Professional Documents
Culture Documents
2DArtist Issue 003 Mar06
2DArtist Issue 003 Mar06
25
gal l e r i e s
More amazing
artwork such as this months cover imag
e ‘Ghost & Mariner’ by Innokentil Shevch
enko
interKvuainegw s
Hong
Matt Dixon
l
Eduardo Schaa
Dan Wheaton
tutorJaidae Flosx,
Colouring
Approaches to
Soft Colouring,
Series Part 1 -
l Painting
Elements Digita
Fabrics
Series Part 3 -
Fox Fire
makcain g olpfsin
lling for he
‘Many are ex’
the silence’ ‘V-R
comDpigitael tAirttMiaostn
ers
3DTotal’s
Contents
The third issue of 2DArtist Magazine is here! It 10 of the best grace these pages, such as this
has been a fast paced year so far for the team month’s cover image “Ghost & Mariner” by
galleries
at Zoo Publishing and we have to thank all the Innokentii Shevchenko. Remember, we want entil Shevchenko
e ‘Ghost & Mariner’ by Innok
this months cover imag
artwork such as
contributors to both our magazines who are the your submissions for future galleries! Details for More amazing
views
interKuang Hong
main reason that we keep on going and growing! sending them in are here http://www.2dartistmag. Matt Dixon
Eduardo Schaal
Dan Wheaton
More and more artists discovered us last month com/gallery. tutorials Jade Fox,
Colouring
Approaches to
and we got some fantastic feedback in the Series Part 1 -
Soft Colouring,
Painting
Elements Digital
Fabrics
Series Part 3 -
survey we ran, which showed we are on the right Making of’s making ofs
Fox Fire
g for help in
track with our content so far. So, on with this ‘Many are callin x’
Break down those images! The layers, brushes, the silence’ ‘V-Re
competition
issue’s summary :- blending modes, tips and tricks are revealed as 3DTotal’s Digital
Art Masters
this months
Contributing
Every month, many artists from around artists
Kuang Hong
Art Director / Concept Artist /
Illustrator > Beijing Pantheon
the world contribute to 2DArtist Magazine.
Technology Co. Ltd. > Beijing,
This month, we would like to thank the
China. I Liked arts since young,
following for their time, experiences and
after graduation went into
inspiration.
games companies and started on CG. in the future
i hope to have my own studio, publish my comic,
become a unique and individualistic top designer
and illustrator.
noah@zemotion.net
www.zemotion.net
started to draw two years ago. out & am still using Adobe
lot of jobs & art propositions because of my studies awards & several features in different artbooks &
because I consider myself as too young & I never for clients such as Heresy Gaming, Fantasy Flight
did art studies. My artist career goals is to share Games, Lucid Raven Productions & private clients.
more about my universe. Actually, my real goal is to I will never stop to try to expand & develope my
Electronic Arts, Rockstar North, Namco co.ltd, Team 17, ESPN Star Sports, Acclaim Studios, Rare Ltd,
Sony Pictures Imageworks, Nike plus hundreds more.
please.
games company.
self-taught.
learing?
techniques?
Colours seem to play a very been given to how it wlil look after colouring.
important part in your images. With reference to “My World”, the inspiration
How do you decide on the for this piece’s came from a plastic flower in a
colour range you will use for pot. It’s petals in my mind slowly shaped into
each image, and what are the woman’s hair, when sketching, adding
your inspirations for this in the other elements, then it became more
mind before I start working What are you plans for your future career?
when working on the lineart, character. I would love to publish a comic book
hours!?
his website.
http://www.zemotion.net/
noah@zemotion.net
Interview by :
Tom Greenway
mat
int
erv
iew
wit
h
Cornwell.
Interview
dixon
an interview with
Hi could you tell us a bit about yourself?
