was both as full-body
suits and animatronics but this obviously
limited the movements of the creatures. But
at the same time he wasn’t totally convinced
about an approach at 100% in CGI. So, the
choice taken was to entrust the Amalgamated
Dynamics Incorporated (ADI) of Alec Gillis
and Tom Woodruft Jr. with the realisation of
the alien, including the “face-hugger”, the
“chest-burster”, the Queen and the eggs, and
the Predators. Using digital effects to replace
and improve the animation of some parts of
the creatures body or to recreate the historical
battle between the predators and some 16,000
issue 009 September 2006 www.2dartistmag.com page0
xenomorphs. Supervised by John Bruno, The
Moving Picture Company (MPC), Framestore
CFC, Cinesite (Europe) Ltd, Double Negative
of London and a unit dedicated to the miniature
photography based at the studios of Prague,
have produced all of the digital effects used
in Alien vs. Predator. MPC’s efforts included
the digital creation of torso, tail and legs of the
Queen and the warriors. Scans of the entire
creature brought the polygon count to over 4
million, I an effort to keep the biometric details
from Gigers initial designs. Paul W.S Anderson
was desperate to maintain the original design
of the Alien, kepping tru to the biomechanical
look of the Giger design, established in the
frst two movies of the quadrilogy, it changed
with a dog-like posture in Alien 3 by Fincher
and was last upgraded in Alien resurrection.
With the models complexity growing, to get the
designs into a 3D CG state that could be rigged
an animated the models were scanned using
3D scanners at high resolutions. The next step
was to import these details into the software
for the assembly and the export of the relative
geometries in Maya polygonal fles, the leading
3D modelling and animation tool of Alias, now
Autodesk Media and Entertainment. The Queen
was fnally composed of 20,000 polygons,
a warrior Alien composed of 85,000 and a
Predator 50,000. During the rendering time,
Pixar’s Render Man converted the polygonal
models into Subdivision surfaces or Sub-D.
These are surfaces created by a technique that
places itself somewhere between polygonal
modelling and NURBS modelling. This allows
the software to automatically subdivide a
polygonal mesh in such a manner to obtain
the fnal form,giving smooth and well defned
curves, perfect for the Alien creatures.
Meanwhile, Cinesite (Europe) Ltd was occupied
with creating the digital face-huggers which
issue 009 September 2006 www.2dartistmag.com page1
issue 009 September 2006 www.2dartistmag.com
Concept Art
Alien Vs. Predator
page2
are hatched from the eggs laid by the Queen
and then attach themselves to the face of their
victim. The diffculty was in getting the Face-
huggers to make those ‘sudden bounds’, thanks
to a skill they have of using the spring of the
long tail, allowing them to cover short distances
by fying through the air. In the original 1979
flm, the effect was decidedly very low-tech,
and obtained by flming the mechanic puppet
inside the eggs frst, then flming it on the
face of Kane and then by editing the different
frames in a very fast fnal cut. At frst, Cinesite
received one the “face-hugger” full-size props
built by ADI to scan into the software Cyslice
in the form of a 3D Maya model. Photographs
of the real object, taken on the live-action set
Concept Art
Alien Vs. Predator
issue 009 September 2006 www.2dartistmag.com page
in Prague, served as visual references for texture maps and for lighting
the CGI counterpart, modelled by pieces through the Subdivision surface
with Subsurface scattering for the traslucency of the external skin. The
interior rig, important to animate the digital face-hugger, has been
recreated in startling complexity giving full control so that, various versions
of each shot can be provided to the director to match the live action shot
elsewhere. One of the most striking animations was when a face-hugger
leaps over a Predatorwhich in turn reacts, killing the alien parasite by
launching his blade weapon. For the face-hugger divided in two in mid-air
by the Predator, Cinesite utilized real elements, 2D particles effects and
3D geometry, for which physical references of the interior organs, meats
bought from the butcher and also vomit. Nevertheless, the iconic moment
of the Alien vs. Predator movie, beyond the CGI aliens, shall remain the
battle on the top of the pyramid that sees the two opposing races, just
a few Predators against 16,000 digital Aliens. For these shots, MPC
used the new crowd simulation software called ALICE, developed for
issue 009 September 2006 www.2dartistmag.com
Concept Art
Alien Vs. Predator
page
the colossal epic Troy by Wolfgang Petersen.
The artifcial intelligence of ALICE, working
in Maya, simulates the brain of each “agent”
Alien by the creation of a network of nodal
interconnections in which a knot is a sensor or
a rule. The sensors allow each agent to relieve
information about the area around him like, by
title exemplifying, the presence of other agents
or the degree of the terrain inclination where he
acts. The sensors can be audio-visual but can
also be understand too. It is then possible to
establish rules based on their function.
When the general movements of the digital
crowd have been established, the next step is
to add the details. The motion-capture sessions
were carried out in a specifc manner so that
every digital character being a part of the action
possesses a wide range of complete actions
and movements. This function of the software
to generate the digital crowds is called MLE ,
“Motion Library Editor”, or EMILY and works
under a unique and innovate idea, developed
with success of MPC. The basic theory consists
of taking an arbitrary volume of motion-capture
details about the movements and the EMILY
provides subdivisions in short animated clips
of a maximum duration of 8 to 12 frame’s of
each other. Having imported thousands of them,
EMILY then compares them with the position
of the characters skeletal structure and then
decides which can be and which cannot be
utilised to create a logical movement.
Apple’s Shake was used by Double Negative
for compositing. The work done by Double
Negative mainly focused on the cloaking effect
and the Predator weapons. The extra-terrestrial
technology allows them to remain practicly
invisible, if stationary. During motion, the
Predator’s presence is perceived as an effect
or trace of the image to link in with the original
optical effect of Predator in 1987 and Predator
2 in 1990. Double Negative created a new
technique for the “cloaking” and the “decloaking”
thanks to the modern technologies of digital
graphics. Double Negative 3D supervisor,
coordinated the replacement of the props used
Concept Art
Alien Vs. Predator
issue 009 September 2006 www.2dartistmag.com page
by actors and stunt-men with CGI replicas after
the application of markers so as to track the
movements in the set. The artists at Double
Negative were also tasked with the sequence of
the stone-bridge on the precipice crossed by two
humans pursued by an Alien, in reality a partial
set on a green-screen extended with digital
matte-paintings and 3D geometries. During the
AVP fnale, nuclear charges activated by the last
surviving Predator destroys the pyramid, the
eggs and all alien warriors except for the Alien
Queen. The creature then pursues both the
hunter and Alexa in the whalers station, while
the icy crust collapses for the explosion. Here,
visual effects supervisor John Bruno chose to
make use of almost all effects techniques like
mechanical miniatures, pyrotechnics, CGI Alien
Queen, animatronic creature with CGI moving
tail, compositing and practical effects. But at
last who won this ultimate alien war? Maybe
an AVP sequel is still to be produced but this
time we can say that winners are the effects
guys at MPC, Framestore CFC and Double
Negative. It is heartwarming to see that even in
the modern era of computer generated imagery
issue 009 September 2006 www.2dartistmag.com
Concept Art
Alien Vs. Predator
page6
and technology movie at such a fanatical rate,
that 30 year old concepts are still causing artists
to break the boundaries of the technology
which they use every day, and create yet more
stunning work to amaze and inspire us.
Alien (1979) photos Copyright by 20th Century
Fox Film Corporation, Aliens (1986) photos
Copyright by 20th Century Fox Film Corporation,
Alien 3 (1992) photos Copyright by 20th
Century Fox Film Corporation, Alien resurrection
(1997) photos Copyright by 20th Century Fox
Film Corporation, Alien vs. Predator (2004)
photos Copyright by TCF Hungary Film Right
Exploitation LLC and 20th Century Fox Film
Corporation. Alien (1979) creature, miniatures
and models photos courtesy and Copyright
by Martin J. Bower, Alien resurrection models
and miniatures photos courtesy of New Deal
Studios. Original Alien design by H.R Giger.
Predator (1987) photo Copyright by 20th
Century Fox Film Corporation.
Pierfilippo Siena
for Imago Edizioni, Italy
http://www.imagonet.it
Published by agreement.
Matte painting is a digital art
style which combines a variety of
techniques to create scenes that
are hard to fnd in the real world.
This style was originaly created
for the movies, but it’s now used
widely for any kind of application
that requires unreal environments.
a walkthrough to
Inferno
issue 009 september 2006 www.2dartistmag.com page9
Introduction
Matte painting is a digital art style which
combines digital painting, photo manipulation
and 3D in order to create scenes that are
otherwise hard, if not impossible, to fnd in the
real world. This style was developed initially
for the movies, but it’s now used widely for any
kind of application that requires fantasy or sci-f
environments. Of course, movies are still the
ones who use it the most. There is no single
famous movie made after 2003 that didn’t hire a
famous matte painter to make its backgrounds;
‘Lord of the Rings’, ‘Matrix’, ‘Star Wars’, ‘King
Kong’, etc.
Basically, in modern movies, the actors are
performing on a small area called “active set”
or “platform”. This can be a studio room, like
the weather forecasts which are flmed against
a blue background, with all the nice graphics
behind them which are added by computer, an
outside platform or even a real environment.
It’s then the job of the matte painter to change
everything around them to make it blend with
the active set. For instance, in ‘Lord of the
Rings’, Frodo was flmed on a boring mountain
cliff that you can see anywhere, then the hired
matte painter changed everything around him;
added a volcano, a nifty background and sky,
and made it look like he was on the way to
‘Mordor’.
Movies set aside, matte painting as a digital art
form means to connect several environments
that are otherwise boring and useless as
individual images, into one complex and
interesting scene without losing the sense of
realism - making an egg out of broken shell, if
you like. Usually, photos are used for texture
and reality reference, and everything else gets
painted. How much is painted however depends
on the specifc requirements of the client. For
example, ‘Inferno’ was 75% painted because the
one person who hired me wanted a more game/
cartoon-like feeling. It’s less a matte painting
and more of a digital painting.
Tools (fg.01)
From the beginning, it’s worth mentioning that
I use a ‘Wacom Graphire 4’ tablet for my matte
paintings. However, if you have a steady hand
and strong photo manipulation skills you can also
do it with a mouse, it will just take longer when
compared to using a tablet. When Matte Painting,
the most used tools are; Brush, Clone Stamp,
Eraser, Smudge and Dodge/Burn. ‘Brush’ and
‘Eraser’ are self explanatory. ‘Clone Stamp’ is used
mostly for creating new areas using texture from
the original photo. ‘Smudge’ can be used for many
purposes such as smoothing, creating special
FX or mixing colours.
‘Dodge’ and ‘Burn’
come in handy when
you have to remake the
highlights and shadows
or when creating
specifc materials such
as metal, silk or water.
issue 009 september 2006 www.2dartistmag.com
a walkthrough to
Inferno
page0
Preparing for a New
Image
Before starting anything, the most important
part is the research. Assuming you already had
your moment of inspiration and have a scene in
mind, you should start by laying your ideas on
paper, but I’m not referring to just a sketch! You
should make a list of scene elements, analyze
them, decide upon your focal element. See what
you can do and what’s harder for you to make,
search for references, make individual try-outs
of those individual elements and consider
replacing them if you feel like they are too much
of a challenge for you. Look at photos, study the
material you plan to use, make colour sketches
to see how the elements and tones work
together. I’m not saying that this is the right way
to do it, but this is how I do it and it spares me
of a lot of frustration. It’s true that accidents can
bring nice effects, but unless you get lucky you
will get a lot of stress if you fgure, right in the
middle of your project, that you have to re-do
everything because the scene elements simply
don’t work together.
More Advice:
Work on big sizes even if you don’t plan to make
the image also available as a print. This will
allow you to easily fx small details. If the image
looks good on 100% then it will look good on
25% too. Force yourself to work at full resolution
and use smaller views only for guiding. If
something doesn’t come out as you planned,
don’t panic! (Hitchhiker’s Guide anyone?) Take
a deep breath, drink some water, walk around
your room and try again. The fact is, the more
frustrated you get the lesser the chances are to
create something good. Even if you’re working
against a deadline, don’t push your physical
limits. Take frequent breaks and do something
else during that time.
Step 1 (fg.02,03)
Right, so here we are, where everything
begins with a ‘silly’ sketch. As you can see,
in the image on the right, I’ve quickly spread
some tones in order to see how they blend
together. Everything is painted - nothing
fancy. In fact, everything is a mess at this
point, but that is how it’s supposed to be. The
bridge is a remainder of my initial idea, but it’s
going to be dropped at a later stage. It was
supposed to become some creepy infernal
castle connectedwith mainland. The key point
here is to experiment with colours. Don’t bother
with details. Worry about perspective and tones
instead. Colours were blocked in using a big
hard-edged brush. Smaller stripes on the cliff
edge were painted using a mixture of chalky and
hard-edged brushes. The sky was spread with a
customed round chalky brush.
Step 2 (fg.04)
Basically, what happened so far was focusing
on the main element of the scene (the volcano)
and I started to build it up together with the
surrounding area. I always like to work on areas
rather then spread my attention all around the
scene. I’m not saying this is how you should do
it, it’s only how I do it. I would normally start with
the sky, since the entire scene depends on it,
but for now what I have is enough. Apart from
the rock texture, everything is painted up to this
point. It was painful to fgure out a good way
to paint cliffs, but after many try-outs, I fnally
a walkthrough to
Inferno
issue 009 september 2006 www.2dartistmag.com page1
managed to come up with something decent.
The key is to close your eyes and think how
a cliff-side would like. Then paint line by line,
element by element. Don’t throw yourself over
the whole cliff at once! Experiment and you will
come up with much better results than I did! I
should’ve started with the sky, since the whole
atmosphere and light depends upon it, but lucky
for me I already had the whole scene in mind.
However, don’t do this at home - always start
with the sky!
Step 3 (fg.05)
I went ahead building more of the volcano, since
it’s the dominant element in the scene. Again,
this step is completely painted. Painting smoke
and clouds can become frustrating but luckily, I
like to do it (I should write a tutorial soon about
painting clouds!). There are tonnes of ways
to do this, but I’ve discovered a quickmethod.
Also, I thought to add some ‘volcano bombs’
as detailsfor more realism. You usually paint
smoke with a combination of hard-edged and
chalky brushes.
Step 4 (fg.06)
Finishing the basic look of the volcano and the
surrounding plateau. Please note that this step
took a lot of time since the volcano is entirely
painted. There’s about 3-4 hours difference
(with breaks) between this and the previous
step. After I was happy with it, I went on
replacing the bridge with a more appropriate
one, and added a depth element on the plateau.
I fnally used photos for the texture in this step.
Phew. Anymore painting and I was risking
turning this into a digital painting rather, than a
matte.
Step 5 (fg.07)
I opened up a separate fle to create the sky,
since the source fle is starting to become big.
This took another 3-4 hours. (I’ll have to write a
separate tutorial for clouds/smoke soon. There
isn’t enough space to include a full one here.)
After this, I brought it to my scene and adjusted
the volcano to ft it. Then I refned some details
issue 009 september 2006 www.2dartistmag.com
a walkthrough to
Inferno
page2
and built up the base of the lower vale.
In the end I texturised the vale. The vale was
painted, then texture was added via photos. I
like to paint the base myself and not just use a
stock as reference. This gives me more control
and artistic freedom. Generally speaking, I
use photos as little as possible, as painting
over them won’t teach you anything! I’ve now
dropped the bridge as it was blocking the nice
horizon.
Step 6 (fg.08)
More details and refnement ,especially on the
vale textures. I built up the vale and painted the
foreground “rock” (right). After that, I did more
texturing, colour adjustments and fnally I built
the end of the magma fow.
a walkthrough to
Inferno
issue 009 september 2006 www.2dartistmag.com page
Step 7 (fg.09,10,11)
The fnal step is always the best one! ...
Details. I wanted to add so many more details;
ruins, impaled skeletons, etc., but the client said
the scene is already busy and that is how he
likes it, so maybe another time. Dragons were so
much fun to paint. I actually want to paint a full
detailed one sometime soon. There is no point
in painting paws or scales since no-one will see
them, not even in print. However, the dragon is
not just a shape who looks good only in 25%
view (as many painters like to do in order to gain
time). It’s a pretty decent background dragon,
even in full view.
And that’s it! I hope you found this small and
humble guide useful to some degree.
Inferno - Tiberius Viris
More Details can be found at:
http://suirebit.deviantart.com
You can contact them at:
suirebit@gmail.com
10 of the best images from around the World.
Featuring;
Raluca Iosifescu
Kuang Hong
Waheed Nasir
Tomáš Müller
Svetlin Velinov
Pavel Mikhailenko
Seung Ho Henrik Holmberg
Paul Wright
& John Kearney
issue 009 September 2006 www.2dartistmag.com
The
Galleries
page6
www.2dartistmag.com/gallery
Ancient Tree
Kuang Hong
http://www.zemotion.net/
noan@zemotion.net
The
Galleries
issue 009 September 2006 www.2dartistmag.com page7
www.2dartistmag.com/gallery
Sunflowers
Waheed Nasir
http://www.waheednasir.com
wnasir2@hotmail.com
Gladiator
Raluca Iosifescu
www.iramelanox.go.ro
iramelanox@gmail.com
issue 009 September 2006 www.2dartistmag.com
The
Galleries
page
www.2dartistmag.com/gallery
Mobile Mining Machine
Tomas Müller
http://www.temujin.cz
temujin@temujin.cz
Atlantis
Pavel Mikhailenko
mpavlos@yandex.ru
You can see the making of this image later on in the magazine!
The
Galleries
issue 009 September 2006 www.2dartistmag.com page9
www.2dartistmag.com/gallery
Soul
Dancer
Svetlin Velinov
www.velinov.com
svetlin@velinov.com
issue 009 September 2006 www.2dartistmag.com
The
Galleries
page60
www.2dartistmag.com/gallery
Somnio 005
Seung Ho Henrik Holmberg
henrik.holmberg@spray.se
http://henrikcgcommunity.com/
The
Galleries
issue 009 September 2006 www.2dartistmag.com page61
www.2dartistmag.com/gallery
Lisa
Paul Wright
paul@wrightair.co.uk
www.wrightair.co.uk
Bar Girl
John Kearney
JKNet@Blueyonder.co.uk
www.j-k.pwp.blueyonder.co.uk/
Source
Tomas Müller
http://www.temujin.cz
temujin@temujin.cz
by Richard Tilbury
digital painting tutorial series
The ‘elements’ series is a guide to basic 2D Digital painting and can be
followed in most software packages supporting paintbrushes and layers.
Each month, 2 or 3 professional artists will cover a specifc theme or
‘element’, resulting in 2 or 3 different styles and techniques which can
be viewed side by side. This month we will be doing skin.
Subjects:
Issue 06 : June 06 : part 6 : Fire & Smoke
Issue 07 : July 06 : part 7 : Fur & Hair
Issue 08 : August 06 : part 8 : Eyes
Issue 04 : September 09 : part 9 : Skin
Issue 10 : November 06 : part 10 : Flesh Wounds
elements
Skin
issue 009 september 2006 www.2dartistmag.com page6
2. Quite often I place the predominant colour
down across the entire canvas, which in this
case is a light brown (R157, G103, B76), but
here I wanted to keep a white backdrop, so I
made a mask around the drawing and then flled
in the body only (Fig.2)
This months’ tutorial will deal with the topic of
painting skin. As with any subject, it is important
to gather as many references as possible before
starting. Skin is yet another element that varies
greatly, hence the importance of research. No
one person looks the same and so it is important
to decide on a rough colour scheme early on. I
decided as a starting point, to begin with a rough
drawing I had already done on paper in one of
my sketchbooks.
1. The frst stage, as always, was to make a
quick copy of the drawing on a new layer using
a small standard airbrush set to about 8 pixels
wide and set to Multiply. This will act as our
guide for the painting, which you can see in
Fig.1.
issue 009 september 2006 www.2dartistmag.com
elements
Skin
page6
3. This will form the base colour, over which
I shall now start to paint in some general
highlights and shadow areas. I usually paint
these on two separate layers, but in this
instance I am putting them on the same layer
and leaving it at the standard Normal blending
mode in order to make quicker changes (Fig.3)
At this stage, we are just trying to establish
the basic forms and where the light source is
situated. You can see the type of brush used
in the top right, along with the fow setting
(50%). Try to keep the light and dark areas as
derivatives of the base colour. You can see the
two shades I have used in the top left of the
image.
4. Now that the body has begun to take form,
and I know roughly where the light is falling, it is
time to create a new Shadow layer which will be
set to Multiply. This will defne the key shadows
and will be done using a soft airbrush and will
help to further defne the forms. The colour used
can be seen in the top left (Fig. 4).
5. You will notice that, so far, the detail has
been defned tonally, with various sizes of the
soft airbrush. Certain areas, such as the lips
and around the deltoid muscle at the top of
the left arm, have used a hard round brush
which creates a more clearly defned edge, as
demonstrated by the two brush strokes in Fig 4.
elements
Skin
issue 009 september 2006 www.2dartistmag.com page6
6. Now that a shadow layer has been
established, it is time to create one for the
highlights, which will be set to Soft light as a
blending mode. In Fig. 5, you can see the colour
used in the top left. I have also gone back to the
original lighting layer and also added in some
highlights across the face and neck to improve
the head area.
7. There are essentially two further layers that I
will use before fattening the image and making
colour adjustments. One shall be reserved for
detail only, namely the nipples and veins, and
the other will be called ‘refnements’ which shall
be another highlights layer in essence. In Fig.
6, you can see this layer isolated over the base
layer. It is set to Normal blending mode and
uses the same colour as the highlights layer.
The purpose of the layer is to enhance what is
already there by using fner strokes, as well as
paint in the brightest areas. Keeping this as a
separate layer just means more control when
making fnal adjustments to the tonal ranges.
issue 009 september 2006 www.2dartistmag.com
elements
Skin
page66
8. With this layer complete, and the small
details painted in, it is just a question of making
some minor colour changes, which in this case
means a colour balance adjustment layer which
I tweaked towards a more yellow hue. One last
layer, which is set to Soft Light, is used to add
some colour to the ears and lips, as well as
some of the random areas, to add a little colour
variation.
9. One could now add some blemishes and
marks, along with some subtle
colour variation, to help
reduce the consistency
of the skin tones.
Richard Tilbury
contact them via:
ibex80@hotmail.com
digital painting tutorial series
The ‘elements’ series is a guide to basic 2D Digital painting and can be
followed in most software packages supporting paintbrushes and layers.
Each month, 2 or 3 professional artists will cover a specifc theme or
‘element’, resulting in 2 or 3 different styles and techniques which can
be viewed side by side. This month, we begin with skin.
Subjects:
Issue 06 : June 06 : part 6 : Fire & Smoke
Issue 07 : July 06 : part 7 : Fur & Hair
Issue 08 : August 06 : part 8 : Eyes
Issue 04 : September 09 : part 9 : Skin
Issue 10 : November 06 : part 10 : Flesh Wounds
by Emrah Elmasli
issue 009 September 2006 www.2dartistmag.com
elements
Skin
page6
In this tutorial, I’ll try to explain the painting
process of a realistic human skin texture. I’ll use
the upper torso of a male body as my subject,
which is a very good surface to apply light, form
and detail. It’s always good to use a reference in
subjects like this - a photograph or a live model
will do. I begin my painting process by creating
a new A4 document in Photoshop CS2. The frst
step is drawing the lines of the torso. I start by
drawing the main sketch on a new layer with a
simple brush (fgure 01), by looking at a torso
reference found in an anatomy book.
To begin, it’s always useful to draw a basic
sketch which indicates the main forms of the
subject. By doing this, our painting will be better
and correct (fgure 02).
After fnishing my sketch and being happy with
it, I change the “layer properties” to “multiply”
and open up a new layer underneath it. I fll this
new layer with a medium skin tone (R: 219; G:
190; B: 156), which I’m thinking of using in my
painting, using the “fll” tool (fgure 03).
As we know, skin tones vary by the races and
countries we live in. The skin that I’m going to
paint belongs to a white man, with a medium-
toned skin. I continue by opening a new layer
between the sketch and the medium skin tone
layer. I start to determine general forms with the
soft brush that you will see detailed in fgure 04.
The colours that I use while painting the forms
are the darker and warmer tones of the medium
skin tone that I used before. I pay more attention
to the general “stain” values, then going more
into the details and trying to fgure out the form
of the skin, the curves of the muscles and the
colour of the fnal skin tone. (fgure 05)
For the next step I can start to apply the
highlights by considering the angle of the light
source. I use the yellowish and lighter tones
of the skin, so that the form starts to slwoly
become more defned (fgure 06).
After being happy with the highlights and the
shadows of the form, I start to paint over the
lines and try to make the painting look more
elements
Skin
issue 009 September 2006 www.2dartistmag.com page69
realistic (fgure 07). The brushes I use while
painting over the lines are the airbrushes that
I use frequently, and the hard-edged brushes
which I use to paint the sharp edges (fgure 08).
NOTE: Skin takes the form of the muscles and
wraps it like a cloth.
One of the most important things that we should
pay attention to, whilst painting a realistic skin
texture, is successfully applying the curves of
the muscles. If we take a look at the shoulder
muscles, we can see the harmony between
the skin and the muscles under it (fgure 09).
Human skin is a refective surface, in despite
of its matte appearance. If we look at the area
between the bicep muscle on the upper arm and
the ribs (fgure 10), we can see the bouncing
light effecting the bicep area. We call this
“radiosity” . This refection changes depending
on the colour and the density of the light. It
is important to get the refections right, whilst
painting a realistic skin texture.
After painting over the lines (fgure 11), I can
start the detailing process. The best way is
to examine our own skin to see what kind
and amount of detail it has. Skin has details
issue 009 September 2006 www.2dartistmag.com
elements
Skin
page70
like freckles, hair and spots. Now, I’ll try to
apply these details to my painting. I can start
with the freckles and spots detail. One of the
best ways to produce freckle details, is to
create them traditionally by using a brush and
watercolours. All you need to do is to spatter
some watercolour paint on to white paper. After
elements
Skin
issue 009 September 2006 www.2dartistmag.com page71
creating the spatter effect, you scan it and
make it ready to use digitally. Using Photoshop,
I desaturate the spatter texture and adjust the
levels until it becomes pure black and white
(fgure 12). Then I copy this texture on my
painting and apply it to the suitable places. To
integrate the freckles with the skin I change the
“layer properties” of the layer to “colour burn”,
and to make it less dominant I decrease its
opacity to 50% (fgure 13). To make it look more
homogeneous, I erase some of the spots. I also
apply some brown coloured spots to make the
skin texture richer (fgure 14). The other way of
make the texture look more detailed is to add
some hair to it. I paint these hairs on the lower
arm with a thin, hard brush one by one (fgure
15). The colour of the hair I chose is a lighter
tone of the skin colour ( R: 199 , G: 154 , B:116).
(fgure 16) .
Another detail which reveals under the skin, is
the veins. I add some blue-ish, grey coloured
vein details on the bicep muscle with a soft and
calligraphic brush, without over-doing them.
To make them “pop out” more I add some
highlights to them with a lighter tone of the
skin colour (fgure 17). After adding all these
details, I’ve almost fnished the painting. There
issue 009 September 2006 www.2dartistmag.com
elements
Skin
page72
are just some colour and contrast adjustments
left to be made. Over all my layers I open some
“Adjustment Layers” like; “brightness/contrast”,
“colour/balance” and “ hue/saturation”. You
can fnd these by going to the “layer” menu
and clicking on the “New Adjustment Layer”.
I increase the contrast and decrease the
saturation a bit. Also, I adjust the colours by the
help of “Colour Balance” and make them look
more accurate. As a last step I will add a “noise
effect” over the skin to make it look rougher. I
open a new layer and fll it with a greyish tone
of the skin colour (for example: R:180; G: 170;
B:150). After this, I go to the “Filter” menu,
click on “Noise” and select “Add Noise” effect,
then make these adjustments: Amount: 400%,
Distribution: Uniform (fgure 18).
After this, I use the “Spatter Effect” to make the
“noise” look messy and unbalanced. (Filter>
Brush Strokes >Spatter). Then I apply “Blur
Effect” on the same layer twice. (Filter> Blur>
Blur) (fgure 19). Lastly, I decrease the opacity
of the layer to 4%. Finally, my skin painting is
complete (fgure 20). This is the method I use to
paint realistic skin texture. I hope you like it.
Emrah Elmasli
More work from this artist can be found at:
www.partycule.com
You can contact them via:
emrah@partycule.com
b
y