Entertainment Software.
using the same techniques to create Do you ever get a buzz from seeing any of your
pixel backgrounds and sprites for work whether it is 3D or 2D in any of the games
SNES and Genesis titles, but it that you have worked on?
wasn’t long before the Playstation Oh, definitely. I don’t get much time to play
arrived and I found myself working games these days, but I’ve spent many happy
mostly in 3D for years after that. hours admiring the art in game worlds and it’s
is spent creating concept art giving someone else that same pleasurable
which is a welcome return to two experience. I have to say that, for me, the real
dimensions - I enjoy 3D work, but buzz is in the creation rather than the end result
2D is definitely where I feel most but it’s certainly satisfying to see that game box
taught?
regrets.
images against the pen and ink drawings or currently. Hmm… to keep me focused; some good old
Warhammer Orcs I used to scribble out in my cheesy metal if I’m drawing a winged
bedroom all those years ago. I won’t say which Seriously; one of the things I really enjoy about demon, maybe some techno if
I thought was better..! my job is the variety of things I have to deal it’s a science fiction scene, jazz
with each day and I’m not sure you’d get that or ambient if I’m sketching up
As it had such a big effect on you, would working as a staff artist for a big publisher like an environment, funk or disco (
you like to produce artwork for White Dwarf Games Workshop. I’m happy where I am. yes, disco ) if I need a burst of
artist in a well known games company? Where do you get all the inspiration from to mood. If I don’t have music on
Yes, painting Orcs and Space Marines all produce such visually stunning paintings? while I work I find myself humming or making
day would be fun, I’m sure! Actually, Games That’s a very difficult question to answer. I don’t little sound effects as I paint so it must play a
Workshop’s HQ is in walking distance from my know. Ideas just kind of pop into my head, and part somewhere!
I least expect it. Music plays Yeah I tend to listen to a bit of Miles Davis
a big part in the creative when I need to get a bit of inspiration. So whats
suppose that’s a source Haha! Anything with a decent beat and a good
music while playing. I’ve not been in the disco mood for a
symphonic metal!
How long on
average does it
painting. From
concept through
to finished
piece?
That varies
quite a
bit, but I
always
like
the idea stays fresh. If it’s being worked on for plane flight, it’s the beginning and end which
several days, I find myself losing confidence are most exciting - that’s where everything is
in the image and it’s very difficult to summon happening. The first sketches and thumbnails
the will to finish it off. Most of my work is as the picture begins to reveal itself is perhaps
completed over two or three days in several the most exciting part because you have this
short sessions - maybe an average of six to partial vision of how the final image might
eight hours working time in total, though some appear and the anticipation of seeing the
can be as little as an hour or two, and others finished product is mixed in with the anxiety
might take twelve hours or more. The time over how the image might progress if mistakes
taken seems to be as much to do with my own are made during the painting. The final stages
mood and motivation as the complexity of the as the details and highlights go in is the bit I
Which part of producing these paintings do you this part if the picture is going to ‘work’. The
enjoy doing the most? hours of effort in between are dreadfully dull by
What would be your ideal job? of my studio which are thrown open to reveal have stopped blowing each other up, too.
I consider myself very lucky, because in many a tidy little garden with views over the sea. I
ways I’m doing it right now - I spend most of my can hear my kids laughing somewhere outside That’s a pretty scene that you have just
day painting concepts for video games, working while I’m busy finishing up the cover of the created, kind of makes me jealous. So which
alongside some very creative people for a sequel to the best-selling ‘Art of Matt Dixon’ sea would you like to be overlooking?
company which has treated me very well in the book which has paid for my idyllic new lifestyle. The Atlantic; I think that little dream house is
decade or so I have worked there. I can’t think My girl’s busy preparing dinner in the kitchen, somewhere down near the end of Cornwall
of many ways to improve it without entering the and if I’m not very much mistaken, that gentle
realms of fantasy. Sorry, that’s a terribly boring clink of glass on glass tells me she’s on her Who inspires you artistically?
answer. way through with margheritas aperitifs... I could write a huge list here, but there are a
Ah, dreams! Honestly, if I’m still able to earn few artists who’s work I never tire of returning
Where do you see yourself in a 10 years time? a living through my artwork and my family are to. John Singer Sargent, Robert McGinnis and
On a Friday afternoon in late summer, with a happy, I’ll be pretty contented where ever I am. Frank Frazetta would probably be my favourites
that day.
www.mattdixon.co.uk
Or email him:
mail@mattdixon.co.uk
Interview by :
Chris Perrins
www.2dartistmag.com issue003 march 2006 Matt Dixon
17
The
Portfolio
of Eduardo Schaal
Article
Eduardo Schaal, 34, has a 16 year career Photoshop, Painter and 3D Studio (which, at daily pre-visualisation of projects, either in 2D
history as an illustrator, concept artist and the time, were still in DOS version). During or 3D, beyond the work of illumination and
art director. Thanks to his constant work the period of 1993 to 1998, Schaal worked as texturization in 3D using Maya, After Effects
and devotion he has established a privileged a freelancer doing animations and illustrations and Shake.
position in the national market. Professionally, and teaching “illustration for the advertising
First Sketches
Schaal began his career in 1989 with market” at ‘Escola Panamericana de Arte’.
Schaal’s passion for learning illustration began
Augustin Gizé, as an illustration assistant. Between 1999 and 2004 he worked at ‘Fabrica
back in the 80’s (the pre-digital age) when
Later, in the same year, he worked at HGN, de Quadrinhos’, mainly as a freelancer
he attended public art lessons at ‘Escola
an animation studio in São Paulo, as a 2D doing illustrations, where he later became
Panamericana de Arte’, where he had to learn
animation assistant. In 1991, he started his a partner of the studio in 2003. In 2004, he
to use all of the traditional processes; gouache,
venture in CG with an Amiga computer, later joined ‘Trattoria Films’ with the responsibility
nanquim, brushes and aerographs. Because
switching to the PC in 1993, when he adopted of creating an art department; developing the
2D category!
see it as a problem.
Schaal began his contribution to ‘Trattoria ‘Galileu’ magazine (May 2005), he used of your limitations in order not to under
Films’ with the visual conception for the short acrylic ink on paper with the help of Photoshop estimate or over-estimate your work. Keeping
movie ‘Curupira’ (selected movie for 16º and Painter. Schaal suggests for illustration your portfolio organised and up-to-date is a
International Festival of Short Movies in São beginners that they have a clear notion of their key thing. It is also essential to be aware of
Paulo) and for the video clip of a Brazilian objectives, without wasting talent in the lack your own capabilities in order to attend the
singer called Adriana Calcanhoto, “Fico assim of personal marketing notions. To construct a customers’ needs and to charge them a fair
Websites:
www.eduardoschaal.com
http://www.trattoria.com/
http://www.curupirafilme.com.br/
Legends:
Angel – image for a 2003 calendar – client:
Year 2005 – Client: Editora Globo – Software: Filmes – Software: Photoshop – Software: Photoshop, Maya
Photoshop and Painter Trip Trix – Storyboard to a publicity film – Year: Toddynho – Concept Art for a 3D character
Jesus-Matrix – illustration for 2005 – Client: Trattoria Filmes – Software: – Year:2005 – Client: Trattoria Filmes
Superinteressante magazine – Year:2004 Photoshop – Software: Photoshop
– Client: Editora Abril – Software: Photoshop Toddynho – Concept Art to 3D Scenarios Speedy – Totem – Concept Art for a 3D film
and Painter – Year: 2005 – Client: Trattoria Filmes signature – Year: 2005 – Client: Trattoria
Nefertiti – Illustration for Aventuras na Historia – Software: Photoshop and Painter Filmes – Software: Photoshop and Maya
magazine – Year:2005 – Client: Editora Abril
Pato Purufic – Concept art of a 3D character Gisele Mermaid – Concept Art for visual effects
and vehicle – Year:2004 – Client: Trattoria design – Year: 2005 – Client: Trattoria Filmes
Persia series.
Interview
dan wheaton
You state in your biography that you have
artist and what are the key skills that you feel
you work at boiling visuals and information them. For me, I was essentially self taught can blur the line and create a different reality.
down to their essence, making dramatic in 3d with a variety of programs, so I would My experience with corporate and design work
impact, conveying ideas that are “sticky” never consider myself a production modeller, never really let me do that - there wasn’t the
people remember them. I found that all of etc. Matte work lets me integrate 2d paintings outlet for it. I don’t want to fall into the dark
those were very complimentary to matte work in Photoshop, and bring them to life with a hole of technology and lose the artistic, but I
it’s got its own set of technical requirements combination of composite and 3d tools - and like the results that the integration allows and
that you have to learn, but in the end, being that I find very cool. Rather than isolating creates.
fit.