A
d
o
n
i
h
s
in this tutorial, I will take you
through the stages of painting
a female face. I’ll teach you
my method for some quick, but
stylish, hair strokes, eyes, skin
complexion, lips, and a quick
outft to ft the female. For this
tutorial, I used Photoshop...
issue 009 September 2006 www.2dartistmag.com
tutorialPainting A Female Face
page7
Sketching in your Character
As we now know, this is how I prefer to start,
as I think it is the easiest way to begin. By
simply laying down a basic sketch, as you can
see, I have my female fgure outlined. At frst, I
thought I would give her a ‘Cruella Deville’ (‘101
Dalmatians’) look, but as I progressed, I took out
the cigarette and gave her a more “smug” look.
Basically, you can use references if you want,
or you can just channel your own female look.
I used a reference for mine, as I can’t sketch
females that well, yet. Try to keep your lines
very clean, almost as if you’re inking in a comic
book page - thin lines, nothing too bold and you
can achieve something very simply. Simple is
better - you don’t want to make the fgure too
complex because you should remember that
females are soft, not hard-shaped like males.
The outft is completely up to you, if you want
something stylish, ugly, futuristic, it’s really
down to what’s in your head. For her, I wanted
to create a stylish 70’s look; European, fringed
outft, simple, but nice. As for her hair, all you
have to worry about is just the basic shape
of it - don’t go and make a lot of tiny threads
and strands of hair, because it will make no
difference in the end.
Laying down the Background
and Basic Colours
Now, for portraits, I always do the same thing for
my backgrounds. I use the gradient tool, which
can be found in the tool bar, and I just pick two
colours and lay them fat on the background.
For her, again with the retro style, I just took two
chalky pink/purple colours and used them as my
background. Very simple.
Moving on to the fgure’s colourings, I always
start off with the skin underlay colour, which is
just the basic fat skin colour that I’m going to go
with. Then I paint in her hair using blacks, a few
purples, and so forth. I’m very obsessive about
not having something coloured in - I cooled it
down though by not colouring the shirt in at frst.
After I laid down my solid colours (black for hair,
pearly-pink for skin, and so forth), I then started
to paint over them with highlights and shadow
differences, just trying to block in my colours,
especially on the eyes which I will work on next.
I decided to give her some heavy eyeliner
around the eyes to give her a more mysterious
look. I also laid down some brighter colours on
her lips, giving what will be my starting point for
the highlighting there. Also, remember to colour
the shadowed area under her jaw.
Eye Tutorial
For the eye, I will give you a small lesson
on them. Since these are mostly covered by
eye-shadow and mascara, you have little to
work with, yet it should still “pack a punch”. We
frstly fll in her eye colour, like we did before.
tutorialPainting A Female Face
issue 009 September 2006 www.2dartistmag.com page7
Once you have your basic colouring, use a
size 3 brush and start to scribble in some of the
highlight colours and the pupil. For her eyes,
I wanted to give her an icy cold blue look. So,
taking my blue colour out of my colour picker, I
then started to work in the oval shape and the
highlights. You don’t want to paint too much and
make the whole eye a solid blue, but rather you
need to blend them together. Then, you can pick
out a white colour, and block in the glare on the
the pupil. Once you have a good shape and feel
for it, use the dodge tool on a very low strength,
and start to work in some highlights, mostly in
the glare and the tiny bit around the pupil. Once
your eyes are nearly complete, you can start to
work in some eye lashes. Using a size 1 brush
set on 80% opacity, draw tiny strokes from the
bottom of the eye lid, and build up thicker lashes
on the upper lid using a size 3 brush.
Blending and Smudging
Colours
In this step, I will start to blend my colours
together and make her look a lot smoother. This
is my favourite part - making her more lively -
when the painting feels like it’s coming together.
I immediately start off with her eyes, sockets,
and lids. I use my typical smudge brush which
I always use to blend, to get the colours to mix
smoothly. Once I’ve blended them together, I go
in with either the same colour that I’m playing
with, on a low opacity, or the blur tool with
low strength, and just touch it up a bit. Once
I’m satisfed with the look of it, I start to move
on to other parts. A new technique that I’ve
learned from artists such as Linda Bergkvist, is
the simple, what I like to call, “glossy splatter”
near the eye. This basically gives the shimmer
of the skin, using tiny pearl colour blotches. I
don’t have it on my skin, but it makes it look a
lot more “slick” looking. I then start work on her
forehead - blending and mixing as usual.
issue 009 September 2006 www.2dartistmag.com
tutorialPainting A Female Face
page76
Blending and Beginning
her hair
Moving on to the next step, you’ll notice the
strands of hair. I like to begin with a soft brush
and stroke in some threads of hair. Then I go
in with a hard brush, set on Pen Pressure, and
go over them to get that “dream-like” fow of the
hair. As for the skin, I went over it some more,
just smoothing it out. Remember, no hard spots
- make everything as smooth as can be!
Refining and touching up
Now, although it looks like a lot has been
done, not all that much has been. The main
differences are in the eyes. Here, I’ve totally
refned them - opened them up a little more
- putting extra detail in the eyelashes. I’ve
smoothed out a lot more of the colours, whilst
also working on her chin area a little more
- curving it. As for her ear, I began late on this so
added some basic tones to it then built it up so
that it’s just not one solid purple colour.
Quick hair and fleshing
out her cheek
For this step, I used a soft brush in both parts.
For her cheek, I turned down the opacity of the
colour to 20% and started to fesh it out a bit.
By doing this, it helps to curve the lighting on
her face to create a softer shape, rather than a
hard shadow. Block in the soft colours around
the areas that look a little harsh by turning the
opacity down - this will make the colours more
seamless. As for the back of her hair, which is
starting to take place, use the soft brush again
to create some curls and light strands.
Cigarette gone and
refining
I’ve now removed the cigarette and started to
refne some of the soft spots on her face. Firstly,
I worked on the area where the shadow of the
cigarette fell on her cheek, then over-painted
the cheek with a soft pink/pearl colour, starting
to blend all of the additional colours together.
Once I have a consistent colour scheme for
the side of her face, I can then start to blur it
in using the Blur tool - not too rough - just soft
enough to get a smooth touch to it.
Detailing her outfit, and
tiny details
To me, it’s the small details that can really bring
a picture to life. Whether it’s a tiny freckle, an
earring, or whatever else comes to mind, it
tutorialPainting A Female Face
issue 009 September 2006 www.2dartistmag.com page77
Final Fixes and steps
This is the fnal step of the picture. What I did frst was
to move her eye a little closer to her nose than it was
before. I fxed up her nose a little bit - adding more of a curve
to the tip of it. I added more streaks of hair, as I explained earlier in
this tutorial, just to make her hair a little wilder and not so “secretary-
like”. I then changed the overall colour of the picture, by duplicating
the image, setting it to overlay, lowering the opacity and messing with
the colour/hue. After that, it’s up to you to defne your own details and
make any touch ups. That’s it!
Adonihs
More work from this artist can be found at :
http://adonihs.deviantart.com/
and contact them via: dmxdmlz@aol.com
can change a picture in an instant. Even a tiny
strand of hair across her forehead makes her
appear innocent, whilst a raised eyebrow makes
her look more mysterious. I start to detail the
outft now, adding a nice fringe to the edges
of the turtle neck. To do this, I used a hard
brush, but set to pressure. I frst dabbed in the
same colour as the background to get the little
embroidered fringes. Then I used a size 3 hard
brush, still set to pressure but at 80% opacity,
and added in the little holes here and there. I
then added some earrings to her left ear, and
continued to shape out her arms and body.
This the Making Of ‘Beast’ - a simple way to show
how I painted this concept in Photoshop using
simple layer and lighting techniques...
The making of
The Beast
issue 009 september 2006 www.2dartistmag.com page79
Introduction
In this “ making of ”, I will share with you how
I painted my “Beast” concept. There are many
ways to achieve this, however, I will be showing
you my favourite method...
Sketching and Concept
This character was a game character and it was
presented as a 3D version in a cinematic game.
About the beast; it lives in the Middle Ages and
has powerful and rapid strength to make an
attack. So, I began by thinking about the fgure
of the “beast” and sketched several angles of
different views for modelling, then scanned into
Photoshop and painted them in Photoshop 7.
issue 009 september 2006 www.2dartistmag.com
The making of
The Beast
page0
Tools used
Here are the tools I used. As usual, I used
Photoshop “Custom Brush” to paint:
“Brush Tool”
“Smudge Tool” - to blend colour