Could you go about describing the process of Global Illumination, to get overall lighting
of producing a matte painting for any readers with main direction included. I’d duplicate the
new to the subject and describe the various main animated camera and setup my main
Well, there are a lot of people who could out a frame, usually at double final resolution.
explain it better I’m sure, but I’ll give a basic That frame would be used in Photoshop to
take on what I did on Prince of Persia 3. I begin my painting. Any textures that had
used two programs every day - XSI for 3d, been applied (if any) would be completely
and Photoshop for 2d. I would be given a shot replaced in the painting... they were there only
that had cameras and scene established with to break away from using a grey geometry
low poly geometry that I would start with. I’d base for painting. Once the main painting
rip out any animations in it (not needed for was complete, I’d project that image on using
my part), and then usually do some sort of my dupe camera, then advance through the
quick and dirty texturing (rock for example frames to the final camera position and check
using a cylindrical projection) This is going for holes that need to be patched by projecting
to be replaced in the matte, so it really with a duplicate of the final cameras’ position.
doesn’t matter too much. I would import a These are areas that the first projection can’t
light rig given to me that was just a fast sim “see”, and require smaller pieces to be painted
www.2dartistmag.com issue003 march 2006 Dan Wheaton
28
Interview
and projected with alphas to add them to
current job?
“encumbrances” you have, the easier it is to that were terrific inspiration for matte painting work?
pursue that. The area you live in may really - and they used light in ‘pools’ to guide the I like a variety of styles (my illustration
restict your options too - if you aren’t in the eye around compositionally and make the background coming out), but I think we’ve
primary entertainment areas, it’s kinda like emphasis clear. Texture painting though, is had a small renaissance of artists in the
selling snowplows in the Sudan... there isn’t trying to paint materials with a flat even light digital era. Forums have really encouraged
a lot of value placed on it. It’s also a fairly - since all the real world lighting is handled by community and development; there are
small community, which can be a payoff, but it the 3d render. Matte painting needs to replicate more teaching tools and DVD’s out now than
makes it tough to learn for sure. There is also the environment lighting in a convincing way, ever which is fantastic. When I look at matte
this horrible myth that since matte painters can so it has main lights, bounce lights etc. all as
the absence of light, and matte work is all You mentioned a number of artists such as
about painting light - very, very different. And Dylan Cole and Alp Altiner - which artists are
then after my rant, I help them on the textures, you most passionate about and in what ways
jockey.
around.
job and why? development is moving closer towards film full 360 attention to detail.
Well, the cool thing about the job in general is production in terms of the creative demands
that you get to paint all day, and it ends up in now put on the art teams? And finally what project would you ideally like
the final product. I loved working with this Well first off, gaming has moved into HD to work on and why?
cinematic team, because they are unbelievably resolution, so you’re talking about a big jump in For me, the project is important (remember:
talented and ambitious - that’s a good situation level of detail. For all intents and purposes, it’s portfolio is king), but the people I’d like to work
to be in. Benoit and I really clicked - he’s the same as doing HD work for tv - it’s simply with are even more important. Projects like
someone I’d love to work with again, definitely a stylistic decision at that point. Personally I King Kong and War of the Worlds etc. are a
a strong player who knows his craft. Kun love the fact that it’s gone higher rez - it places really cool opportunity to do fantastic matte
Chang (the Director) was great ‘cause he’d be a higher premium on the art direction and work, but it also means working with some of
running by, see something we’d be working execution, which is great for artists. PC games the premier people in the industry... and that’s
on, and want to get printouts up on the wall always looked better with higher rez monitors, what attracts me, the chance to work with
to get everyone pumped up and on the but now the console games can look amazing artists that can really push you and make you
lighting, so it was great to work with him. Pre-rendered game cinematics are few and To see more of Dan’s work please visit his
Maybe he and I will collaborate on something far between since the game engine is often website:
personal - he does a lot of matte work as used for cinematics due to cost factors. But the www.carbonmatter.com
well, and is a very cool, talented guy. So the potential for cinematics is terrific, and the talent or email him:
combo of fun work with good people is hard involved is often working in both arenas - film dan@carbonmatter.com
to beat. And if you’ve never been to Montreal and game, so you have a lot of crossover.
(I think conceptart.org are going to be running If you are comparing game play art to film, I
workshops there), you don’t know what you’re think game play art is placed under different Article by :
missing... check it out! stresses than film - it’s often seen over and Richard Tilbury
theGallery
Predator’s Gold
Christophe Vacher
christophe.vacher@excite.com
http://www.vacher.com/
theGallery
theGallery
The End of Wonderland
Riana Miller
athihor@hotmail.com
http://www.fealasy.com
Faydrums
Benita Winckler
dunkelgold@gmx.de
http://www.dunkelgold.de/
theGallery
theGallery
King Kong
Adonihs
dmxdmlz@aol.com
http://adonihs.deviantart.com/
Ancient Sanctuary
Michael Corriero
mikecorriero@gmail.com
http://www.mikecorriero.com
theGallery
Boudicca 3060 AD
John Kearney
JKNet@Blueyonder.co.uk
http://www.j-k.pwp.blueyonder.co.uk/
theGallery
Pat the Pirate
Patrick Jensen
patrick.jensen@gmail.com
http://www.metavisuals.com/
Subjects:
Skies
Issue 01 : Jan 06 : part 1 :
somewhat.
b) Shadows
c) Highlights
will constitute the first dirt layer but you will find
(Fig 8).
similar to Fig 9.
Tutorial by :
Richard Tilbury
Subjects:
Skies
Issue 01 : Jan 06 : part 1 :
First of all, there are two different approaches a certain level of imagination, as well as a there is a button sewn on.
to painting fabrics. If what you want is to basic understanding of gravity and of how folds
achieve a realistic look, there is no escape work. Folds do have a tendency to follow a certain
from using references. direction but there is always that one little
Folds in general rebellous fold that goes the other way which
In this case, I would advise against using a Most people tend to make the mistake to paint actually creates the realistic feel to a fabric
photograph, since they sometimes trick the folds in straight lines without any interaction of or surface. Make it a habit to study folds
eye. Besides, you learn more painting from themselves. Folds depend on a great amount whenever you can. If you are sitting in a
real life – even when it comes to fabrics. of all different kinds of influences. Gravity, of restaurant, try to make out what causes folds
Instead, use something you have handy which course, to name just the most obvious one but to look different and try to memorize that.
consists of the texture and fabric you want also on the shape underneath, the thickness of
to work with. When you’ve located a suitable the material or the movement/direction of the Step 1: Create a colour
item, place it on the table next to you. (At element underneath. scheme and decide on a
this point I should add that, if your personal
fabric.
Folds interact. They might go on top of each We plan on painting an asian-influenced silk
preference is painting from photos, this is of
dress today.
course fine too.) other, break, curve or create little wrinkles
wrist, push the skin towards your hand and The first thing you should do is settle on
This time around, I would like to introduce
then bend the wrist in order to have your hand a colour scheme. In cases such as this, I
you to a different way of painting fabrics or
point at you to create some basic skin folds). normally work with four different colors: a base
clothing. It’s the way I normally work, and it’s a
Folds get pushed together if you bend your colour; a shadow colour (pick the ambient
bit more intuitive and semi-realistic than other
colour – in this case the background – then
(image 1)
(image 3)
Step 8: Highlights
Here come the highlights. If you want to
dull effect.
make sure you vary the value of the color by Step 9: Ornaments and
pressing down more or less depending on the embroidering
angle and height relative to your light source. You can add an unlimited amount of detail
Make some crazy brush stroke and try to see if to fabrics. In this case, I settled on some
you can create a look that works for you. asian-influenced imprints. I picked a new
Besides adding the actual highlights, I’m also than the main color) and started painting in
color picking all over the place and refining some leaves and random patterns. This is
shadows. A little trick is to first create a bigger quite a delicate procedure. Embroiderings and
shadow area, then pick a lighter color again patterns need to follow the body, and since
8).
how the line follows the fold and note its “ups
“rubbery”.
Project Overview by :
Natascha Roeoesli
www.tascha.ch
12 ISSUES FOR
THE PRICE OF 9 Subscription $36 save $12 (25%)
6 ISSUES FOR
THE PRICE OF 5 Subscription $20 save $4 (16%)
www.2dartistmag.com/purchase
Making Of
Basic Layout Sketch Breakdown
Now we start off with an idea, something The first thing I wanted to start on was the Beef up the resolution of the small sketch
simple, don’t work too big of a canvas width of V-Rex. It’s kind of a mix between different (usually around the 1000’s). Make a new layer
500 pixels and a height of 900 pixels should crocodiles and a t-rex. So first we start off with over the over-sized sketch. (Ctrl+ALT) a white
suit you well. Now the whole thing is getting just a simple sketch, something to get you color into the whole layer (the new one you
that perfect setup for what you want. Don’t used to the character. I usually start one layer created over the scribble. Over the white layer,
ever do a straight on view, do something from of a scribble of it, then put another layer on make another layer (this will be your detail
the ground up or a birds eye view. You want top, reduce the scribble layer’s opacity then layer). Turn the Opacity down on the white
to be thrown in with the two main creatures sketch on top of it. layer to around 60%. Start to detail
before Anne’s.