Painting the background
Second step. I’ve been thinking about what I
want the character of the painting to be, what
type of lighting and where is the light from, then
I start to paint the background frst. In this step,
I knew I wanted my background to look darker,
with a dreary gray, blue and brown colour. Here
I work out the general look that I’m aiming for.
This is the background colour palette I used.
Here is the result, and the sketch line is on a
“Multiply” layer above.
Choice of colour
I chose a blue-purple for the skin and red, brown
and green for the clothes. For the arms and
equipment, I used black and white colours to
shade, then used “colour balance” to apply the
colour. I then decided to make the skin colour
nearly desaturated, so you can see my colour
palette choice is not very saturated. I decided
that a mauve colour would highlight the area of
the skin, with purple for the dark / shadow areas.
I chose grey-green, red and brown colours for
clothes and leather.
Setting the light
In this step, I considered what type of light I
wanted and where from. It’s like, if you’re in
a 3D program, what type of light you want to
choose; spotlight, direct light, or point light,
depending upon the mood that you want to
achieve. When drawing, I always think if it’s in
3D, placing the light and where the shadow will
be dropped, and where the rim light is from.
Colour blocking and
Layers
Since I already decided upon the light source,
now I can start to add blocks of colour and
details, depending upon the direction of the light
source, and can work out where the muscles,
clothes, and arms are.
Here I want to explain why I paint the
background frst. It’s just like painting in
watercolors, or in oil. In Photoshop, with
50-90% opacity of your brush, painting on
the background, you will fnd it will help your
character to immerge from the background.
Here I separated 3 layers, one is skin, another
is clothes, and the other is arms. It’s more
convenient if I am not satisfed with the colour
and want to change. I always use Burn and
Dodge Tools to make shadows and highlights,
playing with the “opposition”, checking the
perspective and proportion. I used “Colour
Balance” to apply the colour for the helmet and
The making of
The Beast
issue 009 september 2006 www.2dartistmag.com page1
issue 009 september 2006 www.2dartistmag.com
The making of
The Beast
page2
ams, and “Filter>Noise>Add noise” to make the
bump.

Render
Now, having fnished all the detail work and
combined all the layers, I add a new layer in
“Overlay” mode. Using the “ramp” to simulate
the light colour, I chose yellow for highlights and
blue for refected light.

Harmonization
I added one more “Colour” mode layer and
chose a blue colour to fll the whole canvas.
With opacity at 15%, the purpose is to allow the
picture to be cooler and the same tone, but you
can use “colour balance” to do this as well.

Final
The fnal result! This is a simple idea about how
I work.
Hopefully it will be helpful for you. Any
comments/critiques are welcome. If you have
any good ideas or suggestions, please feel free
to contact me.
The making of
The Beast
issue 009 september 2006 www.2dartistmag.com page
Beast Concept
More work from this artist can be found at:
http://web.my8d.net/digifyart/
And you can contact them via:
beziermix@yahoo.com.tw
Making Of by : Yu Cheng Hong
i
s
s
u
e
0
0
1

j
a
n
u
a
r
y

2
0
0
6

$
4

/


3
.
2
5

/

£
2
.
2
5
Zoo Publishing presents the new issue of dcreative
magazine: a downloadable monthly magazine for
concept art, digital & matte painting for only $US
visit www.dcreativemag.com
to download the free ‘lite’ issue, the full issue, subscription
offers and to purchase back issues.
Grzesiek Jonkajtys
>>On Directing his new Film ‘The Ark’ by BAFTA award winning studio Platige Image
Issue 013 September 2006 $4 / €3.25 / £2.25
SwordMaster
>>Continuing complete character creation monthly tutorial for 3DSMax, Maya, Lightwave, C4D & XSI
Batman Begins
>>Behind the scenes of the Return of the dark Knight
Erick Miller
>>Author of Hyper Realistic Character Creation and industry Veteran
Colour tutorial Series - part 3
>>Richard Minh Le rounds off his colour theory tutorial.
>>3DCreative is one year old, and we like cake!
Sword
Master
FredBastide >>Self taught CGartist andmonster obsessed!
JuanSiquier >>3dModeler &TexturePainter
TexturingMasterclass >>Texturingascenepart 2by RichardTilbury
ProjectOverviews >>’Nintendo’ by Michael Knap&‘Furniturecluster’ by Mathias Koehler
issue009 May 2006 $4 / €3.25 / £2.25
>>Followour new‘stepby step’ tutorial tocreate
‘SwordMaster’ (this months cover image) fromheadto
armour, 8months inarow! >>
EveOnline
>>CCP’ s Kari Gunnarssontalks tous about the
onlinegamingpheonomenon>>
DigitalArtMasters
>>moreexclusivecontent fromthis newand
amazingdigital art overviewbook>>
(BMMFSJFT
>>Moreof thelatest 3Dinspiringart suchas this cover imageby SebastianSchoellhammer
/FX4FDUJPO *NBHF.BLJOH0GT
>>DeconstructingtheGallery images, andwrittenby theartists.
6OEFSXPSME &WPMVUJPO
>>Luma, Sci-Fi spectacular StudioReveals it’s mastery of Creatures and3DEnvironments
1¡XTU9¡NC^AST¡9C¡ASS >>continuingTexturingseries, this monthtexturingahumnaheadpart 1of 2
|¡B¡9A¡VA9A¡O >>VFSGraduateandnowCreatureModelingonNext Gengames for Propaganda...
|¡CK|AMOS >>Brazilianfreelancer withambitions...
|¡US\OM¡¡T¡T¡ON&|¡C9U¡TM¡NT >>winacopy of Shade8.0andfindtheperfect CGindustry Job!
¡SSU¡00o |¡B9UA9Y 200o S4 ´ ƃJ.2· ´ L2.2·
Masterclass >>Texturingascenepart 1
ProjectOverviews >>3moremakingof’s fromour past gallery images
AndréKutscherauer
>>3DVisualisationArtist interview.
EdenLab >>Turinbased3DStudio&Car render wizards interview
issue008 april 2006 $4 / €3.25 / £2.25
>>Headof 3Dat RedroverAnimationStudios, Canada, &Director of theshort film“Plumber”
JoanofArc
>>Thismonthwecompletethemammothtutorial series
DigtialCompositing
>>Morefromour compositingGuru, Hasraf Dulull.
richard
Rosenman
issue010 June 2006 $4 / €3.25 / £2.25
theEndof
Summer
Inanabandonedcity, beforeatropical storm, wetakealookat theanimatedshort, ‘Find’ete’.
AdelAdili Managing Director of Taharan, andabout tostart LedaAnimationStudios, Adel fnds thetimetotalk tous
ErickMiller >>onhis career andnewbook
SwordMaster Followour new‘stepby step’ tutorial tocreate‘SwordMaster’ fromheadtoarmour, 8 months inarow! This monthPart 2ModelingtheTorso
MakingOf’s 1954Mercedes-Benz 300SLGullwingby HrvojeRafael &Roof Gardenby Lukasz Szefinski
Article TexturingMasterclass - Lowpoly character texturingpart 1RichardTilbury, Alpine A443- Part 2of 3by d’EttorreOlivier-Thomas &Riggingfor Moosah&Chubby AdamScott
Galleries 10of thebest images fromaroundtheworldfeaturingSoaLee, AndréHolzmeister GregPetchkovsky, chokata, Laurent Ménabé, SebastienSONET, Ali Ismail, Julian, Johnson-Mortimer &Johnny Pham.
>>Featuring an
Interview with
Director Carlos
Saldanha and an
in depth article on
the creation of this
Blue Sky Studios
3rd Animated
Feature
RichDiamant >>LeadCharacter Artist at Naughty DogStuios
Mihai Anghelescu >>3DModeler for Electronic arts Blackbox
RichardMinhLe >>3dartist at RushWright Associates, alandscapearchitectureoffceinAustralia
TheScienceofColour >>ExclusiveTutorial writtenby featuredartist RichardMinhLe
TexturingMasterclass >>Final part of LowPoly character texturing
SwordMaster >>Part 3of our completelowpoly character creationtutorial - ModelingtheArms andLegs
issue011 July 2006 $4 / €3.25 / £2.25
>>Normal mappingexpained! by expert artist MisjaBaas of GorillainHolland
Interviews
AndreaBertaccini
DaveDavidson
AxisAnimation
Articles
CINEVFXinfohere...
SwordMaster >>continuingcompletechracter creationmonthly tutorial for 3DSMax, Maya, Lighwave, C4D&XSI
Colour >>Part 2 of 2this tutorial by RichardMinhLe
TexturingMasterclass >>anIntroductionto‘Evil Genius’ &‘Metal Balls’ by Siku
HyperRealisticCreatureCreation >>wincopies of this superbbook!
issue012 August 2006 $4 / €3.25 / £2.25
Mining Machine
Tomas Muller
Learn how to create great quality artwork, in relatively short time, as Tomas Muller
shows us how to combine various methods to make his Mining Machine...
issue 009 september 2006 www.2dartistmag.com
The making of
Mining Machine
page6
Firstly, I would like to point out that the
techniques used to create this concept contain
some components and aids made in 3D
software. To follow my way of working, it’s
important to be able to work with any kind of 3D
software, and have advanced skills in Adobe
Photoshop. This tutorial will explain effective
principles on how to get easy and quick ways to
create high quality concept paintings. I hope this
will inspire some work of your own...
Adusting composition and
refrences
Personally, I like to combine available digital
means; painting with a digital tablet in
Photoshop, matte painting and using 3D objects
as a reference. It’s the best way to get the best
quality in a short period of time. It is applicable
for concepts, fnal pictures, and for illustrations.
To begin, I generated a very simple low-poly 3D
model. Before rendering, I am trying to fnd the
best position for the machine that agrees with
my vision of the fnal composition.
It’s possible to add some guidelines and
perspective lines, in Photoshop, to the rendered
scene. Using this aid covers many advantages -
it performs the function of the frst sketch, where
I draft the composition, perspective and lighting.
For a person who has just a little experience
with 3D software, this way helps a lot, and will
of course improves the fnal look of the picture.
If you cannot,or don’t want to, use 3D software,
then you can use your own way.
This is rough 3D model that I used as a shape
reference. (I’m not going to do a tutorial about
how to model in 3D, my only remark is that it
would probably take a person who is good with
3D software about 30-45 minutes to make this.)
Note: Don’t forget to render the image with
alpha channel - you’ll avoid complications with
masking the scene manually.
Painting and adding details
Now I focus on some picture examples, with
descriptions of the most necessary operations in
this stage of work.

Mining Machine
The making of
Mining Machine
issue 009 september 2006 www.2dartistmag.com page7
issue 009 september 2006 www.2dartistmag.com
The making of
Mining Machine
page
Adding more particular details, fnishing the
background.
Textures, modifcation on refections and
shadows, add additional effects; smoke, clouds.
Creating the smoke
For the smoke, which exhales from under the
working machine, I used a photo as reference.
Basic shape of drift.
Finishing off the drift and shadow of smoke.
Dropped shadow and colour-corrections.
The making of
Mining Machine
issue 009 september 2006 www.2dartistmag.com page9
After fnishing all of these operations, I reached
this outcome.
Colour correction
So here is the picture (fg.09), which has
everything sorted. But there is still something
missingm - it needs the contrast adjusting
slightly. We need do some colour-corrections
to unify separated components and adjust
the atmosphere intensity, which the picture
should irradiate. By using picture duplications,
colouration and various diffusions among colour
channels, we can get more credibility and fnal
look of the whole image.
Note: In nature, a black colour is never 100%
black, therefore it’s good to reduce black in
shadowed areas just to darken colours that the
picture already contains. Here is an example
that I had in mind. Finally, we have reached
the end. Here is the fnal concept after colour-
corrections. I hope you have enjoyed the tutorial
and have found some good advice. Best of luck
with your own projects!
Tomas “Temüjin” Müller
More work from this artist can be found at:
http://www.temujin.cz
and contact them via:
temujin@temujin.cz
Interviews
Ryohei Hase
Mikko Kinnunen
Stephan Stolting
Articles
Digital Matte Painting
Lemmings Concept art & Evolution
Tutorials
Lanscape tutorial by Adonihs
‘Clouds from above’ by Marek Hlavaty

Elements - Flesh Wounds by
Richard Tilbury & Benita Winckler

Plus
More!
Galleries
All for only $4!
go to www.2dartistmag.com for full
details and to purchase current, back
issues and 6 & 12 month subscriptions
Image by Mikko Kinnunen
about us
Zoo Publishing
issue 009 September 2006 www.2dartistmag.com page91
Partners
If you have a CG Community website, and
would be interested in reselling 3DCreative or
2DArtist magazine please contact
lynette@zoopublishing.com
Zoo Publishing
is a new Company, publishing download-
able online magazines. It is based in the West
Midlands in the UK. Zoo currently produces two
online downloadable magazines, 3dcreative and
2dartist. Zoo’s intention is to make each issue
as full of great articles, images, reviews, inter-
views, images and tutorials as possible. If you
would like more information on Zoo Publishing
or It’s magazines, or you have a question for our
staff, please use the links below.
www.zoopublishing.com
www.3dcreativemag.com
www.2dartistmag.com
Editor > Ben Barnes
ben@zoopublishing.com
Assistant Editor > Chris Perrins
chris@zoopublishing.com
Marketing > Lynette Clee
lynette@zoopublishing.com
Content Manager > Warin Pismoke
warin@zoopublishing.com

INTERVIEW

FreelanceArtist from Berlin

This issuesContents
000

Benita Winckler
FreelanceArtist from Berlin

INTERVIEW

Daniela Uhlig
Concept art from 2 influential movie legends

000

ARTICLE

The Concept of Fear Inferno

000

ARTICLE

Matte painting walk-through from Tiberius Viris

000

GALLERIES

10 of the best images from around the world

Galleries

000

TUTORIAL

Elements Digital Painting Series

Skin by Richard Tilbury
Elements Digital Painting Series

000

TUTORIAL

Skin by Emrah Elmasli
Digital Painting byAdonihs

000

TUTORIAL

Painting a Female Face
Project Overview by Yu Cheng Hong

000

PROJECT OVERVIEW

Making Of ‘Beast’
Project Overview by Tomáš Müller About Us

000

PROJECT OVERVIEW

Making Of ‘Mining Machine’ Zoo Publishing
INTERVIEWS Benita Winckler Daniela Uhlig TUTORIALS Richard Tilbury Adonihs Emrah Elmasli Yu Cheng Hong Tomáš Müller Tiberius Viris

000

ABOUT US

000

2DARTIST www.2dartistmag.com EDITOR Ben Barnes ASSISTANT EDITOR Chris Perrins MARKETING Lynette Clee CONTENT MANAGER Warin Pismoke DESIGNERS Matt Lewis Alex Price

GALLERIES Raluca Iosifescu Kuang Hong Waheed Nasir Tomáš Müller Svetlin Velinov Pavel Mikhailenko Seung Ho Henrik Holmberg Paul Wright John Kearney

www.2dartistmag.com

page

Issue 009 September 2006

CGDirectory. As well as ourselves. 3DLinks. GFXArtist.com page Issue 009 September 2006 . Digital & Matte Painting Magazine Issue009 September 2006 $4 / €3.. 3DM3. DAZ 3D. So. Max-Realms and Mediaworks.org. We are going back to basics soon with some amazing tutorials & articles on traditional art skills.25 / £2. Elements Digital Painting series gets onto the technicalities of painting Skin. and Yu Cheng Hong and Tomáš Müller show us the processes of creating their images ‘Beast’ and ‘Mining Machine’ respectively..3dcreativemag. fiction mo ception to From con dator Alien vs. Epilogue. 3DTotal. 2DArtist is our second magazine project following the successful 3DCreative (www. We are very grateful for the support of the following CG sites which have help promote and spread the word about our publications. No coincidence intended.2dartistmag.net. 3DKingdom. and Daniela Uhlig. MattePainting. all digital artists owe a lot to these communities for the incredible amount of work they do for the CG Industry. we look forward to lasting and successful partnership with these CG community sites www. com). Pre creation : Artist Interviews We talk to 2 Berlin based Female freelance artists this month. 2DValley. 3DExcellence. staring in awe at the amazing artwork then stare no longer! Now you too can learn how to create stunning 2D images from scratch! welcomeEditorial Interviews Benita Winckler Daniela Uhlig Articles Alien vs Predator Inferno Concept Art. About us Zoo Publishing is a new company comprising of a small team here in the Midlands UK. ChildPlayStudios. the3DStudio. if you read 2DArtist every month. CGUnderground. Tutorials Focusing on Tutorials this month. Adonihs shows us how to paint a female face.25 Artist Tutorials Painting Female Face Elements Digital Painting Series This month Skin Making Ofs Beas by Yu Cheng Hong Mining Machine by Tomáš Müller Galleries digital artworks 10 of the best 2D influential from two science figures in vie history. Benita Winckler.Editorial Welcome To Issue 9! We’re still going strong and have a lot of new stuff planned for you in the next few months.

Germany. So . I “suffered” at school for 13 years until I finally graduated.de Daniela Uhlig Berlin.du-artwork. also enjoy sculpting and working with real materials. This month. I have been creating digital illustrations and concept designs since then. concept art and matte painting. Currently I’m doing more and more jobs for the entertainment industry. As a Graphic Design graduate. Emrah Elmasli Concept artist / Digital Illustrator /Freelancer. I would like to work as a Concept Artist in a video game company someday.to keep it short .net/digiflyart/ beziermix@yahoo.my8d. I’m usually a 2D person (very much in love with my wacom tablet and my sketchbooks) but I Artists Contributors Every month. experiences and inspiration. I have been working as a graphic designer & illustrator for 2 years now and I might eventually study art sooner or later.partycule. illustration. http://web.temujin.cz Yu Cheng Hong Concept artist / 3D animator Freelancer. Germany. I studied “Graphic Design & 3D Animation” when I was in Shih Chien University in Taipei.dunkelgold.cz temujin@temujin. I have studied a high school of art. Now I work as Freelancer.de benita@dunkelgold.de libita@hotmail. Gorden Institute of TAFE. Irrational Games. Taiwan. www. www. Australia. http://www.com www. In my freetime I’m working on my graphic novel. Taipei. After graduating.com page issue 009 September 2006 . http://www. Cgtoolkit and vs.2dartistmag. However. and also went to Auckland University of Technology to study “Animation and Visual Effects” in New Zealand. then I was educated for a job (that I won’t mention now) for 3 years which was even worse than school. especially in Graphic design. remotely. Taiwan.com emrah@partycule. I have 6 years of experience in the creative domain. we would like to thank the following for their time. i’ve started to work digitally in the year 2002.this monthsContributing Benita Winckler Student / Freelance Illustrator Berlin. Czech Republic. I have been to Australia to study “Digital Cinematics” in the Geelong. Fantasy Flight Games. I’ve worked with Crystal Dynamics.de Tomáš Müller Concept artist / illustrator / Graphic designer / Freelancer > Prague. Designing fantasy characters and costumes is what I find most fascinating.I have loved painting since I could hold a pen in my hand and it is my passion. many artists from around the world contribute to 2DArtist Magazine.

.

in. she ta art sectio to talk to time out ine. ve Magaz 3DCreati . Germ from Berl ntly After rece r compute swapping r the fine science fo kes n.ce a Freelan Benita is Student artist and any.

I had my own sewing-machine and used to design the dresses I would wear on party weekends. So I finally brought that to a good end. So I was studying “Media Computer Science” till a few months ago. It was intellectually interesting but on the other hand also a little dull and too demanding to allow yourself the pleasure to paint during the classes or even after them. where to start? I’m a student / freelance illustrator from Berlin with a soft spot for elves. sure it will be much easier for a teacher (and the students) to deal with one subject after the other. can you give the readers a brief introduction / biography about yourself? Hi. Lots of black velvet. www. I suppose it all started with my love for costumes. Personally I don’t really care if it’s digital or traditional as long as the stuff is well done. no matter what medium you use. But I’m really looking forward to it.. The basics will always stay the same. And yes.2dartistmag. got my life back and now I’m planning to switch over to the fine-art section here in Berlin. so I guess I will have a funny time getting along with them. fake fur and torn up tights (just to give you an impression) I always thought I would study art or costume design. when I was talking with Tim Warnock in an earlier issue he was saying that there can still be some bad feeling towards digital art in fine art Universities that want to stay strictly with traditional mediums. but the odds were against it. have you come across this? And do you think it’s a good idea to teach students traditionally (no computers) for the first few years?* Umm I don’t know.An interview withBenita Winckler Hi Benita. For what I have heard they loathe everything non-abstract or even “fantasy”. cats and fantasy things.com page issue 009 september 2006 . Ok. First the basics of drawing. Sounds like an interesting path you have followed so far.

Think about the movie “Labyrinth”. When the borders around this world become shine through and you begin to see little creatures lurking in the shadows. they seem beautiful yet creepy at the same time! Any reasons or inspirations for these? Thank you. At first I made a few mistakes with that. But I love everything with a sparkle of ‘otherworldliness’ to it.then the software.an interview withBenita Winckler perspective etc . They belong together and should be treated equally. It’s the same with keyboards and pianos. Looking at your portfolio we can see you specialize in fantasy characters. I put the elements on different layers www.2dartistmag. All these beautiful costumes! I personally find your backgrounds as interesting as the characters. can you tell us why that is? I’m really not thinking too much while I’m painting. Sitting in front of the electric version of the thing won’t make you a better player if you haven’t practised your scales. I always try to not see “background” and “figure” as something parted from each other.com page9 issue 009 september 2006 . when the Goblin King is dancing with Sarah.

for too long. while you explore the setting. . Will it be cold or warm or humid and misty? How will the grass feel to the touch of her feet? Every thought about the characters “life” outside the frame of your screen will add to the believability of the image. Now I try to merge the layers as soon as possible to make sure to always work on the whole image. so in the end everything was 2 elements: background and figure and that way the ‘connectedness’ inside the image suffered a little. Overall it’s as much fun to paint the details of the environment as it’s fun to paint the character. You can nearly play god.

do these environments evolve and change as you paint them or do you have most of the ideas ready in your head when You start out?* It’s difficult to say. Most of the time it’s just a feeling that I want to convey. one has to be rigid. I usually take commissions in which I’m interested in personally. so that the work will not only be “work” but also something special. issue 009 september 2006 . So while I’m painting I’m always open for those happy Accidents when some brush strokes suddenly begin to look like steps etc. I guess the challenge of the restrictions commercial pieces offer can appeal to some too. When there are no restrictions at all and I’m just doing what I want and when. And talking about dreams: it would be nice to see my graphic novel published someday. do you have any ideas or dreams about what you would like to do when you finish your studies?* Right now I am doing some concept work for a small movie project. And of course it can happen that a whole forest has to be cut Down in the painting process.. Are the images in your online portfolio created purely for pleasure or do you receive commissions? I’m receiving commissions too and they can be lots of fun to work on but normally I just love my freedom. If it’s for the sake of the image. Talking about the business side again. Yes having total freedom is great. The images in my portfolio are all pleasure-pieces although Lucrezia Navarre was a commission. It’s great having the chance to work with interesting people.an interview withBenita The fact that the characters really belong to their backgrounds really shows though with your work. which I enjoy a lot. More of that in the future would be great.

my website needs a relaunch! Never mind these division. what is the average time period for these works that defines which category they fall into? And is it the case that a main gallery piece is basically just a polished detailed follow on from a sketch. The smallest ones in there took 2 months. Winckler www..An interview withBenita Looking at your website. some in a few days. the sketches are usually fast works. finished in a few hours.. you divide your works into your main gallery and sketches. that I like to use my daily sketch box for the doodles and so my real “sketches” section is getting a little old and dusty. Ah! Chaos! :D But you can say.2dartistmag. so that I could post my quick doodles in another section Than the big and polished projects.. The gallery images are big projects with more time involved. But in the end I have figured out. or do they follow a very different process right from the start? Oh.com page12 issue 009 september 2006 . It was an idea I had. studies or ideas.

There is even the ruin of an old amusement park with a huge Ferris wheel and trains that haven’t been used for years. But this is another story. Painter and my old Wacom Intuous 1. Whenever I find some time I’m writing on the story for my graphic novel.. It needs 100% attention. Computer Games are great for relaxation and www. I get a lot of inspiration from my dreams. Lots of ruins and lost buildings if you know where to look. Does your local area have some nice spots to sketch and be inspired?* Berlin is a very interesting place to live. And not to forget the East-Berlin TV Tower. it’s back to traditional Sketchbooks and all sorts of pens.com page1 issue 009 september 2006 . These 20 books had a big influence on me. But as soon as things are back to regular again. It’s one of these things which you can’t do just like that. What are the inspirations for your characters? When I was younger I collected the “Elfquest” graphic novels of Wendi Pini. I even had dreams where the story somehow continued with different characters and different stories and I was thinking: Hey! There are more than these 20 books out there and I didn’t knew about them! And I felt like finding the holy Grail or something. I grew up in a village near a huge forest and so my friends and I had the chance to spend a lot of time in an “elven-friendly” environment. But the moment I’m leaving the house. At night these images somehow mix up with scenes from my favourite movies or ideas from books and form new symbols.2dartistmag. all rusty and covered with weeds. surrounded by woods. When your not brushing what do you like to do? I started Kendo last year and enjoyed it very much.an interview withBenita artist these days? Winckler Can you tell us about the software and hardware you use? Are you a 100% digital Normally my tools are Photoshop. But at the moment my life is too unpredictable to commit myself to this art form.. I’m sure I’ll continue with it. which is actually one of the secret gateways to Aion.

Many Thanks for your time.de and contact them via: benita@dunkelgold.. I get nervous if I sit around too long doing “nothing”.de Interview by : Tom Greenway www. I love art supply stores. But normally I’m more of a workaholic. as long as keep painting your fantastic art that wows us all that is. it’s been great speaking with you.2dartistmag. books and our local coffee bar.com page1 issue 009 september 2006 .An interview withBenita Winckler so is spending time with my friends. Well whatever you are doing Benita we wish you all the best. Benita Winckler You can see more of this artists work at: www.dunkelgold..

.

Germany.>> Daniela Uhlig is a 24 year old Graphic designer and artist living in Berlin... We spoke to her about the unusual. digital art that she creates. where she is busy designing and creating wallpapers and screensavers. At the moment she is working for a big firm with around 500 employees. >> . and sometimes quirky.

com page17 issue 009 september 2006 . learn. Berlin. Are you self-taught? Or did you attend college? I haven’t studied anything in the artistic field. where I’m busying myself in the graphical field. because of my job. location. I started painting in my private time. age. but I have been painting all my life. learn. then. employment etc.? My name is Daniela Uhlig. At the moment I’m working for a big firm with around 500 employees. through the influence of a number of art communities. every day! At some point. And that’s what I’ve been doing for the last 2 years: learn. and roughly a year ago. designing and creating wallpapers and screensavers. I’m 24 years old and I live in Germany’s capital. I was placed in front of a PC with Photoshop running and was told to go and learn how to handle it. on ordinary paper and canvas for the first 21 years of my life. I think I made the largest progress because.Daniela an interview withDaniela Uhlig Uhlig Can you give our readers a short introduction please. I had to learn how to paint digitally. an www.2dartistmag.

composition. I’m still experimenting a www.com page1 issue 009 september 2006 . But these are merely techniques.An interview withDaniela Uhlig ambition arose in me.2dartistmag. I think a certain measure of talent is involved. There will always be a difference between great technique and real talent. without talent one will sooner or later reach one’s limits. a basic understanding of anatomy and so on. hatching. drawing clean lines. I’m not so sure if I’ve actually got a specific technique. chromatics. they don’t automatically amount to a good picture. Do you believe in ‘talent’ or is just daily practice of drawing shapes and forms? I believe that one can learn many things about graphics by practice.

It’s basically a style in which you can run riot . romantic. where. why is this? Hmm… When I’m actually not painting I’m still always thinking about it. sick. But sometimes. even when I’m out with friends. what. There are simply more possibilities when you’re not limited to reality . not everything I paint is actually cartoonbased. where you try not to think about your work at all? Or. mean . I let my feelings take control over what I’m doing in these moments. look at objects. I don’t actually know how to answer this. funny. i. I make a sketch. see how light falls on them. but it isn’t half as much fun! Uhlig www.an interview withDaniela lot. but I admit that a lot of it tends to go in that direction. directly or indirectly. I don’t think I should give general tips. Or I collect impressions unconsciously. apart from just one: avoid shadowing using the colour black! Do you have a ‘zone out’ time. and then an idea pops up sooner or later. Do you have your own drawing techniques or tips for us? If yes. how and when they cast a shadow and the effects they have on colour. I take a break and completely relax. During During lunch breaks I often sit in a café with a pencil and some paper. please tell! As for tips.2dartistmag.e. every one of your images is cartoon based. just painting from the top of my head.you’re not constrained to proportions and so on. nasty. It may happen that I ponder a new idea or go through a work I had previously begun. I like painting naturalistically as well. run off to the scanner and begin to just paint colour over the scanned copy. I haven’t yet arrived at the point at which you can start planning what goes where and why. I have my little rituals to make myself completely and thoroughly focus on nothing. perverted.you can paint a great deal of things. are you the kind of lady who lives for her work all the time? As far as I can see.com page19 issue 009 september 2006 . Well. Sure.without them being as extreme as they would be in a naturalistic painting.

com page20 issue 009 september 2006 .2dartistmag. and they are a way of getting a break from complex paintings. and I have only created a couple of them because people liked them and they thrilled them. a kind of stop-gap. I guess this question refers to small dreadful animals? They emerged more or less by chance. as they are drawn quite simply.Combining cuteness with an evil nature on very cute and simple cartoon characters seems to play a very important part in your images. How do you go about planning your drawings? Ok. They only take a little time to make. An interview withDaniela Uhlig www.

an interview withDaniela Uhlig What or who are your inspirations for this subject? You see. I do often think about taking up studies.du-artwork. you can email her at: libita@hotmail. look at people and wonder “what if…”. make a basic sketch. suddenly I burst out laughing and ‘bang!’ . But since I’ve been working for 3 years.de Or. going to university would be a financial step backwards now. Then I sit down at the computer. that’s by far the most difficult question to answer! I haven’t a clue! I sure want to stick to the graphic field for the rest of my life but if that will be my job for just as long.2dartistmag.de Interview by : Warin Pismoke www. draw clear outlines and paint them up. I really can’t say. I stroll around.there’s the idea. rather for self-realisation and out of a thirst for knowledge. the ideas for these things come very spontaneously most of the time. but not necessarily to make a living out of it. Maybe I’ll get that supreme job offer… Who knows?! Thanks for your time Daniela! It has been very great talking with you! Daniela Uhlig You can see more of Daniela’s work here: http://www. I’ve always thought there’s so much to know and wanted to quench that thirst. What are you plans for your future career? Oh boy. before I make up my mind. I’ll probably think about it for some more time and save up some money.com page21 issue 009 september 2006 .

.

the long awaited movie translation of the cult Comic Book. .in 1978 HR Giger created a world in which belonged one of the most feared monsters in Cinematic History. Nearly 30 years later the Alien ‘Xenomorph’ returned to face the ultimate battle with Stan Winston’s ‘Predator’ in AVP.. We take a look at how 2 ‘middle aged’ concepts still amaze and inspire artists and audiences worldwide..

Anderson. Predator’.com page2 issue 009 September 2006 . directed by Ridley Scott in 1979 and winner of the Oscar for the best special effects created by Brian Johnson. steered by the capable marketing strategists from 20th Century Fox. Delicatessen and the most recent ‘Alien Vs.Concept ArtAlien Vs. in which the 2 characters (now owned by 20th Century Fox) are slung into fierce battle against each other. ‘Aliens’ (1986) directed by James Cameron (of ‘The Abyss’ and ‘Titanic’ Fame).2dartistmag. we have seen the Xenomorph Alien creature battle with the Predator in at least 9 cartoons published by Dark Horse Comics and this has also spilled over into at least 5 videogame licences on home and arcade machines. Se7en) and Alien: Resurrection (1997) directed by French Director Jean-Pierre Jeunet (Amelie. however there seems to be a longer standing and fiercer rivalry between the 2 Aliens that they have even had Action Figures.R. H. collection puppets.R. before we saw the return of the “Xenomorph” in ‘Alien3’ (1992) directed by David Fincher (Fight club. have been the individual stars of 6 movies. the Aliens. Predator directed by Paul W. the comics of the Dark Horse mentioned above and the real-time strategy. Predator 2: Primal Hunt and Alien vs. As a prequel to the film. Predator movie. Giger and the magician of special creature effects wizard Stan Winston. first-person shooters for PC CD-Rom and the Microsoft Xbox and Sony Playstation 2 ( Alien versus Predator: Gold edition.Giger and Carlo Rambaldi. and the relationship between them could not be more deep rooted.S. Denys Ayling. Predator www. Long before the release of the Alien vs. There have also been 3 ‘Batman vs Predator’ comic strips. Predator Both the “Xenomorph” and the deadly extraterrestrial hunter the ‘Predator’made their on screen partnership a reality in the 2004 movie Alien vs. Alien vs. Nick Allder. there then came the 2 predator movies ‘Predator’ (1987) and ‘Predator 2’ (1990). Beginning with ‘Alien’. born of the fantasy of the surrealist Swiss painter H.

Concept ArtAlien Vs. the creature is the perfect metaphor for our unconscious fears.com page2 issue 009 September 2006 . and has changed for ever in such a radical manner the way in which we conceive aliens in general. and the way that Scifi movies are made. So. Add to that the sheer terror and fear which the creature can generate from it’s appearance alone and then throw in a frightening reproductive cycle which evolves in all four movies. So. to terrify worldwide cinam audiences! ‘Alien’ was always intended to be a dark and anguishing film. developed by Rebellion. for H. if that’s the case for the www.R. in which the organic parts meld with seemingly machine and vice versa. why does the Alien fascinate us so much? Certainly. Predator Extinction.2dartistmag. loaded with asexual allusions. Giger’s very original creative vision of both ‘biomechanic’ and ‘insectoid’ coming together. Sierra and Electronic Arts for the Fox Interactive). and you get the beginnings of a creature created with one purpose.

2dartistmag. revealing that Leona is in fact in an advanced state of pregnancy. with Arnold Schwarzenegger and its sequel Predator 2 were able to maintain suspense at the limits of human endurance and also managed to say something new and not banal about the fear of the unknown. which actually used fake blood pumped up plastic tubes over the real entrails of animals aquired from the local butcher. then why does the ‘Predator’ have the ability to almost amuse? With less of the seemingly mindless destructive capabilities of the Alien. to cableactuated controls. where Leona. So it was inevitable that the two more famous monsters of science fiction were to end up meeting each other. Predator www. perusing the Predators ‘trophies’ hung up around the internal walls of the craft. What amazes us for certain is the progress made in special effects from 1979 to today. it’s interesting to go back in the time and revisit the special effects which originally gave life to “Xenomorphs” and “horrible monsters”. the relentless hunter from another planet. By the time Alien: Resurrection was Vs. from camera tricks to John Hurts’ fake stomach. And who can forget the face of an amazed Danny Glover inside the Predator spaceship.com page26 issue 009 September 2006 . a female police officer in Los Angeles is almost killed. from the rubber-suits. Before we plunge into the movie ‘AVP’. However. directed by Stephen Hopkins in 1990. every little trick was utilised. This was delicately illustrated in Predator2. plays with his enemy in the same way a cat plays with a mouse. S. Look carefully an you will also notice the head of the Xenomorph Alien! Visually extraordinary and with the same ‘beast hunts man’ formula which has since been replicated over many films.Concept ArtAlien Alien. To give life to the creatures. This behavioural code almost forbids him to persist attacking defenceless creatures or adversaries who are not at the same level. and then saved by the Predator after he scans her body and discovers the heartbeat of a foetus. to use the exact words of Lieutenant Gorman of U. the Predator created by John Mc Tiernan in 1987. Colonial Marines in Aliens and of Arnold Schwarzenegger’s Major “Dutch” Schaeffer in Predator.

It was to be long and angular. but also by the physical special effects realized on the set during shooting. winner of 3 Oscars for the remake of King Kong in 1976 directed by John Guillemin . The sculptor and modeller Roger Dicken. they were using 3D scans. This is purely down to great and original design at the concept level. The idea being that the creature is implanted into a living host organism and once it has grown enough. It was Scott’s intention to create a monster that looked as if no human could be behind the mask.Concept ArtAlien Vs.T. Brian Johnson already had a strong two year experience in the industry. but not many film Series’have made it through such as technologic transformation and still come out looking like the original in so many ways. The supervisors of the special effects Brian Johnson and Nick Allder worked together in the television series Space: 1999 and were interested not in supervising the model photography. was charged with creating the “small alien forms” for the famous “chestburster” scene. Predator made.com page27 issue 009 September 2006 . modelling and animation software. He was as big as Scott wanted the alien to be: at least two metres (6ft 7in) tall. These are not new technologies any more. with an impossible frame that only a few men would be able to fill. realized the mechanical head. Alien and E. The alien eggs were created by Nick Allder. Badejo filled the role. the first film of the quadrilogy that makes use of digital effects.2dartistmag. The Alien of 1979 was played by Masai Bolaji Badejo. thousands of Aliens in CGI worlds and digital skeletal structures of the warrior Alien animated using hundreds of joints and many controls using Inverse Kinematics. In fact. active in television and in the cinema since the 1960’s on the puppet series Thunderbirds. he stood at well over 7ft. with the special photographic effects unit for 2001: A Space www. worn by Badejo like a helmet. The Extra-terrestrial by Steven Spielberg. comes tearing out of the hosts body. Badejo was a young African design student when he was picked up from a bar by Ridley Scott. His role as the title character was practically tailor-made to suit him. with the second interior retractable mouth controlled by cables. The Italian Carlo Rambaldi.

‘The Nostromo’.Concept ArtAlien Vs. Predator Odyssey by Stanley Kubrick.S.com page2 issue 009 September 2006 .2dartistmag. The four miniatures of the commercial space vehicles U.S. He had decided on a very “low tech” approach for the space sequences using miniatures. as the budget would not allow for blue screening and camera motion tracking technology. were created by modelmakers Martin www.C. the lifeboat capsule ‘Narcissus’ and the derelict Alien spaceship on the planet ‘Acheron’ .S.

were white plastic spheres on which were projected slides so as to obtain an threedimensional. The stars were added in afterwards. Bower and Bill Pearson.2dartistmag. The planets of the stellar system toward of which the Mother computer deviates The Nostromo. who has created Matte Painting for other huge blockbuster films such as ‘Superman’ (1978). it was necessary to build some larger sections of the spaceships in 1/24 scale. Perspex sheets and an incredible quantity of tiny details coming from commercially available model-kit boxes. ‘Brazil’ (1985) and ‘Batman’ (1989). using plastic forms of EMA. which was created from expanded polystyrene covered by EMA plastic tubes and plasticine so as to sculpt the external details. miniature creator and operator for movies such as ‘Battle Beyond the Stars’ (1980) produced by Roger Corman and Escape from New York (1997) by John Carpenter. To show the actors inside the Nostromo and Narcissus cockpits.Concept ArtAlien Vs. big enough to contain small televisionscreens on which the actors were shown. The miniatures were suspended from the ceiling of the studio or mounted on heavy supports of steel covered by black velvet. the producer and director James Cameron who in the past had been an art director. succeed in www. invisible when the correct exposure was obtained during model photography with the camera itself on a little dolly to create the spaceshi . modellers and sculptors employed real Animal bones to mould the rocky formations around the alien derelict spaceship.com page29 issue 009 September 2006 . The matte-painting of the egg chamber was created by the artist Ray Caple. During modelling they used over two hundred kits of the Airfix Space Shuttle and German tanks from the famous Japanese model firm Tamiya. Predator J. Several years after ‘Alien’. On the surface of the alien’s planet.

A.S The Nostromo.S. venture back to the planet to investigate. human colonies have been established.interesting the 20th Century Fox and Brandywine Production in his story for a possible sequel of ‘Alien’. UK in the historical Pinewood Studios and the film was eventually rewarded with an Oscar in 1986 for ingenuity and creation. Colonial Marines. on the same planet where the Ripley’s companions had originally found the derelict alien spaceship. discovers that there are now hundreds of the Aliens as opposed to the single attacker she had defeated on the Nostromo. When the communications from these colonies suddenly stop. Lieutenant Ellen Ripley is asleep for 57 years in one of the hypersleep capsules of the lifeboat Narcissus.S. The terrestrial . which is found drifting through. Effects Group headed by Creature legend Stan Winston.C. He immediately employed brothers Robert and Dennis Skotak of the L. especially as the special effects that Cameron wanted to give the realization were going to be so complicated. The shooting for the film took place in London. Once back on earth she presents her report about the death of the crew. practically having used all existing techniques in the ‘book’ of special effects. The film. entitled ‘Aliens’. but isn’t believed by the Weyland-Yutani Corporation. Ripley. escorted by the U. In the meantime. equipment and the destruction of the stellar cargo U. This meant that production costs were going to be much higher than in Alien.S. lead again by movie-star Sigourney Weaver.

the landing shuttle of the Marines.S. so that one or more sections of itself. the model effects technicians used a wirerigged suspended model.S. Veteran Brian Johnson. For the scene where an alien attacks the pilot of the Drop-ship UD-4L”Cheyenne”. behind that was a matte painted backdrop. to complete the work with his studio Arkadon Motion Control. required long and fluid camera moves which couldn’t be obtained without motion-control cameras controlled by computer.A. After large scale arguments with the L. the lifeboat Narcissus (rescued when the film begins) and the landing Drop-Ship 4D4L were photographed with the motioncontrol system in England just in time to start the final cut of Aliens in the editing . double Oscar winner for both Alien and Star Wars Episode V: The Empire Strikes Back was called in while he was on holiday in the Caribbean.colony on the LV-426 planet Acheron was a miniature built in sections. Sulaco. it was evident that many shots of the spacecrafts in flight. could be reconfigured according to the requirements. The gigantic military carrier spaceship U. Effects Group over wether to use blue screeneing or full model sets. Although the Skotak brothers favoured effects which didn’t require blue screening or camera effects. For the vehicle carrier troops M577 APC (Armoured Personnel Carrier) there was a full scale version for the actors and also a Radio controlled model “piloted” by an operator out of camera view. they left the project.

There has been a noticeable improvement in respect to the original full-body suit built by H. due mainly to the exceptional www. operated by two people inside the body. now. They have been replaced in certain shots by cable-controlled miniatures built by Doug Beswick and Phil Notaro. The Queen. Predator room. we not only had 1 alien but now 10 evolutions. For the final battle between Lieutenant Ellen Ripley in the Caterpillar P-5000 Power Loader and the Queen. not in the shot. some technicians out of camera view and a huge steel structure of support. For close-up shots of the details. including the eggs laid by the Queen. Stan Winston and his collaborators created a series of economical costumes applying in some alien parts. to support the enourmous weight of the creature. the big Queen herself and the “chestbuster” thorax-breaker. Winston and the rest of the technicians used a head and a trunk controlled by cables.2dartistmag. the props in the scene are all full scale 1/1 and so too is the alien creature. Giger for the first chapter of the series. so as to allow to the stuntmen total liberty of movement. It’s almost unnecessary to try and underline how the presence of the alien warriors have ever been more threatening. However.com page2 issue 009 September 2006 .Concept ArtAlien Vs. for a better result when compared with the head of Carlo Rambaldi.R.

2dartistmag. 20th Century Fox made ‘Predator’ directed by the talented John Mc Tiernan (Director of Die Hard. Predator is the story of a U. a crustacean and an insect. Also. The next year. they created a fluorescent green blood. After the battle against the revolutionary forces.Concept ArtAlien Vs. With the four tusks.S. which seemed to be the amalgamation of an abyssal fish. The Predator cloaking device developed by the R/Greenberg Associates consisted of ingenious optical trickery. The 13th Warrior and the unlucky remake of Rollerball).com page issue 009 September 2006 . The Predator’s facial design. Predator technical realisation and the photographic ability of Adrian Biddle. Mato Grosso. worn by the gigantic Kevin Peter Hall. but also the accessories like the helmet. a powerful extraterrestrial hunter equipped with hi-tech weaponry and protected by a cloaking device capable of rendering himself almost completely invisible. the facial mechanism allowed the opening and closing of the mouth. was again a creation of Stan Winston’s studio that also had to create not only the full-body suit. in 1987. for the opening spaceshot with the Predator ship entering the Earth atmosphere and for certain matte-paintings. As well as the excellence of Stan Winston for the realisation of the creature itself. the ray gun mounted on the shoulder and the medical kit. The Hunt for Red October. the Predator success was also due to the visual effects produced by the talented R/Greenberg Associates of New York as well as Dream Quest Images. able to ooze from the predators wounds. replacing the hunter silhouette with a bi-dimensional effect constituted by the repetition of distorted background images in a concentric manner. the group of the major “Dutch” Schaeffer has to face a new and apparently invincible n Peter Hal enemy: the Predator. one inside the other. The electrical sparks caused by the accidental contact of various Predator equipment with www. Special Forces unit sent to a central American country to save both the crew and the passengers of an helicopter shot-down by guerrillas.

playthings and generic gadgets.2dartistmag. videogames. 20th Century Fox then decided to continue the legend of ‘Alien’ with the ‘Alien3’. The “thermographic” vision given by the visual apparatus of the Predator’s helmet allowed him in addition to look for body heat-signature. the Predator series seemed to be concluded. definitively. With only two movies. Predator water.com page issue 009 September 2006 . models. Fight Club and Panic Room. were animated manually such us in a 2D cartoon. In the sea of which crashes the EEV. The action takes place on the remote ‘penal colony’ planet ‘Fury 161’. more weapons such as the flying “frisbee” complete with cutting blades.Concept ArtAlien Vs. In 1992. directed by David Fincher. although the franchise then preserved the name during the following years in comics. Effects were increased in number in the sequel Predator 2 in 1990. More 2D animation effects. the snare or the long extensive lance used against the cruel Los Angeles drug lords (that the alien hunter chooses to kill instead of the police officers because they appear better equipped and more dangerous) but. www. author of Seven. more Predators in the movie finale when the stubborn Danny Glover playing the part of Lieutenant Mike Harrigan defeats his adversary after a hard battle.

and Alec Gillis (creature effects coordinators on Aliens) continued to use H.2dartistmag. Sulaco while it was onits way back to Earth. albeit with a few changes such as the removal of the four ‘protuberances’ on the Alien’s back. but the great innovation introduced by the technicians of the Boss Film Studios was the technical application in order to animate the alien to give the impression of the swift and deadly assassin that is is.R Giger’s original concept. the corporal of the U.S. produced the miniature effects and the matte-paintings of the planet and the furnace. there are very few shots of the U. Richard Edlund. controlled by some blue sticks (rod-puppet). Colonial Marines Hicks and the android ‘Bishop’) is Ripley. Sulaco and not more than four or five of the EEV’S flight into space.com page issue 009 September 2006 .Concept ArtAlien one of the lifeboats of the spaceship U. formerIndustrial Light & Magic visual effects supervisor. In Alien3.S. steered by 4 or 5 operators and photographed using motion-control cameras in Vs. a puppet was used.S.S. In fact. Tom Woodruff Jr.S. Predator www. The only survivor on board (from the survivors of the ‘Aliens’ film including Newt.

for the sequence of the discovery of Ripley’s malformed clones in the laboratory of the spaceship. Jim Rygiel. thanks to particle systems. directed by french filmmaker JeanPierre Jeunet. The story is moves 200 years on. Predator front of blue-screens for tracking purposes. However. Oscar winner for the best visual effects in the Lord of the Rings trilogy and during that time responsible of the Boss Film Studio’s computer-graphisc department. Ian Hunter and Matthew Gratzner of the HGI or Hunter-Gratzner apart www. thanks to the enormous progress of CGI. used especially for the underwater sequences where they demonstrate unexpected swimming abilities. now of the Amalgamated Dynamics Incorporated (ADI) worked on the creatures and again. as the new alien lifeform has been born of a woman. Blue Sky Studios and Blue Sky /VIFX (known today for the CGI animated movies Ice Age. and for the NewBorn’s birth. Tom Woodruff Jr and Alex Gillis.com page6 issue 009 September 2006 . two of them directed by Chris Wedge) developed and animated a 3D CG model of the alien warriors. from drops of her blood found on board the spaceship Auriga. Ice Age 2 and Robots. a creature with it’s own genetic features of the human being and the alien’s one.Concept ArtAlien Vs.2dartistmag. dust and fog present in the atmosphere for certain shots of the planet’s external environments. even if it wasn’t a box-office smash hit. striking a service ladder of the spaceship Auriga and then climbs up in the lifeboat of the Auriga killing the crew. was tasked with generating the alien’s shadows on the pavements and the walls or to add. after the sacrifice of Ripley on Fury 161. the DNA has been crossed and once again new aliens creatures were required. Now Ripley has been cloned for a military secret experiment. Again. vital for the matching of the camera’s movements with the ones performed on the live-action set. too. Alien resurrection is best remembered. when she lept into the furnace in order to kill the Alien inside her and destroy the race of Xenomorphs forever. With Alien: Resurrection in 1997. A computer-generated Alien model was also used for the shots in which one of them emerges out of the water.

2dartistmag.com page7 issue 009 September 2006 . Predator www.Concept ArtAlien Vs.

(developer of the system of visualisation EncodaCam used for I. based in Los Angeles to complete the matte-paintings and www.000 to 15. supplied 19 artists.Concept ArtAlien Vs.000.com page issue 009 September 2006 . The sophisticated motion-control equipment for the miniature photography in front of the green- screen was supervision by Erik Henry and Joe Lewis.2dartistmag. robot). The Parisienne digital effects facility Duboi. 3 meters 65 centimetres with approximately 10. a big model in scale 1/1.S.M Auriga (United Systems Military). directed by Pitof (director of the interesting Vidocq and of the disastrous Catwoman. Predator from the U. starring Halle Berry) a long-time collaborator of the filmmaker JeanPierre Jeunet. Two models in scale 1/32 were photograph togetherto show the shuttle Betty and the Auriga’s docking bay. 000 optical fibres inside using halogen lamps for the rocket engines.

Concept ArtAlien Vs.com page9 issue 009 September 2006 . in which the two alien races would be faced in a neutral territory. rumours plagues the media regarding the possibility that 20th Century Fox would produce a cross-over movieof Alien and Predator. The matte-paintings. Predator compositing work for 133 shots. beautifully created by artist Jean-Marie Vives (who had worked with Jeunet on Amelie and the fantastic ‘City of the lost Children’). and the videogames of Fox had already represented the conflict several times www. Dark Horse comics. were used to extend both the miniature and full scale sets. all done with the proprietary software Dutruc installed Silicon Graphics workstations. a kind of “final battle”. For year after Alien: Resurrection.2dartistmag.

with the realisation of the alien. and the Predators. fully aware of the expectations of the battle between these two movie giants. the team finds the remains of humans with holes in the rib cage and the remains of facehuggers. an industrialist billionaire. Using thermal imaging satellites. but until the debut of Alien vs. But Anderson. Predator no one would have been able to guess how it would or could end. the Queen and the eggs. the “chest-burster”. With realism of the creatures in mind the safest choice was both as full-body suits and animatronics but this obviously limited the movements of the creatures. To make matters worse. it becomes clear that only one species is getting out alive. British director Paul W. But at the same time he wasn’t totally convinced about an approach at 100% in CGI. Event Horizon and the first Resident Evil. meaning that the possibility of the temple being uninhabited is very unlikely. Anderson had already demonstrated a certain familiarity with the horror sci-fi and fantasy genres with movies such as Mortal Kombat. a group of teenage Predators are coming to the temple to perform a coming-of-age ritual that involves fighting to the death with the aliens.2dartistmag. including the “face-hugger”. leads an archaeological expedition in Antartica. the choice taken was to entrust the Amalgamated Dynamics Incorporated (ADI) of Alec Gillis and Tom Woodruft Jr. was faced with the choice of the traditional method of actors in suits or CGI. and also need for a fully believable battle. Using digital effects to replace and improve the animation of some parts of the creatures body or to recreate the historical battle between the predators and some 16.com page0 issue 009 September 2006 . Set in the early 21st century on Earth. Soon. Weyland believes to have discovered the ruins of an ancient pyramid temple that predates the Egyptian and Aztec pyramids buried under the ice.000 www. Charles Weyland. So.before. Once inside.

the leading 3D modelling and animation tool of Alias. now Autodesk Media and Entertainment. established in the first two movies of the quadrilogy. to get the designs into a 3D CG state that could be rigged an animated the models were scanned using 3D scanners at high resolutions. These are surfaces created by a technique that places itself somewhere between polygonal modelling and NURBS modelling.000. The next step was to import these details into the software for the assembly and the export of the relative geometries in Maya polygonal files.000 polygons. have produced all of the digital effects used in Alien vs. During the rendering time. Cinesite (Europe) Ltd. Framestore CFC. The Queen was finally composed of 20. This allows the software to automatically subdivide a polygonal mesh in such a manner to obtain the final form. tail and legs of the Queen and the warriors. a warrior Alien composed of 85. Double Negative of London and a unit dedicated to the miniature photography based at the studios of Prague. I an effort to keep the biometric details from Gigers initial designs. Paul W. Pixar’s Render Man converted the polygonal models into Subdivision surfaces or Sub-D. Predator. Scans of the entire creature brought the polygon count to over 4 million.giving smooth and well defined curves. it changed with a dog-like posture in Alien 3 by Fincher and was last upgraded in Alien resurrection.xenomorphs. Supervised by John Bruno.000 and a Predator 50.S Anderson was desperate to maintain the original design of the Alien. With the models complexity growing. Cinesite (Europe) Ltd was occupied with creating the digital face-huggers which www. MPC’s efforts included the digital creation of torso. perfect for the Alien creatures. Meanwhile. The Moving Picture Company (MPC).com page1 issue 009 September 2006 . kepping tru to the biomechanical look of the Giger design.2dartistmag.

the effect was decidedly very low-tech. The difficulty was in getting the Facehuggers to make those ‘sudden bounds’. then filming it on the face of Kane and then by editing the different frames in a very fast final cut. At first. Predator are hatched from the eggs laid by the Queen and then attach themselves to the face of their victim. and obtained by filming the mechanic puppet inside the eggs first. taken on the live-action set www.2dartistmag.com page2 issue 009 September 2006 . thanks to a skill they have of using the spring of the long tail. In the original 1979 film.Concept ArtAlien Vs. allowing them to cover short distances by flying through the air. Photographs of the real object. Cinesite received one the “face-hugger” full-size props built by ADI to scan into the software Cyslice in the form of a 3D Maya model.

For these shots. the iconic moment of the Alien vs. shall remain the battle on the top of the pyramid that sees the two opposing races. for which physical references of the interior organs. just a few Predators against 16. served as visual references for texture maps and for lighting the CGI counterpart. For the face-hugger divided in two in mid-air by the Predator.Concept ArtAlien Vs. One of the most striking animations was when a face-hugger leaps over a Predatorwhich in turn reacts. modelled by pieces through the Subdivision surface with Subsurface scattering for the traslucency of the external skin. Predator in Prague. MPC used the new crowd simulation software called ALICE. developed for www. killing the alien parasite by launching his blade weapon. important to animate the digital face-hugger. Cinesite utilized real elements. beyond the CGI aliens. Predator movie. has been recreated in startling complexity giving full control so that.com page issue 009 September 2006 . Nevertheless. various versions of each shot can be provided to the director to match the live action shot elsewhere. 2D particles effects and 3D geometry.2dartistmag.000 digital Aliens. The interior rig. meats bought from the butcher and also vomit.

The motion-capture sessions were carried out in a specific manner so that every digital character being a part of the action possesses a wide range of complete actions and movements. simulates the brain of each “agent” Alien by the creation of a network of nodal interconnections in which a knot is a sensor or a rule. The sensors can be audio-visual but can also be understand too. Apple’s Shake was used by Double Negative for compositing. It is then possible to establish rules based on their function. Having imported thousands of them. the Predator’s presence is perceived as an effect or trace of the image to link in with the original optical effect of Predator in 1987 and Predator 2 in 1990. or EMILY and works under a unique and innovate idea. The sensors allow each agent to relieve information about the area around him like. The extra-terrestrial technology allows them to remain practicly invisible. When the general movements of the digital crowd have been established. The artificial intelligence of ALICE. This function of the software to generate the digital crowds is called MLE . if stationary.2dartistmag. Double Negative created a new technique for the “cloaking” and the “decloaking” thanks to the modern technologies of digital graphics.com page issue 009 September 2006 . coordinated the replacement of the props used Vs. Double Negative 3D supervisor. the presence of other agents or the degree of the terrain inclination where he acts. “Motion Library Editor”.Concept ArtAlien the colossal epic Troy by Wolfgang Petersen. The work done by Double Negative mainly focused on the cloaking effect and the Predator weapons. The basic theory consists of taking an arbitrary volume of motion-capture details about the movements and the EMILY provides subdivisions in short animated clips of a maximum duration of 8 to 12 frame’s of each other. EMILY then compares them with the position of the characters skeletal structure and then decides which can be and which cannot be utilised to create a logical movement. Predator www. During motion. by title exemplifying. developed with success of MPC. the next step is to add the details. working in Maya.

visual effects supervisor John Bruno chose to make use of almost all effects techniques like mechanical miniatures. The creature then pursues both the hunter and Alexa in the whalers station. Framestore CFC and Double Negative. Here. But at last who won this ultimate alien war? Maybe an AVP sequel is still to be produced but this time we can say that winners are the effects guys at MPC. It is heartwarming to see that even in the modern era of computer generated imagery by actors and stunt-men with CGI replicas after the application of markers so as to track the movements in the set. animatronic creature with CGI moving tail. The artists at Double Negative were also tasked with the sequence of the stone-bridge on the precipice crossed by two humans pursued by an Alien. pyrotechnics.com page issue 009 September 2006 . nuclear charges activated by the last www. while the icy crust collapses for the explosion. the eggs and all alien warriors except for the Alien Queen. in reality a partial set on a green-screen extended with digital matte-paintings and 3D geometries. Predator surviving Predator destroys the pyramid.Concept ArtAlien Vs.2dartistmag. During the AVP finale. CGI Alien Queen. compositing and practical effects.

Alien 3 (1992) photos Copyright by 20th Century Fox Film Corporation.imagonet. Predator and technology movie at such a fanatical rate. Aliens (1986) photos Copyright by 20th Century Fox Film Corporation.2dartistmag.com page6 issue 009 September 2006 .Concept ArtAlien Vs. Alien resurrection models and miniatures photos courtesy of New Deal Studios. Pierfilippo Siena for Imago Edizioni. Alien resurrection (1997) photos Copyright by 20th Century Fox Film Corporation. miniatures and models photos courtesy and Copyright by Martin J. Predator (2004) photos Copyright by TCF Hungary Film Right Exploitation LLC and 20th Century Fox Film Corporation. Italy http://www. Alien (1979) creature. Predator (1987) photo Copyright by 20th Century Fox Film Corporation. that 30 year old concepts are still causing artists to break the boundaries of the technology which they use every day.R Giger.it Published by agreement. and create yet more stunning work to amaze and inspire us. www. Bower. Alien vs. Alien (1979) photos Copyright by 20th Century Fox Film Corporation. Original Alien design by H.

.

but it’s now used widely for any kind of application that requires unreal environments. . This style was originaly created for the movies.Matte painting is a digital art style which combines a variety of techniques to create scenes that are hard to find in the real world.

There is no single famous movie made after 2003 that didn’t hire a famous matte painter to make its backgrounds. movies are still the ones who use it the most. Eraser.01) From the beginning. creating special FX or mixing colours. into one complex and interesting scene without losing the sense of realism . and made it look like he was on the way to ‘Mordor’. if you like. How much is painted however depends on the specific requirements of the client. the actors are performing on a small area called “active set” or “platform”. a nifty background and sky. ‘King Kong’. but it’s now used widely for any kind of application that requires fantasy or sci-fi environments.a walkthrough toInferno Introduction Matte painting is a digital art style which combines digital painting. It’s less a matte painting and more of a digital painting. with all the nice graphics behind them which are added by computer. ‘Clone Stamp’ is used mostly for creating new areas using texture from the original photo.2dartistmag. It’s then the job of the matte painter to change everything around them to make it blend with the active set. ‘Matrix’. ‘Star Wars’. Brush. photos are used for texture and reality reference. etc. Of course. Clone Stamp. like the weather forecasts which are filmed against a blue background. When Matte Painting. and everything else gets painted. www.com page9 issue 009 september 2006 . ‘Dodge’ and ‘Burn’ come in handy when you have to remake the highlights and shadows or when creating specific materials such as metal. ‘Lord of the Rings’. in ‘Lord of the Rings’. For example. photo manipulation and 3D in order to create scenes that are otherwise hard. Smudge and Dodge/Burn. For instance. the most used tools are. added a volcano. if you have a steady hand and strong photo manipulation skills you can also do it with a mouse. in modern movies. to find in the real world. Movies set aside. it’s worth mentioning that I use a ‘Wacom Graphire 4’ tablet for my matte paintings. This style was developed initially for the movies. it will just take longer when compared to using a tablet. However. ‘Smudge’ can be used for many purposes such as smoothing. an outside platform or even a real environment. This can be a studio room. matte painting as a digital art form means to connect several environments that are otherwise boring and useless as individual images. Tools (fig.making an egg out of broken shell. ‘Brush’ and ‘Eraser’ are self explanatory. Basically. Frodo was filmed on a boring mountain cliff that you can see anywhere. Usually. if not impossible. then the hired matte painter changed everything around him. ‘Inferno’ was 75% painted because the one person who hired me wanted a more game/ cartoon-like feeling. silk or water.

a walkthrough toInferno Preparing for a New Image
Before starting anything, the most important part is the research. Assuming you already had your moment of inspiration and have a scene in mind, you should start by laying your ideas on paper, but I’m not referring to just a sketch! You should make a list of scene elements, analyze them, decide upon your focal element. See what you can do and what’s harder for you to make, search for references, make individual try-outs of those individual elements and consider replacing them if you feel like they are too much of a challenge for you. Look at photos, study the material you plan to use, make colour sketches to see how the elements and tones work together. I’m not saying that this is the right way to do it, but this is how I do it and it spares me of a lot of frustration. It’s true that accidents can bring nice effects, but unless you get lucky you will get a lot of stress if you figure, right in the middle of your project, that you have to re-do everything because the scene elements simply don’t work together.

More Advice:
Work on big sizes even if you don’t plan to make the image also available as a print. This will allow you to easily fix small details. If the image looks good on 100% then it will look good on 25% too. Force yourself to work at full resolution and use smaller views only for guiding. If something doesn’t come out as you planned, don’t panic! (Hitchhiker’s Guide anyone?) Take a deep breath, drink some water, walk around your room and try again. The fact is, the more frustrated you get the lesser the chances are to create something good. Even if you’re working against a deadline, don’t push your physical limits. Take frequent breaks and do something else during that time. together. Everything is painted - nothing fancy. In fact, everything is a mess at this point, but that is how it’s supposed to be. The bridge is a remainder of my initial idea, but it’s going to be dropped at a later stage. It was supposed to become some creepy infernal castle connectedwith mainland. The key point here is to experiment with colours. Don’t bother with details. Worry about perspective and tones instead. Colours were blocked in using a big hard-edged brush. Smaller stripes on the cliff edge were painted using a mixture of chalky and hard-edged brushes. The sky was spread with a customed round chalky brush.

Step 2

(fig.04)

Basically, what happened so far was focusing on the main element of the scene (the volcano) and I started to build it up together with the surrounding area. I always like to work on areas rather then spread my attention all around the scene. I’m not saying this is how you should do it, it’s only how I do it. I would normally start with the sky, since the entire scene depends on it, but for now what I have is enough. Apart from the rock texture, everything is painted up to this point. It was painful to figure out a good way to paint cliffs, but after many try-outs, I finally

Step 1

(fig.02,03)

Right, so here we are, where everything begins with a ‘silly’ sketch. As you can see, in the image on the right, I’ve quickly spread some tones in order to see how they blend

www.2dartistmag.com

page0

issue 009 september 2006

a walkthrough toInferno
managed to come up with something decent. The key is to close your eyes and think how a cliff-side would like. Then paint line by line, element by element. Don’t throw yourself over the whole cliff at once! Experiment and you will come up with much better results than I did! I should’ve started with the sky, since the whole atmosphere and light depends upon it, but lucky for me I already had the whole scene in mind. However, don’t do this at home - always start with the sky!

Step 3

(fig.05)

I went ahead building more of the volcano, since it’s the dominant element in the scene. Again, this step is completely painted. Painting smoke and clouds can become frustrating but luckily, I like to do it (I should write a tutorial soon about painting clouds!). There are tonnes of ways to do this, but I’ve discovered a quickmethod. Also, I thought to add some ‘volcano bombs’ as detailsfor more realism. You usually paint smoke with a combination of hard-edged and chalky brushes.

Step 4

(fig.06)

Finishing the basic look of the volcano and the surrounding plateau. Please note that this step took a lot of time since the volcano is entirely painted. There’s about 3-4 hours difference (with breaks) between this and the previous step. After I was happy with it, I went on replacing the bridge with a more appropriate one, and added a depth element on the plateau. I finally used photos for the texture in this step. Phew. Anymore painting and I was risking turning this into a digital painting rather, than a matte.

Step 5

(fig.07)

I opened up a separate file to create the sky, since the source file is starting to become big. This took another 3-4 hours. (I’ll have to write a separate tutorial for clouds/smoke soon. There isn’t enough space to include a full one here.) After this, I brought it to my scene and adjusted the volcano to fit it. Then I refined some details

www.2dartistmag.com

page1

issue 009 september 2006

a walkthrough toInferno

and built up the base of the lower vale. In the end I texturised the vale. The vale was painted, then texture was added via photos. I like to paint the base myself and not just use a stock as reference. This gives me more control and artistic freedom. Generally speaking, I use photos as little as possible, as painting over them won’t teach you anything! I’ve now dropped the bridge as it was blocking the nice horizon.

Step 6

(fig.08)

More details and refinement ,especially on the vale textures. I built up the vale and painted the foreground “rock” (right). After that, I did more texturing, colour adjustments and finally I built the end of the magma flow.

www.2dartistmag.com

page2

issue 009 september 2006

com www.Tiberius Viris More Details can be found at: http://suirebit.11) The final step is always the best one! . I actually want to paint a full detailed one sometime soon. However. ruins. Dragons were so much fun to paint.a walkthrough toInferno Step 7 (fig. not even in print.. etc.deviantart. the dragon is not just a shape who looks good only in 25% view (as many painters like to do in order to gain time).com You can contact them at: suirebit@gmail. I wanted to add so many more details.10.09. impaled skeletons. Details. so maybe another time.com page issue 009 september 2006 . but the client said the scene is already busy and that is how he likes it. even in full view. It’s a pretty decent background dragon.2dartistmag. And that’s it! I hope you found this small and humble guide useful to some degree.. Inferno . There is no point in painting paws or scales since no-one will see them..

C O L O R

R E F L E C T I O N S

D E P T H

S H A D O W S

T H E P O W E R O F L AY E R S
Digit Magazine (July 2006) says, “Strata 3DTM CX feels like an Adobe® application - graphic designers will feel right at home... The traditional look (of Strata 3D CX) makes the program friendly to new users.” Version 5.0 of CX... “makes the program even more like Photoshop’s® 3D cousin.” Digit named Strata 3D CX the number one 3D app for designers, and awarded it “Best Buy” in its 3D Design Software Shootout.
Visit our website to learn about our entire line of products for designers: Strata 3D CX, Strata Live 3D, and Strata Foto 3D.

SEE FOR YOURSELF!

STRATAA 3DHCXP O W E R 5.0 DESIGN AT HIG ER

The 30-Day unlimited tryout of Strata 3D CX 5.0 is now available. Visit our website to find out what users and industry publications have been raving about.

Strata, Strata 3D CX, Strata Foto 3D, Strata Live 3D, and The Power Of 3D are trademarks of and/or licensed by Corastar Inc. All other trademarks are the property of their respective holders. Image by Thorbjørn Haarup Laursen.

Featuring; Raluca Iosifescu Kuang Hong Waheed Nasir Tomáš Müller Svetlin Velinov Pavel Mikhailenko Seung Ho Henrik Holmberg Paul Wright & John Kearney

10 of the best images from around the World.

www.2dartistmag.com/gallery

TheGalleries

Ancient Tree
Kuang Hong http://www.zemotion.net/ noan@zemotion.net

www.2dartistmag.com

page6

issue 009 September 2006

com Sunflowers Waheed Nasir http://www.ro iramelanox@gmail.iramelanox.2dartistmag.com www.waheednasir.2dartistmag.com wnasir2@hotmail.com/gallery TheGalleries Gladiator Raluca Iosifescu www.www.com page7 issue 009 September 2006 .go.

cz temujin@temujin.com/gallery You can see the TheGalleries making of this image later on in the magazine! Mobile Mining Machine Tomas Müller http://www.temujin.com page issue 009 September 2006 .2dartistmag.www.ru www.cz Atlantis Pavel Mikhailenko mpavlos@yandex.2dartistmag.

www.velinov.com www.com/gallery TheGalleries Soul Dancer Svetlin Velinov www.com svetlin@velinov.2dartistmag.com page9 issue 009 September 2006 .2dartistmag.

2dartistmag.se http://henrikcgcommunity.www.com/gallery TheGalleries Somnio 005 Seung Ho Henrik Holmberg henrik.2dartistmag.com/ www.com page60 issue 009 September 2006 .holmberg@spray.

cz Lisa Paul Wright paul@wrightair.temujin.co.wrightair.uk Bar Girl John Kearney JKNet@Blueyonder.uk www.com/gallery TheGalleries Source Tomas Müller http://www.co.pwp.uk/ www.2dartistmag.www.blueyonder.co.2dartistmag.uk www.cz temujin@temujin.j-k.com page61 issue 009 September 2006 .co.

Subjects: Fire & Smoke Issue 07 : July 06 : part 7 : Fur & Hair Issue 08 : August 06 : part 8 : Eyes Issue 04 : September 09 : part 9 : Skin Issue 10 : November 06 : part 10 : Flesh Wounds Issue 06 : June 06 : part 6 : . Each month. This month we will be doing skin. 2 or 3 professional artists will cover a specific theme or ‘element’.by Richard Tilbury digital painting tutorial series The ‘elements’ series is a guide to basic 2D Digital painting and can be followed in most software packages supporting paintbrushes and layers. resulting in 2 or 3 different styles and techniques which can be viewed side by side.

2) www. was to make a quick copy of the drawing on a new layer using a small standard airbrush set to about 8 pixels wide and set to Multiply. as always. Skin is yet another element that varies greatly. which in this case is a light brown (R157. Quite often I place the predominant colour down across the entire canvas. but here I wanted to keep a white backdrop. to begin with a rough drawing I had already done on paper in one of my sketchbooks. it is important to gather as many references as possible before starting. I decided as a starting point.2dartistmag.elementsSkin This months’ tutorial will deal with the topic of painting skin. which you can see in Fig. 2. This will act as our guide for the painting.1. so I made a mask around the drawing and then filled in the body only (Fig. 1. No one person looks the same and so it is important to decide on a rough colour scheme early on. G103. hence the importance of research. As with any subject. The first stage.com page6 issue 009 september 2006 . B76).

com page6 issue 009 september 2006 . such as the lips and around the deltoid muscle at the top of the left arm. 4. have used a hard round brush which creates a more clearly defined edge.elementsSkin 3.2dartistmag. I usually paint these on two separate layers. so far. Try to keep the light and dark areas as derivatives of the base colour. Certain areas. You can see the type of brush used in the top right. Now that the body has begun to take form. along with the flow setting (50%). This will form the base colour. You can see the two shades I have used in the top left of the image. it is time to create a new Shadow layer which will be set to Multiply. over which I shall now start to paint in some general highlights and shadow areas. as demonstrated by the two brush strokes in Fig 4. This will define the key shadows and will be done using a soft airbrush and will help to further define the forms. 4). and I know roughly where the light is falling.3) At this stage. the detail has been defined tonally. You will notice that. The colour used can be seen in the top left (Fig. we are just trying to establish the basic forms and where the light source is situated. but in this instance I am putting them on the same layer and leaving it at the standard Normal blending mode in order to make quicker changes (Fig. www. with various sizes of the soft airbrush. 5.

you can see the colour used in the top left. There are essentially two further layers that I will use before flattening the image and making colour adjustments. which will be set to Soft light as a blending mode. In Fig. In Fig. 6. Now that a shadow layer has been established. Keeping this as a separate layer just means more control when making final adjustments to the tonal ranges. and the other will be called ‘refinements’ which shall be another highlights layer in essence. www. it is time to create one for the highlights. as well as paint in the brightest areas. The purpose of the layer is to enhance what is already there by using finer strokes. I have also gone back to the original lighting layer and also added in some highlights across the face and neck to improve the head area. One shall be reserved for detail only.com page6 issue 009 september 2006 .2dartistmag. It is set to Normal blending mode and uses the same colour as the highlights layer. 5. 7. you can see this layer isolated over the base layer.elementsSkin 6. namely the nipples and veins.

and the small details painted in. to add a little colour variation. as well as some of the random areas.com page66 issue 009 september 2006 . is used to add some colour to the ears and lips.2dartistmag.elementsSkin 8. it is just a question of making some minor colour changes. One could now add some blemishes and marks. to help reduce the consistency of the skin tones. which in this case means a colour balance adjustment layer which I tweaked towards a more yellow hue. With this layer complete. Richard Tilbury contact them via: ibex80@hotmail. One last layer. which is set to Soft Light. along with some subtle colour variation.com www. 9.

This month. Subjects: Fire & Smoke Issue 07 : July 06 : part 7 : Fur & Hair Issue 08 : August 06 : part 8 : Eyes Issue 04 : September 09 : part 9 : Skin Issue 10 : November 06 : part 10 : Flesh Wounds Issue 06 : June 06 : part 6 : . 2 or 3 professional artists will cover a specific theme or ‘element’. resulting in 2 or 3 different styles and techniques which can be viewed side by side. Each month. we begin with skin.by Emrah Elmasli digital painting tutorial series The ‘elements’ series is a guide to basic 2D Digital painting and can be followed in most software packages supporting paintbrushes and layers.

then going more into the details and trying to figure out the form of the skin. our painting will be better and correct (figure 02). it’s always useful to draw a basic sketch which indicates the main forms of the subject. I continue by opening a new layer between the sketch and the medium skin tone layer. I begin my painting process by creating a new A4 document in Photoshop CS2. I’ll use the upper torso of a male body as my subject. I fill this new layer with a medium skin tone (R: 219. which is a very good surface to apply light. The colours that I use while painting the forms are the darker and warmer tones of the medium skin tone that I used before. I change the “layer properties” to “multiply” and open up a new layer underneath it. form and detail. I start to determine general forms with the soft brush that you will see detailed in figure 04. It’s always good to use a reference in subjects like this . with a mediumtoned skin. I start to paint over the lines and try to make the painting look more www. To begin.a photograph or a live model will do. (figure 05) For the next step I can start to apply the highlights by considering the angle of the light source. After finishing my sketch and being happy with it. so that the form starts to slwoly become more defined (figure 06). As we know. I start by drawing the main sketch on a new layer with a simple brush (figure 01).2dartistmag. B: 156). I use the yellowish and lighter tones of the skin. I pay more attention to the general “stain” values. I’ll try to explain the painting process of a realistic human skin texture. by looking at a torso reference found in an anatomy book. using the “fill” tool (figure 03).com page6 issue 009 September 2006 . After being happy with the highlights and the shadows of the form. which I’m thinking of using in my painting. G: 190. The skin that I’m going to paint belongs to a white man.elementsSkin In this tutorial. By doing this. skin tones vary by the races and countries we live in. The first step is drawing the lines of the torso. the curves of the muscles and the colour of the final skin tone.

whilst painting a realistic skin texture. Human skin is a reflective surface. If we take a look at the shoulder muscles. we can see the harmony between the skin and the muscles under it (figure 09). Skin has details www. NOTE: Skin takes the form of the muscles and wraps it like a cloth. and the hard-edged brushes which I use to paint the sharp edges (figure 08). One of the most important things that we should pay attention to. The brushes I use while painting over the lines are the airbrushes that I use frequently. The best way is to examine our own skin to see what kind and amount of detail it has. is successfully applying the curves of the muscles. in despite of its matte appearance.2dartistmag.com page69 issue 009 September 2006 . This reflection changes depending on the colour and the density of the light. It is important to get the reflections right. we can see the bouncing light effecting the bicep area. I can start the detailing process. If we look at the area between the bicep muscle on the upper arm and the ribs (figure 10). After painting over the lines (figure 11).elementsSkin realistic (figure 07). whilst painting a realistic skin texture. We call this “radiosity” .

elementsSkin like freckles. I can start with the freckles and spots detail. hair and spots. All you need to do is to spatter some watercolour paint on to white paper. is to create them traditionally by using a brush and watercolours.com page70 issue 009 September 2006 . Now. One of the best ways to produce freckle details. After www. I’ll try to apply these details to my painting.2dartistmag.

After adding all these details. hard brush one by one (figure 15). you scan it and make it ready to use digitally.elementsSkin creating the spatter effect. The other way of make the texture look more detailed is to add some hair to it. and to make it less dominant I decrease its opacity to 50% (figure 13). To make them “pop out” more I add some highlights to them with a lighter tone of the skin colour (figure 17). Then I copy this texture on my painting and apply it to the suitable places. I erase some of the spots. There www. I’ve almost finished the painting. Another detail which reveals under the skin. The colour of the hair I chose is a lighter tone of the skin colour ( R: 199 .com page71 issue 009 September 2006 . (figure 16) . is the veins. I add some blue-ish.2dartistmag. To make it look more homogeneous. To integrate the freckles with the skin I change the “layer properties” of the layer to “colour burn”. Using Photoshop. without over-doing them. B:116). I also apply some brown coloured spots to make the skin texture richer (figure 14). I desaturate the spatter texture and adjust the levels until it becomes pure black and white (figure 12). grey coloured vein details on the bicep muscle with a soft and calligraphic brush. I paint these hairs on the lower arm with a thin. G: 154 .

Over all my layers I open some “Adjustment Layers” like.com page72 issue 009 September 2006 . Distribution: Uniform (figure 18). As a last step I will add a “noise effect” over the skin to make it look rougher. I adjust the colours by the help of “Colour Balance” and make them look more accurate. I use the “Spatter Effect” to make the “noise” look messy and unbalanced. After this. I increase the contrast and decrease the saturation a bit. I go to the “Filter” menu. “brightness/contrast”.elementsSkin are just some colour and contrast adjustments left to be made. You can find these by going to the “layer” menu and clicking on the “New Adjustment Layer”. B:150). then make these adjustments: Amount: 400%. I hope you like it.com www. (Filter> Blur> Blur) (figure 19). Finally. I decrease the opacity of the layer to 4%. click on “Noise” and select “Add Noise” effect. Also. (Filter> Brush Strokes >Spatter). Then I apply “Blur Effect” on the same layer twice. I open a new layer and fill it with a greyish tone of the skin colour (for example: R:180. Lastly. Emrah Elmasli More work from this artist can be found at: www.2dartistmag.com You can contact them via: emrah@partycule. This is the method I use to paint realistic skin texture. “colour/balance” and “ hue/saturation”.partycule. After this. my skin painting is complete (figure 20). G: 170.

and a quick outfit to fit the female. I will take you through the stages of painting a female face. hair strokes. For this tutorial. I used Photoshop..by Adonihs in this tutorial. lips. I’ll teach you my method for some quick. . skin complexion. eyes.. but stylish.

Very simple. I always do the same thing for my backgrounds. this is how I prefer to start.don’t go and make a lot of tiny threads and strands of hair. I use the gradient tool. At first. fringed outfit. For her. ugly.com page7 issue 009 September 2006 . as I think it is the easiest way to begin. Simple is Laying down the Background and Basic Colours Now. By simply laying down a basic sketch. it’s really down to what’s in your head. again with the retro style. Then I paint in her hair using blacks. Try to keep your lines very clean. I decided to give her some heavy eyeliner around the eyes to give her a more mysterious look. I then started to paint over them with highlights and shadow differences. especially on the eyes which I will work on next. Eye Tutorial For the eye. which is just the basic flat skin colour that I’m going to go with. For her. Since these are mostly covered by eye-shadow and mascara. The outfit is completely up to you. just trying to block in my colours. We firstly fill in her eye colour. and I just pick two colours and lay them flat on the background. for portraits. I took out the cigarette and gave her a more “smug” look. I will give you a small lesson on them. or you can just channel your own female look. simple.I cooled it down though by not colouring the shirt in at first. After I laid down my solid colours (black for hair. because it will make no difference in the end. European. Also. I used a reference for mine.tutorialPainting A Female Face better . remember to colour the shadowed area under her jaw. Sketching in your Character As we now know. nothing too bold and you can achieve something very simply. futuristic. like we did before. I have my female figure outlined. as I can’t sketch females that well. I also laid down some brighter colours on her lips. I thought I would give her a ‘Cruella Deville’ (‘101 Dalmatians’) look. Moving on to the figure’s colourings. as you can see.you don’t want to make the figure too complex because you should remember that females are soft. I’m very obsessive about not having something coloured in . Basically. As for her hair. I wanted to create a stylish 70’s look.thin lines. and so forth). you can use references if you want. yet it should still “pack a punch”. I always start off with the skin underlay colour. not hard-shaped like males. but nice. you have little to work with. pearly-pink for skin. if you want something stylish. www. which can be found in the tool bar. yet. all you have to worry about is just the basic shape of it .2dartistmag. and so forth. I just took two chalky pink/purple colours and used them as my background. a few purples. but as I progressed. almost as if you’re inking in a comic book page . giving what will be my starting point for the highlighting there.

Blending and Smudging Colours In this step.2dartistmag. taking my blue colour out of my colour picker. I then started to work in the oval shape and the highlights. For her eyes. draw tiny strokes from the bottom of the eye lid. sockets.making her more lively when the painting feels like it’s coming together. you can start to work in some eye lashes. you can pick out a white colour. I start to move on to other parts. I don’t have it on my skin. You don’t want to paint too much and make the whole eye a solid blue. but rather you need to blend them together. I will start to blend my colours together and make her look a lot smoother. and start to work in some highlights. and lids. what I like to call. www.com page7 issue 009 September 2006 . to get the colours to mix smoothly. is the simple. So. on a low opacity.blending and mixing as usual. I then start work on her forehead . I use my typical smudge brush which learned from artists such as Linda Bergkvist. A new technique that I’ve the pupil. I wanted to give her an icy cold blue look. Using a size 1 brush set on 80% opacity.tutorialPainting Once you have your basic colouring. I go in with either the same colour that I’m playing with. or the blur tool with low strength. Once I’ve blended them together. Once your eyes are nearly complete. but it makes it look a lot more “slick” looking. This is my favourite part . and build up thicker lashes on the upper lid using a size 3 brush. This basically gives the shimmer of the skin. use a size 3 brush and start to scribble in some of the highlight colours and the pupil. “glossy splatter” near the eye. and block in the glare on the A Female Face I always use to blend. and just touch it up a bit. using tiny pearl colour blotches. Once you have a good shape and feel for it. use the dodge tool on a very low strength. Once I’m satisfied with the look of it. Then. I immediately start off with her eyes. mostly in the glare and the tiny bit around the pupil.

I like to begin with a soft brush and stroke in some threads of hair. As for the skin. I can then start to blur it in using the Blur tool .opened them up a little more . then over-painted the cheek with a soft pink/pearl colour. Block in the soft colours around the areas that look a little harsh by turning the opacity down . it Refining and touching up Now. starting to blend all of the additional colours together. whilst also working on her chin area a little more . which is starting to take place. I worked on the area where the shadow of the cigarette fell on her cheek.this will make the colours more seamless. an earring. I went over it some more. The main differences are in the eyes. Detailing her outfit.2dartistmag. Here. I’ve smoothed out a lot more of the colours. Once I have a consistent colour scheme for the side of her face. it’s the small details that can really bring a picture to life. just smoothing it out. I’ve totally refined them .curving it. By doing this. I turned down the opacity of the colour to 20% and started to flesh it out a bit. Face I’ve now removed the cigarette and started to refine some of the soft spots on her face. I used a soft brush in both parts.putting extra detail in the eyelashes. and tiny details To me. I began late on this so added some basic tones to it then built it up so that it’s just not one solid purple colour. no hard spots .Blending and Beginning her hair Moving on to the next step. Firstly. As for the back of her hair. and go over them to get that “dream-like” flow of the hair. rather than a hard shadow. Whether it’s a tiny freckle. not all that much has been. Remember. use the soft brush again to create some curls and light strands. although it looks like a lot has been done. or whatever else comes to mind. As for her ear. Then I go in with a hard brush. For her cheek.com page76 issue 009 September 2006 .make everything as smooth as can be! tutorialPainting A Female Quick hair and fleshing Cigarette gone and out her cheek refining For this step. www. it helps to curve the lighting on her face to create a softer shape.just soft enough to get a smooth touch to it.not too rough . set on Pen Pressure. you’ll notice the strands of hair.

tutorialPainting can change a picture in an instant. I fixed up her nose a little bit . and continued to shape out her arms and body. I first dabbed in the same colour as the background to get the little embroidered fringes. and added in the little holes here and there.2dartistmag.deviantart. After that. What I did first was to move her eye a little closer to her nose than it was before. by duplicating the image. but set to pressure. just to make her hair a little wilder and not so “secretarylike”. adding a nice fringe to the edges of the turtle neck. lowering the opacity and messing with the colour/hue. I added more streaks of hair.com www. A Female Face Final Fixes and steps This is the final step of the picture. still set to pressure but at 80% opacity. I then changed the overall colour of the picture. I used a hard brush. Then I used a size 3 hard brush. I then added some earrings to her left ear. That’s it! Adonihs More work from this artist can be found at : http://adonihs. Even a tiny strand of hair across her forehead makes her appear innocent.adding more of a curve to the tip of it.com page77 issue 009 September 2006 . I start to detail the outfit now. whilst a raised eyebrow makes her look more mysterious.com/ and contact them via: dmxdmlz@aol. as I explained earlier in this tutorial. To do this. it’s up to you to define your own details and make any touch ups. setting it to overlay.

. ..a simple way to show how I painted this concept in Photoshop using simple layer and lighting techniques.This the Making Of ‘Beast’ .

Sketching and Concept This character was a game character and it was presented as a 3D version in a cinematic game.The making ofThe Beast Introduction In this “ making of ”. however. I will share with you how I painted my “Beast” concept. it lives in the Middle Ages and has powerful and rapid strength to make an attack.. then scanned into Photoshop and painted them in Photoshop 7. I will be showing you my favourite method.2dartistmag.com page79 issue 009 september 2006 . About the beast.. So. I began by thinking about the figure of the “beast” and sketched several angles of different views for modelling. There are many ways to achieve this. www.

and arms are. Painting the background Second step. the skin.Tools used Here are the tools I used. I decided that a mauve colour would highlight the area of The making ofThe Setting the light Beast I chose a blue-purple for the skin and red. I’ve been thinking about what I want the character of the painting to be.2dartistmag. Here I work out the general look that I’m aiming for. When drawing. and the other is arms. what type of light you want to choose. now I can start to add blocks of colour and details. I then decided to make the skin colour nearly desaturated. It’s more convenient if I am not satisfied with the colour and want to change. blue and brown colour. playing with the “opposition”. As usual.com page0 issue 009 september 2006 . Here I want to explain why I paint the background first. depending upon the mood that you want to achieve. I used black and white colours to shade. I always think if it’s in 3D. spotlight. with a dreary gray. I always use Burn and Dodge Tools to make shadows and highlights. what type of lighting and where is the light from. I used “Colour Balance” to apply the colour for the helmet and www. and the sketch line is on a “Multiply” layer above. Here I separated 3 layers. clothes. placing the light and where the shadow will be dropped. painting on the background. I considered what type of light I wanted and where from.to blend colour Choice of colour and green for the clothes. with purple for the dark / shadow areas. you will find it will help your character to immerge from the background. It’s like. In Photoshop. For the arms and equipment. if you’re in a 3D program. or point light. and can work out where the muscles. then I start to paint the background first. I knew I wanted my background to look darker. In this step. then used “colour balance” to apply the colour. or in oil. It’s just like painting in watercolors. red and brown colours for clothes and leather. Colour blocking and Layers Here is the result. one is skin. and where the rim light is from. I used Photoshop “Custom Brush” to paint: “Brush Tool” “Smudge Tool” . direct light. so you can see my colour palette choice is not very saturated. depending upon the direction of the light source. I chose grey-green. checking the perspective and proportion. with 50-90% opacity of your brush. brown In this step. This is the background colour palette I used. Since I already decided upon the light source. another is clothes.

The making ofThe Beast www.com page1 issue 009 september 2006 .2dartistmag.

the purpose is to allow the picture to be cooler and the same tone. I add a new layer in “Overlay” mode.com page2 issue 009 september 2006 .2dartistmag. Hopefully it will be helpful for you. Any comments/critiques are welcome. Render Now. I chose yellow for highlights and blue for reflected light. please feel free to contact me. but you can use “colour balance” to do this as well. and “Filter>Noise>Add noise” to make the bump. Final The final result! This is a simple idea about how I work. having finished all the detail work and combined all the layers. If you have any good ideas or suggestions. www.The making ofThe Beast ams. Using the “ramp” to simulate the light colour. With opacity at 15%. Harmonization I added one more “Colour” mode layer and chose a blue colour to fill the whole canvas.

tw Making Of by : Yu Cheng Hong Beast www.com.my8d.2dartistmag.com page issue 009 september 2006 .net/digiflyart/ And you can contact them via: beziermix@yahoo.The making ofThe Beast Concept More work from this artist can be found at: http://web.

>>continuing Texturing series. Julian. Hasraf Dulull.25 year old.. Project Overviews >>3 more making of’s from our past gallery images >>Part 2 of 2 this tutorial by Richard Minh Le >>Brazilian freelancer with ambitions.25 www. André Kutscherauer >> 3D Visualisation Artist interview. 8 months in a row! >> Eve Online >>more exclusive content from this new and amazing digital art overview book>> theEndof Summer In an abandoned city. issue009 May 2006 $4 / €3.25 issue011 July 2006 $4 / €3. before a tropical storm.Zoo Publishing presents the new issue of magazine: a downloadable monthly magazine for concept art. chokata. and written by the artists.Low poly character texturing part 1Richard Tilbury. >>Luma..25 / £2..25 / £2. 8 months in a row! This month Part 2 Modeling the Torso Rich Diamant >>Lead Character Artist at Naughty Dog Stuios Mihai Anghelescu >>3D Modeler for Electronic arts Blackbox 1954 Mercedes-Benz 300SL Gullwing by Hrvoje Rafael & Roof Garden by Lukasz Szeflinski Article Richard Minh Le >>3d artist at RushWright Associates.25 / £2. Sci-Fi spectacular Studio Reveals it’s mastery of Creatures and 3D Environments Rosenman >> Head of 3D at Redrover Animation Studios.dcreativemag.Modeling the Arms and Legs issue008 april 2006 $4 / €3. >>an Introduction to ‘Evil Genius’ & ‘Metal Balls’ by Siku Texturing Masterclass >>win a copy of Shade 8. and about to start Leda Animation Studios. Maya. Ali Ismail. C4D & XSI >>Behind the scenes of the Return of the dark Knight >>Author of Hyper Realistic Character Creation and industry Veteran Colour tutorial Series .0 and find the perfect CG industry Job! Eden Lab Hyper Realistic Creature Creation >>win copies of this superb book! >>Turin based 3D Studio & Car render wizards interview . Lightwave. a landscape architecture office in Australia Texturing Masterclass . we take a look at the animated short. & Director of the short film “Plumber” >>This month we complete the mammoth tutorial series richard >>Normal mapping expained! by expert artist Misja Baas of Gorilla in Holland Interviews Andrea Bertaccini Dave Davidson Axis Animation Joan of Arc Digtial Compositing >> More from our compositing Guru. SwordMaster >> ’Nintendo’ by Michael Knap & ‘Furniturecluster’ by Mathias Koehler >>Part 3 of our complete low poly character creation tutorial . Alpine A443 .. Articles CINE VFX info here.25 issue012 August 2006 $4 / €3.part 3 >>Richard Minh Le rounds off his colour theory tutorial. Adel finds the time to talk to us Erick Miller >>on his career and new book SwordMaster Making Of’s Fred Bastide Juan Siquier >> 3d Modeler & Texture Painter >> Self taught CG artist and monster obsessed! Follow our new ‘step by step’ tutorial to create ‘SwordMaster’ from head to armour. C4D & XSI >>VFS Graduate and now Creature Modeling on Next Gen games for Propaganda. Laurent Ménabé. Johnson-Mortimer & Johnny Pham. visit to download the free ‘lite’ issue.. subscription offers and to purchase back issues.25 / £2. ‘Fin d’ete’. the full issue.25 >>More of the latest 3D inspiring art such as this cover image by Sebastian Schoellhammer >>Deconstructing the Gallery images.Part 2 of 3 by d’Ettorre Olivier-Thomas & Rigging for Moosah & Chub by Adam Scott The Science of Colour >>Exclusive Tutorial written by featured artist Richard Minh Le Texturing Masterclass >> Texturing a scene part 2 by Richard Tilbury Galleries Texturing Masterclass >>Final part of Low Poly character texturing Project Overviews 10 of the best images from around the world featuring Soa Lee. Maya.com Sword Master >> Follow our new ‘step by step’ tutorial to create ‘SwordMaster’ (this months cover image) from head to armour.25 / £2. Sebastien SONET ..25 issue010 June 2006 $4 / €3. digital & matte painting for only US dcreative $ Issue 013 September 2006 $4 / €3. this month texturing a humna head part 1 of 2 Masterclass >>Texturing a scene part 1 SwordMaster Colour >>continuing complete chracter creation monthly tutorial for 3DSMax. Lighwave.25 / £2. Canada. André Holzmeister Greg Petchkovsky. ive is one >>3DCreat e cake! and we lik Grzesiek Jonkajtys SwordMaster Batman Begins Erick Miller >>On Directing his new Film ‘The Ark’ by BAFTA award winning studio Platige Image >>Continuing complete character creation monthly tutorial for 3DSMax. urin eat with >>F rview Carlos an Inte ctor and on Dire danha article this Sal th n of s in dep atio Studio cre the e Sky ted Blu Anima 3rd ture Fea g an >>CCP’ s Kari Gunnarsson talks to us about the online gaming pheonomenon>> Digital Art Masters Adel Adili Managing Director of Taharan.

Tomas Muller . in relatively short time.. as Tomas Muller shows us how to combine various methods to make his Mining Machine..Mining Machine Learn how to create great quality artwork.

For a person who has just a little experience with 3D software. final pictures. Using this aid covers many advantages it performs the function of the first sketch.) Note: Don’t forget to render the image with alpha channel .you’ll avoid complications with masking the scene manually. (I’m not going to do a tutorial about how to model in 3D. matte painting and using 3D objects as a reference. use 3D software. this way helps a lot. I would like to point out that the techniques used to create this concept contain some components and aids made in 3D software. where I draft the composition. This is rough 3D model that I used as a shape reference. Before rendering. It’s possible to add some guidelines and perspective lines. I hope this will inspire some work of your own. www. This tutorial will explain effective principles on how to get easy and quick ways to create high quality concept paintings. To follow my way of working.. in Photoshop. and will of course improves the final look of the picture. my only remark is that it would probably take a person who is good with 3D software about 30-45 minutes to make this. I am trying to find the best position for the machine that agrees with my vision of the final composition. Adusting composition and refrences Personally.or don’t want to. with descriptions of the most necessary operations in this stage of work. it’s important to be able to work with any kind of 3D software. To begin. I generated a very simple low-poly 3D model. It is applicable for concepts. then you can use your own way. It’s the best way to get the best quality in a short period of time.The making ofMining Machine Mining Machine Firstly.2dartistmag. to the rendered scene. and for illustrations. painting with a digital tablet in Photoshop. Painting and adding details Now I focus on some picture examples. and have advanced skills in Adobe Photoshop.com page6 issue 009 september 2006 . perspective and lighting. I like to combine available digital means. If you cannot..

com page7 issue 009 september 2006 .2dartistmag.The making ofMining Machine www.

clouds. which exhales from under the working machine. modification on reflections and shadows. I used a photo as reference.2dartistmag. Basic shape of drift. www. Adding more particular details. Creating the smoke For the smoke. add additional effects.com page issue 009 september 2006 .The making ofMining Machine Textures. Finishing off the drift and shadow of smoke. smoke. Dropped shadow and colour-corrections. finishing the background.

Note: In nature. colouration and various diffusions among colour channels.cz www. therefore it’s good to reduce black in shadowed areas just to darken colours that the picture already contains.com page9 issue 009 september 2006 .cz and contact them via: temujin@temujin. Finally.it needs the contrast adjusting slightly. I hope you have enjoyed the tutorial and have found some good advice.09). By using picture duplications. which has everything sorted. Machine Colour correction So here is the picture (fig. a black colour is never 100% black. But there is still something missingm .2dartistmag. Here is the final concept after colourcorrections.The making ofMining After finishing all of these operations.temujin. we have reached the end. We need do some colour-corrections to unify separated components and adjust the atmosphere intensity. which the picture should irradiate. we can get more credibility and final look of the whole image. Best of luck with your own projects! Tomas “Temüjin” Müller More work from this artist can be found at: http://www. Here is an example that I had in mind. I reached this outcome.

back issues and 6 & 12 month subscriptions Image by Mikko Kinnunen .2dartistmag.Interviews Ryohei Hase Mikko Kinnunen Stephan Stolting Articles Digital Matte Painting Lemmings Concept art & Evolution Tutorials Lanscape tutorial by Adonihs ‘Clouds from above’ by Marek Hlavaty Elements .Flesh Wounds by Richard Tilbury & Benita Winckler Plus More! Galleries All for only $4! go to www.com for full details and to purchase current.

images. and would be interested in reselling 3DCreative or 2DArtist magazine please contact lynette@zoopublishing.com Zoo Publishing is a new Company. reviews. images and tutorials as possible.com www.zoopublishing. or you have a question for our staff.com www.com Assistant Editor > Chris Perrins chris@zoopublishing.com Editor > Ben Barnes ben@zoopublishing.3dcreativemag.com Marketing > Lynette Clee lynette@zoopublishing. 3dcreative and 2dartist. If you would like more information on Zoo Publishing or It’s magazines. Zoo currently produces two online downloadable magazines. interviews.com Content Manager > Warin Pismoke warin@zoopublishing.2dartistmag. It is based in the West Midlands in the UK.2dartistmag. Zoo’s intention is to make each issue as full of great articles.com www. www.about usZoo Publishing Partners If you have a CG Community website. please use the links below. publishing downloadable online magazines.com page91 issue 009 September 2006 .

Sign up to vote on this title
UsefulNot useful