So here we are, laying down the basic done by going to the Windows tool bar, then colours. Not much to this step but like I said,
colors for this bad boy. This is what I do. I ‘Brushes’, then going to Other Dynamics at the more will be told in Next.
first select my normal colours that I want, bottom and switching the CONTROL to FLOW.
Basic Mixing
This is where the fun begins. It’s all quite
you guys.
Refining:
This is where we refine and bring it all
finish it off.
The end.
Tutorial by :
Adonihs
dmxdmlz@aol.com
http://adonihs.deviantart.com/
Dooks’.
sky.
21 - 30).
tutorial by
AquaSixio
sixio@free.fr
http://sixio.free.fr/
support!
Visit us at www.maxon.net
to download a demo or
to discover more exciting
details about CINEMA 4D.
Jade Fox ”Deep under the surface of a long
Jade Fox
”Deep under the surface of a long forgotten
place, the steps, the stoneplates of the floor
are broken and the inscriptions on the signs
are long gone and unreadable..”
I had this idea about a fox-human hybrid
creature, a kind of ghost or supernatural being,
someone you can meet in your dreams, a
guardian, omniscient scary and sweet all at the
same time, red and orange and golden with
shiny jadegreen eyes.
I started with some quick sketches to get a
feeling for her character (Fig 1). Then I put
down some fox-fur colours (Fig 2). I ended up
with these foxy orange fellows.. maybe a little
too cartoony (Fig 3). Her character should be
a little more human-like instead.. So I started
over with the lineart for a female body. And
even if the final image will not show lots of
architecture/buildings, it’s good to have some
simple perspective lines to work with..
Tutorial by :
Benita Winckler
dunkelgold@gmx.de
www.dunkelgold.de/main.html
Coming up:
Tutorial by:
Dejichan
dejichan@gmail.com
http://dejichan.deviantart.com/gallery
Next Month:
Shilin Huang
visitwww.3dcreativemag.com
to download the free ‘lite’ issue, the full issue, sub-
scription offers and to purchase back issues.
JTTVF'FCSVBSZƃb
(BMMFSJFT
>>More of the latest 3D inspiring art such as this cover image by Sebastian Schoellhammer
/FX4FDUJPO*NBHF.BLJOH0GT
>>Deconstructing the Gallery images, and written by the artists.
6OEFSXPSME&WPMVUJPO
>>Luma, Sci-Fi spectacular Studio Reveals it’s mastery of Creatures and 3D Environments
5FYUVSJOH.BTUFSDMBTT
>>continuing Texturing series, this month texturing a humna head part 1 of 2
)FCFS"MWBSBEP
>>VFS Graduate and now Creature Modeling on Next Gen games for Propaganda...
3JDL3BNPT
>>Brazilian freelancer with ambitions...
1MVT$PNQFUJUJPO3FDSVJUNFOU
>>win a copy of Shade 8.0 and find the perfect CG industry Job!
Fox Fire by jenny roanchuk
Hello! I’m Jenny! I have been working with various digital painting pro-
Tutorial by :
Jenny Romanchuk
jennyromanchuk@yahoo.ca
one of 3 copies of
‘Digital Art Masters’
For your chance to win one of these amazing books, simply answer this question:
Competition Sponsor
www.3dtotal.com 3dtotal.com
www.2dartistmag.com issue003 march 2006 Competition
91
in next month
Interviews
Dylan Cole
Aurore
Kareem Beyit
Patrick Jensen
Tutorials
Approaches to Colouring
Series Part 2: the Process of
Doom by Shilin Huang
Elements Digital Painting
Series part 4: Rock & Stone
by Richard Tilbury
Making of’s
‘Faydrums’ by Benita Winckler
‘I might smile tomorrow’
by Aqua Sixio
‘Pat and Pirate’
by Patrick Jensen
‘The Park’ by Daarken
Gallery Images
from Daarken,
Jean-Sebastien Rossbach ,
Kornél Ravadits,
Simon Dominic, Graven Tung,
Aqua Sixio,
Rafael Grassetti Talo,
Satoshi Yamamoto & Tunaferit
Plus
Articles
Competitions
Reviews
2dartist
is supported by: