ImagineFX I227 2023

Editor’s letter
Welcome to… EDITOR’S CHOICE Three of my top

picks this month…
30
While it can be a great

experience being a freelance
indie artist, there may be a time
where the pull of collaborative
work is strong and you want to
join a larger creative team, Artist in Residence
Take a tour of the sanctuary workspace and wonderfully
which could mean learning surreal art of Spanish illustrator Beatriz Ramo.
some new skills. This issue, we
delve into this topic to help 56
you discover what you need to do, and what could
be in store, if you make the leap into studio work.
If you’re looking to upskill then we have a host of
workshops for you too, from Cindy Avelino’s
wonderful workflow tutorial on our stunning cover
art, through to part one of a new short series on
creating comic art with Steve Ellis. In this first
instalment, he shows you his drawing and inking
process, but be sure to come back next month to Draw an epic mythical beast
see his following steps! Follow along as Cindy Avelino shows you, step-by-step,
We also have some fantastic insights into a range how to make terrifying creature art, just like our cover.
of brilliant artists, including the sketchbook of Mali
Benedicto Vasanserekul, a tour around the studio
74
of Beatriz Ramo, and technique spotlights covering
a whole host of styles and genres.
I hope you enjoy the issue!
Editor Experiment with colour

Rob.Redman@futurenet.com Discover the stunning designs of Joe Gloria, as well as a
useful app for dealing with colour choices.
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Your art 10 22
10 FXPosé
A round-up of digital art, submitted by you.
News and events

22 Work on a product pipeline
Pro artists share their wisdom on how to
prepare for life on collaborative projects.
28 A day in the life of...

Constantine Sekeris
Discover how the Marvel visdev artist
keeps the life in his working week.
30 Artist in Residence:
FXPosé Work on a product pipeline
Beatriz Ramo
We explore inside the artist's sanctuary.
36
Features
36 The art of Dustin Nguyen
The Batman artist on working with comic
royalty and creating his own sci-fi series.
46 Sketchbook:
Mali Benedicto Vasanserekul
Alternative studies for quirky characters.
50 Sketchbook: Sy Gardner
Pages filled with fantasy architecture.
Regulars
6 Next month The art of Dustin Nguyen
8 Subscriptions
20 The Rookies
35 Letters 46 50
44 Recent editions
30
Artist in Residence: Sketchbook:

Beatriz Ramo Mali Benedicto Vasanserekul Sketchbook: Sy Gardner
4
Issue 227
66 68
Workshops
56 Draw an epic mythical beast
Cindy Avelino shows her process behind
crafting a terrifying creature for our cover.
64 Mixing of mediums
Traditional techniques meet digital tools
in Rovina Cai's Magic: The Gathering art.
66 Maintain your visual balance

Finding equilibrium between the busy
Maintain visual balance Create a stylised building
and quiet areas is key for Luca Pisanu.
56 68 Create a stylised building

How a trip to Lisbon inspired Georgi
Marnero's quirky architectural design.
74 Experiment with colour

Why the Coolorus Photoshop plugin is
an important part of Joe Gloria's toolkit.
76 Design and ink a comic panel

Learn how Marvel artist Steve Ellis gets
to work on a post-apocalyptic creation.
82 Find focus in key areas

Expert advice on using details sparingly
from Destiny artist Jacob Gonzalez.
Traditional Artist
86 Traditional FXPosé
Discover this month's selection of the
finest traditional art, sent in by you!
90 Paint symbolic dreamscapes

Step into the mind of Boris Pelcer as he
Cover workshop: Draw a mythical beast puts dreamlike visions onto canvas.
94 Storytelling with details

76 90 Warrick Wong explains the secrets that
bring extra life to his Gundam fan art.
96 First Impressions: Moon

From graffiti to paper, we speak to the
artist on his inspirations and artbooks.
Paint symbolic dreamscapes

GET YOUR
96 RESOURCES
1 Go to the website
Type this into your browser’s address bar.
https://ifxm.ag/creatureart
Design and ink a comic panel First Impressions: Moon

2 Open the Dropbox link
Find your files ready for download.
3 Download what you need…

Save the files or watch the videos.
5
Next month
Editorial
Editor Rob Redman rob.redman@futurenet.com
Art Editor Daniel Vincent
Production Editor Henry Burridge
Contributors
Tanya Combrinck, Constantine Sekeris, Beatriz Ramo, Dominic
Carter, Sy Gardner, Mali Benedicto Vasanserekul, Cindy Avelino,
Rovina Cai, Luca Pisanu, Georgi Marnero, Joe Gloria, Steve Ellis,
Jacob Gonzalez, Boris Pelcer, Warrick Wong, Moon
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Visit the world Create dazzling The sketches of

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EarthNight creator of our workshop robotic doodles
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3
THE PLACE TO SHARE YOUR DIGITAL ART
Ian Permana
LOCATION: Indonesia MEDIA: Clip Studio Paint WEB: www.instagram.com/iannocent
Ian, also known as Iannocent, is an illustrator who

specialises in fantastical themes. His art is often
inspired by mythology and fictional characters.
2
1 ZEUS
“Zeus is the third part of
my Olymverse series, in
2 NEW HOPE
“Take a break for a
moment before you continue
which I bring to life ancient your journey again. Cultivate
mythological gods within a new hope that will always
the Metaverse.” accompany you on your
future journey.”
3 THE DIVINE COMEDY

“This piece is inspired by
a series of illustrations from
4 NARA
“Nara is a fantasy
character who takes the
French artist Gustave Doré. I form of a protector, and a
wanted to make a character beacon of hope.”
based on his work, combined
with my own interpretation
and imagination.”
10 Want to submit your work? Visit http://ifxm.ag/getinifx

4
Want to submit your work? Visit http://ifxm.ag/getinifx 11

Chad Lewis
LOCATION: US MEDIA: Photoshop WEB: www.chadlewisart.com
Chad is an educator, comic artist and editorial illustrator who has worked
with BOOM! Studios, Marvel and Adobe, among others. He incorporates a
wide range of tools, traditional and digital, to tell captivating visual stories.

2
3 4
1 HERCULES AND THE

ORCHARD
“This personal piece was created
2 THE HAUNTING OF JACK
“Made for the Astonishing
Legends podcast, this piece
3 STALKING WOLF
“I created this one for
a comic that’s currently in
4 THE STATE OF ART
“An editorial piece for the
Movable Type e-magazine, which
with a combination of traditional illustrates the true story of a development. It was drawn with illustrates the intersection of art
and digital watercolour brushes. documented exorcism. To create a Cintiq in Photoshop, then to creation and social media. To
To establish the mood, a the mood, layers of ballpoint pen establish a mood, digital colours create the underwater feeling,
complementary colour scheme were laid down, then paired with were applied along with filters watercolour textures were
was incorporated.” a primary colour scheme.” and watercolour textures.” layered under a digital drawing.”

1

Jose Garcia
LOCATION: Chile MEDIA: Photoshop, Clip studio paint
WEB: www.artstation.com/garciartist
Jose is a concept artist who has worked

with clients on character design projects,
book illustrations and scientific discovery
articles. His art is inspired by aliens, tech
warriors and creatures.
1 THE OFFERING
“The last trace of a long-
extinct civilisation is represented
by a high-tech supercomputer.”
2 ANGEL
“This piece started as a
digital sketch. The dynamism of
its pose was inspired by an old
character design I’d created.”
3 KABURUS
“Kaburus, the shaman and
protective warrior of his clan,
has the ability to copy any
combatant who faces him.”

1
Antonio Marianne dit gérard

LOCATION: Réunion Island MEDIA: Photoshop, Blender, 3DCoat, ZBrush WEB: www.artstation.com/antonio_marianne
Antonio is a junior concept artist who is passionate about fantasy and

sci-fi universes. “I like to create concept environments and keyframes,
and I’m always researching to learn how to become better."
2
1 AURA
“It was a challenge for me
to create this keyframe,
which is inspired by Star
Wars and Middle Eastern
culture, but it was a big step
in my artistic evolution.”
2 BELLBURN
“I wanted to try and
create something that
looked more like it came
from The Last of Us. I made
a big 3D base, and then
painted over it to achieve a
sense of harmony.”

3
3 THE LEAGUE E-SPORT

RÉUNION 2022
“This was a fun experiment
that involved a design from a
previous project. I wanted to
create something that was
mystical and epic.”

Tamara Osborn
LOCATION: Wales MEDIA: Procreate WEB: www.golightlyfinch.com
Tamara is a freelance illustrator in the tabletop RPG community. In the

past she has worked on graphic novels, children’s animations and
book art. Her work features soft imagery offset by gritty palettes.
1
1 DARLING
"Vex’ahlia and Percival
enjoy a moment of quiet and
privacy in the wildflower
fields that surround
Whitestone, caught between
the woods and the township
they both call home."
2 WITHERBLOOM
"This image depicts the
undead warlock Etienette.
Her hands are stained with
necromantic residue. "
© Critical Role
2 3
3 TEEFS
"My go-to brushes are
the Technical and HB pencils
in Procreate, which I've
tweaked to suit my workflow.
It gives my art this lovely
crunch, which I adore."
4 RESPITE
"Why should hair have
rules? Get out of here gravity,
we don’t need you. This
piece was a cathartic return
to art following a rather
difficult block."

4
Do you want to see your art on these pages? Then email five pieces of your work and a short explanation
about each artwork, along with a photo and a few details about yourself, to fxpose@imaginefx.com

The Rookies is a platform
to help digital artists
get discovered without
having to compete
with professionals for
attention. You’ll get to
the front page of those
sites one day, but for now,
we’ve got your back and
want to help turn your
passion for creative media
into a successful career.
WWW.THEROOKIES.CO
Statuesque
YEAR CREATED: 2022 MEDIA: Photoshop
“As I started working on this

painting, I felt inspired by themes
of rebellion, power, female
strength, darkness, and light. I
wanted to create a character that
embodied defiance, who refused
to be held back by the forces that
sought to limit her potential. To
amplify my creative energy, I
listened to Pentakill. As I worked, I
felt a sense of excitement building
within me. When I finally put down
my brush and stepped back to
admire the finished product, I felt
that I’d captured something
special. This painting celebrates the
strength and resilience of women,
and reminds us that even in the
darkest of places, there is always a
glimmer of hope.”
20
The Rookies
Artist
PROFILE
Adriana Gozdziejewska
LOCATION: Poland
Adriana, also known as inabyss, has a passion
for character creation, worldbuilding, and
storytelling. She has always been drawn to
the fantastical, otherworldly, and magical.
She sees each character as a unique being,
full of untold stories waiting to be unleashed.
www.therookies.co/u/inabyss
21
ARTIST NEWS, SOFTWARE EVENTS
AT THE CORE OF THE DIGITAL ART COMMUNITY
“They often say what you

“Making games is a group effort. are working on is not as
There's a great energy that you feel important as who you
when you bounce ideas off one work with. Being part of
another,” says Thomas Mahon. a team is a fast and
effective way to improve
your skill set,” says
Michael Uwandi.
Working on a
product pipeline
Solo to studio Tanya Combrinck receives pro advice for working
effectively on collaborative projects for video games and films
Transitioning from solo projects to A senior concept artist in video work to another artist, and being
working as part of a large team can game development, flexible with your style is valuable.”
be tricky to navigate. Creating Thomas Mahon sees When you first arrive, it’s important
collaboratively requires excellent working on a pipeline as to grasp the workings of the whole
communication, tact, empathy, ego an opportunity to grow in pipeline you’re part of, especially the
management, and a host of other ways that might be left technical limitations. “Not knowing the
skills that can make the difference undeveloped if you only ever work constraints can lead to bolder designs,
between being someone that pushes alone. A shift in perspective is needed, but it's good to be aware of the rules
the team forwards and someone who though. “On a team, the artwork before you bend them,” he says.
holds it back. If you get it right, doesn't belong to just one person, it
there’s a huge amount to be gained belongs to the project as a whole, so a OVERCOMING LIMITATIONS
both personally and professionally level of conformity is expected," he It may feel as though technical
from working as part of a pipeline. says. "It's likely you’ll have to hand off constraints are holding you back, but
22
A DAY IN THE SPANISH ART YOUR VIEWS,
LIFE OF... SANCTUARY YOUR ART
Marvel visdev artist Beatriz Ramo gives us a Readers write in with
Constantine Sekeris tour of her sleek studio, their art news and
explains why he likes to and explains the origins opinions on what we've
maintain a mix of fast of her literary-inspired covered in ImagineFX.
and slow days, with a social media moniker. Plus, we feature art
handful of personal And don't forget some that's caught our eye
projects on the go. treats for Pato the dog! on social media.
Page 28 Page 30 Page 35
Thomas points out their presence

often results in greater creativity. If
the game you’re working on targets
lower-spec hardware, it’s a chance to
do something else. “You have an
opportunity to make something
timeless with strong art direction that
embraces its limited scope,” he says.
“Constraints can filter designs into a
visual consistency that works in the
project's favour, giving it a distinct
identity. A great-looking game looks a
certain way in part because of the
limitations, not despite them. For
example, with 8-bit and 16-bit games,
and low-poly PS1 games, the so-called
limitations have imbued them with a
nostalgic, timeless quality.”
Being open and clear with your A great-looking
communication is key. “Be concise
with feedback and don't offer too game looks a certain
many conflicting suggestions,” says
Thomas. “If you’re confused about
way in part because of
something that was said in a meeting,
try not to wait too long to ask for
the limitations, not
clarification; it’s wasteful if you go despite them
23
ImagineNation News
“There's a ton of satisfaction contributing to a larger

thing than you could ever make alone,” Thomas says.
off in a completely wrong direction

because you misheard feedback.”
TRUST AND COMMUNICATION

The importance of effective
communication is echoed
by Megan Zavala, a senior
concept artist at Riot
Games. Failure to raise
concerns is a common
mistake for new joiners. “Working in a work and feel ready to present, it’s “The combination of tech limits in mind tends to bring out
everyone’s strengths
team requires a lot of trust and open helpful to provide a brief summary of creates results that far more creative solutions,” she says.
communication, but it can be scary the group goals or prior feedback exceed anything I could “Breaking down details to their
do on my own, which
starting out,” she says. “If you have alongside updates. When everyone is feels incredible when simplest essence makes you think
trouble speaking up, it’s a good goal working on different aspects of a we succeed,” says about the designs more holistically,
Megan Zavala.
to bring up with your manager so you project, context helps immensely.” which results in stronger visual
can build that skill together.” Megan also values the challenge of development across each discipline.
Taking notes during meetings is a working with technical constraints. Working with the lowest tech, rather
good way to make sure things are “Your creativity starts to develop new than pushing tech to its limits, gives
clear. “Documenting feedback, then paths to solutions you might not have your artwork room to shine when the
paraphrasing that to your team helps figured out on your own,” she says. project allows for a higher budget.”
ensure mutual understanding before Her preference is to get a full idea of
diving into problem-solving mode,” the limitations before beginning. BALANCING ACT
says Megan. “Once you’ve tackled the “Visually designing with the lowest Currently a principal environment
artist at Lightspeed LA,
It’s a delicate balancing act between Jeremy Huxley worked on

a number of large game
your career versus your own art, sense franchises, including
Uncharted and The Last
of accomplishment and ownership of Us, during a decade-long stint at
© Naughty Dog
“The most important skills you can develop are

organisation, communication and empathy for
your teammates,” says Jeremy Huxley.
24
Artist news, software & events
INDUSTRY INSIGHT
ORGANISATION
IS THE KEY
Thomas Mahon on passing
complex work between artists
What skills are important

when handing off work for
another artist to finish?
Good layer management. If you
don't organise your files and
layers in a proper way, whoever
is taking over that image will
have a headache trying to
untangle all that. Another handy
“Understanding scope and being forced to skill is clarity. When you're doing
think within certain parameters can really a loose sketch for another artist
help you problem-solve,” says Thomas.
to finish off, you need to be
somewhat precise with the
visual read. Weird artifacts or
abstractions on a sketch can lead
to confusion when somebody
else picks it up.
I think having a balance of
pride and cool detachment is
healthy when you're working
with other artists on the same
piece. Complete detachment
leads to poor work, but too
much pride can get in the way
of working together.
What are some common

© Naughty Dog
“If you make a change, post work-in- pitfalls when artists first
progress shots to make sure everyone likes start working on a team?
the direction you're heading,” Jeremy says.
Not sharing your work enough
or thinking, 'I'll show it when it's
Naughty Dog. He says the transition ready' can lead to prolonging
to collaborative working can be one issues that could have been
of the most important moments in solved earlier on. This kind of
your career. “The amount you can thing does depend on the team
learn in a short amount of time is dynamic, though.
staggering,” he says.
The kind of satisfaction that comes How does working within
from contributing to a big project is tech constraints benefit you?
different to what you get from Understanding scope and being
producing artwork from scratch as forced to think within certain
the sole creator, and can require some parameters can really help you
adjustment. “It’s a delicate balancing when it comes to problem
act between your career versus your solving. Usually, you can't just
own art, sense of accomplishment make whatever you want, and
and ownership over something,” says this is a good thing. If a concept
Jeremy. He finds it helpful to set designer only does whatever
personal challenges around learning they fancy, without adhering to
and discovery in his own art, keeping any constraints, the muscle of
this separate from the satisfaction of problem solving can atrophy.
team success. “It's like the difference
between personal exercise or health Thomas Mahon is currently a
goals versus playing a team sport.” senior concept artist and has
“We all bring part of ourselves to the project, worked in game development
Putting your all into the work is of and with that comes personal preferences, for over eight years.
course important, but Jeremy warns individual strengths and unique wisdoms not
www.artstation.com/thomasmahon
found when working solo,” says Megan.
against taking this too far. “A
25
ImagineNation News
typical mistake for artists when “All of our favourite designs that have
withstood the test of time have had
they start working on a team is feeling major technical constraints. As
they have to prove themselves by concept artists, we are problem
solvers,” Michael says.
overworking,” he says. “This is
exacerbated by problems in the
industry that some companies are
trying to improve.
"I've been at companies where this
behaviour was expected and relied
upon to get the project done, but if
you don't put your foot down, who
will? As a team, sometimes you have
to have a hard stance on this so you
don't inadvertently pressure others to
think that is expected of them also,
which just keeps the cycle going.”
EGO CHECK
Freelance visual development artist
Michael Uwandi has
worked on a broad range
of productions including
Blade, The Mandalorian,
Westworld and Moon
Knight. He finds a strategic approach
to your role on the team can be a
good way to fit in. He says: “Assessing
and adapting to the needs of your
teammates is a great way to be pre-
emptive. What gaps can you fill, and
how can your skills be best utilised?”
An artist's worth
on a team comes
from making sure
it runs smoothly
When handing off work to others,
it’s good to be mindful of how much
time teammates need. “Finished is
better than perfect when it comes to
being part of a production pipeline,”
says Michael. “Working to perfection
instead of passing the ball when an
image is good enough can halt that.”
Keeping an eye on your ego is also
a good move. “A common pitfall for
artists is letting their ego come before
the needs of the project,” he says.
“Sometimes it's rooted in the need to
own a concept for the sake of clout, or
it can be about insecurity and proving
one’s worth. Whatever the cause, to
allow it is a mistake. In production, an
artist's worth on a team comes from
making sure it runs smoothly. It's
comparable to seeing your teammate
get a win because of your assist. If
you're all moving towards the same
goal, a win is a win.”
26
“Communicating with your

teammates can help you
maximise your initial ideas
and expand your thinking,”
says Michael.
“It's not about your individual output, it's about

the overall quality of the art and a healthy team
dynamic, and always pursuing that,” says Thomas.
“Be mindful of the technical “Colour-coded or properly

constraints, but don't be a labelled layers and groups
slave to them in the are everyone’s best friend
beginning of the design when collaborating on an
process,” says Michael. image directly,” Megan says.
27
ImagineNation News
A human character Constantine collaborated

design of Skaar from with visdev lead Rodney
She-Hulk, worked on Fuentebella on this design
with visual development of Moon Knight’s Khonshu.
supervisor Jackson Sze.
© Marvel Studios
A speciality costume for Kang
A day in the life of…

the conqueror’s appearance in
Ant-Man and the Wasp:
Constantine Sekeris
Quantumania, developed
alongside Andy Park.
Second wind The Marvel visual development artist explains why

keeping a varied schedule ensures his working week feels alive
“I get up around 8am and shave to create 10 options. Tomorrow I’ll slow out, which gives me the break I need
help me wake up. I buy coffee, which down, pick one that I like, and refine it. to come back with perspective. By
puts me in the work mindset, and The next day I’ll sprint again. I break 7pm I start to fade, so I’ll go to the
then I’m back by 8:30am. I check up my day that way too; before lunch, Concept Art gym or box. Then I have a second
Association is an
emails and schedule out my week. I I’ll refine yesterday’s favourite, then in organisation wind. I’ll have a quick dinner and work
love to sketch for the first hour to get the afternoon I start a second option. committed to until midnight or so. On an early night,
elevating and
my brain going. That keeps it alive and fun. I go to bed around 1 or 2am.
raising the profile
I like to change up how fast I work I try to keep studio hours, even at of concept artists, Even with all this, I find time to do
each day, so if I’m sprinting today, I’ll home, so I stop for lunch at 1pm. I go their art and their my own projects. Personal art allows
involvement in the
entertainment
me to fail. I believe that failure leads to
industries. Its success, and you get out of your
annual Concept
comfort zone with it.
Art Awards Show
showcases and Everything is digital now, but I still
recognises advise aspiring artists to just draw. It’s
behind-the-scenes
individuals
the best way to design. You don’t fall
working in in love with the first thing you do like
entertainment you can in 3D. Working on Avatar,
concept art.
conceptart James Cameron had more respect for
association.com. any artist that could convey an idea
on the spot with a simple sketch. That
was gold to him.”
Constantine works in
Marvel’s visual development
department. He has recently
worked on Ant-Man and the
Constantine’s home
studio setup features a Wasp: Quantumania, Avatar: The Way of
host of tech tools used Water, and House of the Dragon. See more
as part of his concept
design process. of his art at http://artofconstantine.com.
28
In partnership with
Sketches from Constantine’s work as a lead creature designer.
Concept art for a potential For Thor: Ragnarok, Constantine and

Mulan project that was Constantine and visdev costume designer
never produced. supervisor Andy Park Michael Wilkinson’s
created this costume Wonder Woman
concept for Valkyrie. concept design.
© DC Comics/ Warner Bros.
© Marvel Studios
© Sony Studios
29
ImagineNation Artist in Residence
I usually work in pencil and digitally. This particular

work is entirely digital!
Beatriz
Ramo
Kennel club The Spanish
illustrator and her canine
companion grant us a
tour of their workspace
What you see here is

my sanctuary! It’s my
favourite space in my
apartment, and where
I spend most of my
day together with my dog, Pato,
who’s named after the Spanish word
for duck! It’s actually a separate
room in my apartment; it may not be
particularly big, but it gets beautiful
light in the mornings. Plus it’s
conveniently close to the kitchen for
my sneaky chocolate walks.
I usually work with two screens and
an iPad. The main screen usually has
emails, briefings or references for the
project I’m working on, while on the
This is the real and usual state of my
other screen I’ll usually have YouTube desk, don’t be fooled by the pretty
or Netflix open with my favourite pictures! My desk is a chaos of cables,
nail polish and coffee cups.
horror series and movies. Yes,
30
My Eames House Bird. My beloved lucky cat!

I studied architecture Legend has it they bring
and was fascinated by good luck and, depending
the Eames’ designs. I on the colour, that luck works
dream of having one of in different areas of your life.
their chairs someday! I’ve chosen money because I
can never have enough of it.
A little cardboard bird

mobile I got a few years ago.
I love seeing it swing when I
look up! I actually have two,
can you find the other?
My inevitable pile of
tools and stuff. I never
manage to get my desk
totally clean. No matter
how hard I try, the mess
always reappears.
Cutest dog ever! Say hi

to Pato. He usually sleeps
in his bed in this room, but
he also loves to be the centre
of attention and never misses
the chance for a photoshoot.
31
ImagineNation Artist in Residence
My beautiful plants
have grown a lot I love mobiles,
since the other photo, especially if they
less than a year ago! are colourful and
have eyes!
I don’t use my easel too much, but here are some of

my latest illustrations in the black and white phase. I
usually scan them and add the colour digitally.
despite my colourful and cool My routine is

work, I’m a horror movie fanatic!
My routine is very simple, and quite very simple, and
boring for what people expect from
an artist! I usually wake up at 7.30am,
quite boring for
have breakfast and go for a walk with
Pato. Around 8.30am I’m back home
what people expect
ready to go to the gym. By 9.30-10am from an artist!
I’m usually in front of the computer
and ready to start working. the better. If I don’t answer an email in is very normal and quite structured. It
I try to answer emails and organise Who hasn’t felt blue, as the morning it can sit in my inbox for helps me to be more responsible with
if a dark cloud was
my day as soon as I sit down at the chasing them? This is days! I really hate that part of my job, my clients and to rest better. I think
computer; it’s what I’m most lazy my interpretation of but it’s so necessary. being an architect has something to
that feeling. I think her
about and I feel that the sooner I do it, face says it all. As weird as it sounds, there are days do with that!
when, despite being an illustrator, I Oh, I almost forgot, my social media
don’t draw anything at all. The day is name is Naranjalidad, which translates
spent on errands, emails and making into English as ‘Orangeness’. You’re
preparations, or recording content for probably wondering why! While I was
my social networks. reading the book Mere Anarchy by
But my favourite days are those that Woody Allen, a long and bombastic
allow me to draw. In any case, I stop metaphor of the essence of things
for lunch around 2pm (Spanish time, came up, giving the juice of an orange
you know!) and take a little nap (again, as an example, which is what gives it
very Spanish) until 3.30pm, when it’s its essence, or orangeness.
time to go back to my studio. Pato To me it seemed a curious way of
normally asks me for a snack at referring to the essence of things.
exactly 4.30pm, or else he gets upset, After a quick search on the internet
and depending on my workload, I’ll and finding that ‘naranjalidad’ didn’t
finish around 6.30-7pm. exist, I decided to use it myself!
Also known as Naranjalidad, Beatriz is a
THE STORY OF ORANGENESS Spanish architect and freelance illustrator
A lot of people expect me to live a living in Madrid. Her work is characterised
chaotic life full of sleepless nights, and by female presence with elements of nature,
a bohemian lifestyle that lacks control. plenty of colour and surreal touches. Find
But the truth is that my day-to-day life out more at www.naranjalidad.com.
32
This is the messy shelf behind my

desk. It’s where I keep my materials
and Pato’s bed, where he sleeps for
75 per cent of my working day.
33
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34
Letters
New works that have

YOUR FEEDBACK & OPINIONS grabbed our attention
Contact the editor, Rob Redman,
on mail@imaginefx.com or write
to ImagineFX, Future Publishing, The Rings of Power workshop from issue 226 shows how
to create concept art from a thought-led perspective.
Quay House, The Ambury,
Bath, BA1 1UA, England magazine, but don’t always have the
Follow us on Twitter: time or headspace to follow along with a
twitter.com/imaginefx step-by-step tutorial, so seeing this was
Find us on Facebook: excellent. It gave me some insights into
facebook.com/imaginefx the creative thought process, which will
Share your artwork via #imaginefx: really help me in future projects. It helps
instagram.com/imaginefxmagazine that it was awesome art of course!
Thanks for a fantastic mag!
Michelle, via email
Rob replies Hi Michelle, thanks for the

email. It’s always a pleasure to hear when Amanda Boucher
people enjoy the magazine. @heyamandaboo
I’m glad the more annotated style of some
of our training suits you too. We try to strike a
balance between the long-form step-by-step
workshops and the shorter pieces. Modern life
can be pretty full-on, so finding time to
immerse yourself in a big process project can
be hard, and these more theory-based
workshops fill that gap.
That said, if you do find yourself with a
spare afternoon, diving into something more
involved can be immensely rewarding too.
Art vs AI AI continues to be a
divisive topic, but moves
Thanks again!
Good morning ImagineFX. I’m writing are being made to tackle
to thank you for your latest issue, where its controversial growth.
Power to the people
you took a much-appreciated and Hi Rob, I wanted to thank you for
balanced look at some of the issues sharing some of the recent coverage of Parth Vakharia
artists face with the rapid increase of AI tools. Specifically your mentions of @guy.who.pens
AI-generated art, and some of the threats community groups and legal campaigns
it poses. It was really interesting to hear that are looking to make positive
some of the views of people working changes to ensure artists’ rights are
within the industry. protected. I don’t have a problem with
Keep it coming please! innovative tools, except when they
Zoe, via email flagrantly disregard the creative
endeavours that they harvest without
Rob replies Hi Zoe, thanks for writing in. compensation. Keep up the good fight!
I’m very glad you liked our coverage of AI in Javier, via email
issue 226. We’ve covered AI in previous
issues, but from the perspective of using it as a Rob replies I couldn’t agree more, Javier.
creative tool. As things stand there is more to I’ve said it before, there’s nothing inherently
it and we felt the need to discuss some of the wrong with the technology, but there is
issues the art community faces. We’ll keep an something very wrong with some of the
eye on this and other trends, reporting and DID YOU MISS current working practices. If the legal
discussing as things develop. THE PREVIOUS structures these developers have to adhere to Kalsolopokina
PACKED ISSUE? can be adapted to deal with modern @kalsolopokina
Don’t worry –
Rings of Power you can get hold technological advances, then artists should
Hi Rob, just a quick one to say how of issue 226 find themselves in a stronger position. So do If you’ve created art that you want us to
much I enjoyed the Rings of Power sign up in support of one of these campaigns shout about simply tag us on Twitter or
at ifxm.ag/ Instagram, and use the hashtag #imaginefx
workshop from the last issue. I love the single-ifx. and help to spread the word.
35
Interview
HERO AND VILLAINS
Dustin’s cover for Batman 80-Page Giant 2010
(Volume 2) features the hero surrounded by a
host of iconic adversaries.
Courtesy of DC
36
Dustin Nguyen
COVER QUARTET
Descender tells the
story of an android
trying to survive in a
universe that has
outlawed robotics.
THE ART OF
Dominic Carter talks to the Batman artist about illustrating his

favourite heroes and co-creating sci-fi series Descender
ustin Nguyen is because high school also led to my
Courtesy of DC
living many artists’ THIS IS HALLOWEEN love for mechanics and figuring out
Lil Gotham shrinks down the
D
dreams. Having Batman universe into a version how things work.
Courtesy of DC
where everything is smaller –

grown up enthralled and more cute!
I left those industries to pursue a
by characters like more illustrative job at Stan Lee Media
Batman and in 2000, and ended up working on my
Superman, he turned this passion into first comic book with WildStorm
a career that’s seen him illustrate his Productions. I’ve been lucky enough to
favourite superheroes for DC Comics. work for the main comic book
As if that wasn’t impressive enough, companies, but now I’ve found a home
he also co-created the groundbreaking between the mainstream and creator-
sci-fi comic Descender with graphic owned titles at DC and Image Comics.
novel royalty Jeff Lemire. We caught up In 2012 Derek Fridolfs and I created
with Dustin to learn more about his Lil Gotham, which I’m very proud of
work and hear how he balances his because it was an opportunity for me
many amazing achievements. to create and own a little piece of
Batman. After finishing an amazing
Tell us a little about your background 13-year exclusive contract with DC, I
as an artist. How did you get started took the leap over to being fully
and what has your career been like? independent, and headed over to
I liked drawing as a kid, just like every Image Comics.
other artist I think. I was never that I collaborated with the most gifted
into actual art classes or art schools and prolific comic book writer Jeff
themselves, but I put a lot of time and I was never into actual Lemire, whom I met through the
energy into my art. I was even voted
‘most artistic’ in elementary school.
art classes or art schools, convention circuit in the past. Together
we created a title called Descender,
I worked as a 3D designer for HVAC
systems, and for the aerospace and
but I put a lot of time and which was my first creator-owned
series. The book was also my first ever
commercial architecture industries energy into my art foray into painting an entire series
37
Interview
Courtesy of DC
LITTLE LEAGUE
Lil Gotham was
co-created with Derek
Fridolfs and debuted in
Batman Annual #27.
COMIC COLLABORATION
Dustin co-created Little Monsters with Jeff Lemire,
who he also worked with on Descender.
on that scale monthly, which won

me the Eisner Award for Best Painter
both in 2016 and 2019.
After the series wrapped up and
during the pandemic, we went back to
DC and created the mini series Robin
& Batman, which showcases the early
years of Dick Grayson. The book
would be my first painted book for DC
that was not in my Lil Gotham style.
Currently, Jeff and I are now back at
Image with our latest book called Little
Monsters, a mini series about the last
I think having familiarity
group of vampire children in the last
city on Earth. For this book, I chose to
with writing has helped me
go entirely digital for the interiors, as an artist, and vice versa
working with tones in black and white,
along with limited spot colours of red. books. When I was working on
Batman: Streets of Gotham, I asked my
Beyond art, where do you draw your editor if I could paint a cover, even
inspirations from? though I’d never done that before, and
I draw most of my inspiration from they said sure, so that’s where I started
music, movies and TV. Wong Kar-wai with watercolour painting. In my
films especially move me. BANTAM BATMAN newest book Little Monsters with Jeff
A young, miniature Lemire, I’ve worked entirely digitally
Dark Knight doing what
How has your art developed over the for the interior art, which was a creative
years, and why has it changed?
he does best: glowering
at the city of Gotham. choice for the tone of the book. WITCHING HOUR
Dustin teamed up with Scott Snyder to create the
The most obvious change was moving dark comic series Wytches.
towards colouring my own work and You work as a writer as well as an
doing things to completion for my own illustrator and cover artist for DC. immediately go back to sleep! Around
Has your experience as a writer noon I get up to send some emails, and
Artist influenced your work as an artist? maybe draw a bit if something is due
PROFILE I haven’t had as much experience as a

writer as I have as an artist, but I think
immediately that day.
I do some house chores, grocery
Courtesy of DC
Dustin Nguyen having familiarity with writing has shopping, lunch, and so on, before
LOCATION: US helped me as an artist, and vice versa. picking up my daughter after school.
FAVOURITE ARTISTS: Gustav
Klimt, John Waterhouse, Travis
Then we hang out for a bit while I get
Charest, Mike Mignola What does the schedule for your some drawing done before dinner.
MEDIA: Photoshop, Clip Studio average working day look like? After that is when I actually sit down to
Paint, ink, watercolours, pencil
WEB: www.instagram.com/duss005
On weekdays I wake up at 8am to take get the bulk of my drawing done into
my daughter to school, and then the night. I’ll usually be up until
38
Dustin Nguyen
CREATING Know your medium and audience. Books and

comics have different readers, and within those
Whether working in colour or black and white, I
like the same approach.
COVERS
Dustin explains what
are different genres. Readers of different genres
enjoy different levels of psychological
enticement. It’s a lot of fun to play with these
I think in comics, the important thing to keep
in mind is knowing the difference between
creating a cover for a book and creating a pin-up
he keeps in mind when things, sometimes going for smart versus shock for the book. Covers should represent the book
works, sometimes it won’t, and vice versa. and stand for the issue or series itself. A pin-up
illustrating covers for
I think every artist has a different approach for can be anything that can go inside the book that
titles such as Descender, layout. Mine would be to either go for bold, high- features the characters and events. It doesn’t
Batman and more contrast layouts and designs, or complicated have to showcase the entire book.
and detailed, almost wallpapered art. Basically, From a layout standpoint, keep in mind you
you’re looking to either grab a reader’s attention need to make room for trade and dress. Basically
immediately with the high contrast, or to grab this is the title, logo, barcodes and so on. Try to
their attention and hold it because they need to position characters to work around those spaces
figure out what the hell they’re looking at. so you don’t lose any real estate on the page.
39
Interview
FAMILY BUSINESS
The comic series Super Sons sees the
children of Batman and Superman
reluctantly form their own super-team.
Courtesy of DC
40
Dustin Nguyen
GIRL POWER
VARIETY ACT Dustin made the cover
Dustin often creates variant covers for Batgirl: Stephanie
for comics, including this artwork Brown Volume 2, a
for Action Comics #37. series where the hero
proves her worth.
Courtesy of DC
Courtesy of DC
SHORT AND SWEET

Dustin channels King Kong in his artwork
for this Adventure Time Sugary Shorts
New York Comic Con exclusive.
41
Interview
HEART ATTACK
A Valentine’s Day edition of
Lil Gotham focuses on the
relationship between the Joker
and Harley Quinn, with Pamela
Isley also along for the ride.
MOONLIGHTING
Courtesy of DC
When not focused on

client work, Dustin
creates fan art like this
image of Moon Knight.
4am drawing since there are less

distractions. Weekends I’ve been trying
There will be days you don’t The best part about being a comic
book artist is the work schedule
to take off, although deadlines will
usually take the priority.
want to draw. Those are the flexibility. I have the freedom to
choose what I want to work on and
days it’s important you do when I want to do it.
You’ve worked on plenty of Batman The obvious downside though is
titles. Have you always been a fan of Besides Batman, who are your that I’m basically a contractor, so I’m
the character? And what appeals to favourite characters to illustrate? not always guaranteed to have work.
you about drawing him? I enjoy creating my own characters So that’s something to always prepare
Actually Superman was my favourite these days. Descender and Little for financially. Oh yeah, no health
character as a kid, but I always loved Monsters are my current love. Also, I’ve insurance either! So you’ve got to
Batman as well. I think I love drawing been enjoying Moon Knight as he’s figure that out yourself.
him because he’s just so simple, but basically Batman, but white instead.
you can really dramatise his Do you ever feel burned out? And if
characterisation by playing with his What are the best parts about being a
CONNECTING COVER so, how do you deal with it?
This artwork appeared
cape, and the shadows and moods. comic book artist? And which bits across the front of four I don’t think I get burned out, I just get
issues of the Regular
He’s just so cool! are you less keen on? Show comic. stressed from deadlines sometimes.
42
Dustin Nguyen
SOUNDWAVE VS
OPTIMUS PRIME
Dustin reveals how he recreated an
image that was two years in the making
This commission was for a charity auction that I took
part in for BLM back in 2020. The guy who won the
auction asked for a recreation of the first UK variant
of Transformers #1. I usually don’t do recreations, but
for this instance I didn’t really have to design it given
that it was already drawn.
I started out by laying down the pencil lines
directly onto watercolour paper and moved on to
painting it with watercolour, before coming back to
do the final line work with colour pencil. I then went
back in to drop in a few shadows.
COVER ACT
Dustin recreated the
cover of Preacher issue
3, originally painted by
Glenn Fabry.
WORTH THE WAIT

This was the only
commission Dustin
took outside of client
work in the last five
years, and took two
years to get round to it!
Usually the only way I can deal with it LITTLE WONDER definitely something that is affecting a monthly comics, so the machine has to
is by hitting the deadline. The only Lil Gotham isn’t a boys’ lot of artists negatively right now, but I keep running regardless.
club; Wonder Woman
time I don’t enjoy my work is when I herself also makes a think in the long term nothing can
can’t work or don’t have time to. regular appearance. replace true human-made art. What is next for you? Do you have
If AI art takes off, then ‘traditional’ any exciting projects coming up, or
Of all the work that you have art will become more and more sought are there areas you’d like to explore?
created, which are you the most after, so hopefully us artists will all I’m pitching a new book with Jeff
proud of and why? have a job in the future. I’m not too Lemire soon, after Little Monsters
Descender for sure, because it was the worried for myself personally, since I finishes up. I also have plans to write
first creator-owned story that I did work on such a small scale and draw a series myself that’s waiting
with Jeff Lemire. The characters we commercially. I believe comics are and for the green light.
created there will always have a huge will always be very niche. But on a
place in my life. larger commercial scale, I think that What advice would you give to other
AI will be a contender for artists in artists that are hoping to become
Artificial intelligence is a huge part advertising, and that’s something we comic book artists?
in the story of Descender, but it’s need to prepare for. You have to be consistent with your
also a pressing issue in the art work ethic and your art, there will be
world right now. Do you think that What is one thing people should days that you don’t want to draw.
artists need to be worried about the know about being a comic book Those are the days when it’s important
future of AI-generated art? artist that isn’t often talked about? that you do. Draw everything and
Courtesy of DC
I think technology moves so fast that For me, I think it’s that sometimes I anything you see. If you don’t have
ethics and the law struggle to keep up, don’t feel like drawing at all. But my work, create work for yourself. You
and that’s what we’ve been seeing. It’s particular position in the industry is have that control as an artist.
43
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45
Artist
PROFILE
Mali Benedicto
Vasanserekul
LOCATION: Spain
I’m an illustrator who has

worked in the game and
comic industries, including
as a concept artist. I
always try to focus on
personal projects, telling my own
stories and exploring art styles. I love
sci-fi, but see beauty in everything. I
feel lucky to be able to make a living
from my own art, and grateful for the
career I’ve been able to have.
https://linktr.ee/minemikomali
st o f cha racters found

ca
du ctio n to the quirky
lu str ator’s sketchbook
intro h il
We get an e pa ges o f the Spanis
t th
throughou
TIME
TRAVELLER
JOLENE
“A disguise is always a
good opportunity to
practise clothing.”
SHELLY, THE COLD- ALIEN GIN

BLOODED MERMAID
“Turning her into a barracuda
“Drawing funny little
outfits are always a great
warm-up, and she is
was just hilarious.” my favourite girl
for that.”
SHELLY
MOOD STUDY
“Sometimes it’s
all about the emotional
aspects, rather than
the anatomical
studies.”
46
Sketchbook Mali Benedicto Vasanserekul
Sometimes it’s all about the
emotional aspects, rather than
the anatomical studies
ALTERNATIVE
GLIMPSE
“Drawing tiny moments of each
UNIVERSES
“There is a need deep inside
story helps me to complete pages. I that makes me want to explore
don’t separate them from stories, I just infinite versions of the same
keep writing or drawing in the characters and stories.”
next blank space.”
CLUSTER
“An original character
list, but with faces
instead of names.”
JOLENE
“A vibe study of a character who has
huge emotional weight, apart from the
tattoos and silhouette design.”
47
MAYOR
The important parts BILLIE
“First attempts at story
and armour. Like a stone
from my robot stories in a river, it’s shaped
by being drawn
aren’t the robots, but

repeatedly.”
the pilots’ lives
GIN
AND BILLIE EVIL JO
“An alternative-universe
“Adding washi tape or sticky
notes is fun. This time I felt like Jolene backstory illustration. The
trying a change on Gin’s design. character has different storylines
Since she always wears her hair where her personality changes
short, I wondered how she’d depending on the amount of pain
look with a different she’s been through, as well as
haircut.” the universe’s laws.”
OOTD
(OUTFIT OF THE DAY)
“A work-in-progress study of
various outfits to be coloured
in yellow, since it’s my
favourite colour!”
48
Sketchbook Mali Benedicto Vasanserekul
MORE INK
STUDY AND TRIALS
“Drawing muscles is always
AND COLOUR
“Any traditional technique adds
a pleasure for me.” a lot of visual variety
to my art.”
PILOT KIM
“The important parts from my robot
stories aren’t the robots, but the pilots’
lives and tiny issues that build the
real heroes and adventures.”
49
Artist
PROFILE
Sy Gardner
LOCATION: England
Sy is a concept artist and

illustrator for the game
and movie industries, and
has worked on a variety of
popular shows and IPs. He
is currently a full-time background
artist working remotely in the UK for
d
in a sketchbook fille Powerhouse Animation, who are
age
based in Austin, Texas. Away from
es centre st orld experiences

work you’ll find him spending time
ar tist tak
ound
with his children, and exploring nature
eal-w
The backgr ildings inspired by r
up and down the UK.
www.instagram.com/sygardnerart
with bu
HILLTOP
TOWER HIDEOUT
“My wonderful daughter
Abigail inspires many of my
ink works, thinking of places
we could use to hide away
from monsters. This was
one of those places,
up on a hill.”
FOUNTAIN
PEN SKETCHES
“When sketching in
fountain pen for fun, my
comfort zone is these
random wonky buildings
on mounds or hills,
sometimes I picture
living there
myself.”
MEDIEVAL
TOWNS
“Inspired by scenery I’d seen
across the UK when travelling
around in the car. Many times, I’ll
just let my imagination recreate
what I’ve seen.”
CASTLE
ENTRANCE
“The entrance to a
medieval castle town. This
is without doubt one of my
favourite themes. I just
love mixing up shapes
and architecture,
and seeing what
comes out.”
50
Sketchbook Sy Gardner
Sometimes I
love just doing
lots of little
doodles on one
page, practising
techniques
HILLSIDE HOMES
“I remember sketching
this all out freehand with a
light grey Copic marker first, then
spending a good few hours in ink
to detail it. It was an idea from
imagination for makeshift
homes situated in the hills
and mountains.”
51
HIDDEN
THE WATCH HOUSE HOMES
“I remember looking at
“I have a little obsession with towers bird houses and trees,
connected to buildings, like a place to then coming up with
get into on a dark and stormy winter’s this afterwards.”
night to stay safe from whatever
lurks outside.”
I just love mixing up

shapes and architecture, and
seeing what comes out
THE
SACRED TREE
“Sometimes I love
sketching digitally and this
is one of them. A random
sketch from imagination in
light grey first, which
was then detailed
afterwards.”
52
Sketchbook Sy Gardner
ANCIENT
CASTLE RUINS
“A digital paint sketch coming up
with an idea for an abandoned
castle. These are a great way
to get ideas out fast.”
FANTASY ROCKSIDE
INK DOODLES
“Sometimes I love just
HOUSE
“Another one inspired by
doing lots of little doodles the bird houses I’d seen, I
on one page, practising remember drawing this
shapes and techniques. the same day using a
These were created fountain pen.”
using a fountain
pen.”
WHO LIVES HERE?

“Another safe house for myself to live, in
the alternate world in my mind.”
Do you want to share your sketches with your fellow ImagineFX readers? Send us an email with a
selection of your art, captions for each piece and a photo and bio of yourself to mail@imaginefx.com
53
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Workshop assets
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Advice from the world’s best artists

56 66 This issue:
56 Draw an epic
mythical beast
Find out how Cindy Avelino
designed her terrifying Hydra
for this issue’s creature cover.
64 The mixing of
mediums
Rovina Cai melds traditional
skills with digital tools in her
Magic: The Gathering card art.
66 Maintain your
68 visual balance
Why creating quiet areas was a
vital element for Luca Pisanu’s
Turkish-inspired composition.
68 Create a stylised
building concept
Georgi Marnero combines his
Blender skills with Photoshop
to build gorgeous architecture.
74 Experiment with
colour
Discover the helpful palette
plugin Joe Gloria recommends
to test out your colour schemes.
76 82 76 Design and ink a
comic panel
Check out the first part of our
workshop series with master
Marvel artist Steve Ellis.
82 Find focus in
key areas
Bungie’s Jacob Gonzalez on why
applying details conservatively
offers a winning design formula.
55
Workshops
56
In depth Draw an epic beast
Photoshop
DRAW AN EPIC
MYTHICAL BEAST
Cindy Avelino breaks down her workflow as she makes a
twist on a legendary creature using animal inspirations
57
Workshops
Wouldn’t it be fun to For this Hydra, I wanted to create After that, I’ll progress through the
Artist
PROFILE figure out how a
mythical creature like
an evil entity that is unique to a
fantasy world; a creature that is
thumbnail process, which consists of
doing small, simple sketches to test
Cindy Avelino the Hydra would worshipped by the weaker ones, and all the ideas I have in mind. I think
LOCATION: Brazil
stand on just two legs? a demanding being that likes to be it’s important to test the possibilities
Cindy is a fantasy artist My creative process always starts treated like a god, or an evil ruler. before rushing to finalise the first
who loves creating art by writing down keywords for the Next I start analysing real animals. idea that comes into my head. I never
based around animals
and nature. She uses character. This also helps me to ask Their shapes, movements and skin know what unexpected and pleasant
Photoshop as her main questions about them. Are they good textures inspire me a lot! It’s also surprises can appear when I mix my
tool of choice.
or bad? Who or what are they? What important to practise your human studies and research.
https://cindyworks.com
do they do? Simple answers to these and animal anatomies and gestures You can use any software or tool
kinds of questions help me on the to help make your creatures and you like to follow this tutorial, but I
pathway of creation. characters look believable. personally used Photoshop.
SHAPE CONTRAST
Head – small
Trunk
– big
Legs –
medium
Feet – small
Analyse the animal

2 I chose gorillas because of their body proportions.
Inspiration in nature The musculature is similar to humans, but it’s so nice to
1Before creating any character, I start studying animal or human gestures and compare it and notice the differences between their
body shapes. It helps me to understand their anatomy, how they move and so on. I appearances. They have a strong, heavy build with
aim to feel the movement lines (the red lines seen here) around their body when smaller legs that offers an appealing contrast in body
I’m doing the gesture sketches. I do these quickly and simply, I’m not worried about shape. This works for my Hydra, as I feel that a heavy
the details. I use just two layers: one for the lines and the other a flat colour. build would help sustain the three heads.
Reptilian features
3 As a reference for the
Head
Hydra, I tried to understand the
basic shapes of the monitor
Chest lizard’s body and apply those
features. I noticed more volume
Belly
in the arm shape, with a huge
amount of skin, long and curvy
claws, and a big sac that I wanted
Hips
to apply to my character. The
contrast of shapes is also evident,
with a smaller chest contrasting
against the bigger belly. These
elements can help create an
Long tail
interesting appearance and bring
variety to a character.
58
Translate to fantasy art

4 Now it’s time to play with the body proportions Silhouette
and silhouette. I try to vary the mood, anatomy and flow 5 After establishing the body, I add more points with horns and adjust the
of the body for each head. I wanted to craft a creature silhouette to help convey a dangerous look. It’s important the character can be read
that is menacing and bestial, but could use its arms to at this stage, with the heads and necks clear and recognisable. I also added wings
interact with tools, for example. Once again, I used two for a touch of grandeur. I imagine it opening its wings to terrorise little creatures. I
separate layers for the lines and a flat colour. also wanted to give each head its own unique personality.
Evil attire
6 What would a unique, evil being possibly wear? This creature isn’t part of a society, it’s one of a kind, so I also think about how it would
feel about this. For me, the Hydra’s ego would be immense, so it would be dressed completely in gold. I also found inspiration from ancient
Greek spiral symbols, because of the original Hydra myth, and snakes, which could suggest immortality and a venomous nature.
59
Workshops
Start a detailed sketch

7 Here I take the thumbnail layer and use the Free Transform tool to increase its size. I change the layer opacity to 25%, create a new layer
above it, and start adding details. I prefer to ensure the body works before creating the outfit in detail, which will come later on.
Add details
8 Now I take the time to detail more of the head features and the anatomy of Begin the line-art
the Hydra. I pay attention to the character’s structure and volume. Drawing lines to 9 I like to create another layer just for the line-art, as
show skin texture and wrinkles, for example, can help show the size of limbs more it helps provide a cleaner look. I put the detailed sketch
clearly. I also changed the pose a little, moving the right arm, and had one of the underneath it, with reduced opacity, to act as a guide and
heads breathing fire; an awesome suggestion from ImagineFX’s Art Editor that show me where to make the strokes. I start by making the
adds an extra layer of action! I also decided to enlarge the heads a touch. outer lines first, and then move on to the details.
60
10 Line weight
While I’m refining the line-art, I set out to vary the weight in some areas. I usually put less pressure on the pen while doing the texture
details, so they are lighter and draw less attention to stop the art becoming too busy. Meanwhile, I like to make thicker lines on areas that
overlap other shapes, as well as in some parts of the outer lines, where I try to create more interest with variations in the weight.
61
Workshops
Choose colours
11 Now the line-art is ready, I can start choosing
colours. I made two simple variations for this character. I 12 Begin to colour and render
First I fill the character with local colours, which are placed on a different
wanted an evil and oppressive look that gives dangerous, layer, but still below the line-art that always sits on top. After that, I start creating
poisonous vibes, so I went with the second option. The some basic shadow and light layers, using only one light source from the top-left to
red and green is a cool combination, but it looks like a keep my work simple. I prefer to create the light and shadow layers with Clipping
more generic fantasy creature to me, and doesn’t add to Masks, as they lock the layer and prevent any leaking from my Color Body layer. To
the evil ruler character archetype I was looking for. add a Clipping Mask, right-click on the chosen layer and hit ‘Create Clipping Mask’.
13 Rendering
I chose to make the shadowed areas warmer and
the lighter areas cooler, as I believe the contrast creates an
appealing effect. I also start making hatch lines, which is 14 Final character
To finish up after I was satisfied with the hatching, I strengthened the lights
a method that I love to use! I try to make them contrast on the gold elements, increased the contrast of warm and cool areas, and decided
against the local colours in some areas, for example to add the fire, which has a warm inner section that becomes cooler on the outside
making a hatch with more saturation that follows the of the flames. I also gave the heads more dramatic lighting to draw extra attention,
volumes of the Hydra’s body. and added soft reddish light in the corners for an underworld mood.
62
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Digital editions available on desktop, iOS or Android

Workshops
64
Tech Focus Traditional touches
Technique focus
MIXING OF
MEDIUMS
Rovina Cai takes the traditional
approach to digital tools for her
Magic: The Gathering card art
“This illustration was created for

a Magic: The Gathering card. The
assignment was to show a
moment of enlightenment. Like
most of my work, the piece is
digital, but made with a traditionally minded
approach. The drawing was done on an iPad,
much like how a traditional pencil drawing
would be. Once complete, the drawing was then
taken into Photoshop for editing and colouring.
To achieve a traditional look, I created
Artist textures using watercolours and inks, which
PROFILE were then scanned in and integrated with layer
modes. To add finishing touches, I painted in
Rovina Cai the highlights and graphic elements using Kyle
LOCATION: Australia
T. Webster’s Photoshop brushes, which mimic
© Wizards of the Coast
Rovina is a freelance the look of traditional materials. This approach

illustrator based in
Melbourne. She enjoys
allows me to enjoy the best of both worlds; the
creating poetic imagery, convenience and flexibility of digital, as well as
and all things gothic. the happy accidents and hand-made look that
www.rovinacai.com
comes with traditional media.”
65
Workshops
66
Artist
PROFILE
Luca Pisanu
LOCATION: US
Technique focus “This piece is from a lot of the information, in order to Born and raised in Italy,
series of studies where stay true to the essence of the Luca has been drawing
since he can remember,
the challenge was to subject. The balance between clean and loves animation and
MAINTAIN YOUR focus on interesting
architecture, texture
and busy areas is important in
paintings like this. You want your
video games. Luca’s
journey has brought him
from Italy to London to
VISUAL BALANCE and lighting. The inspiration came eyes to have space to breathe and Los Angeles. Currently,
from a place in Turkey. I wanted to relax. The use of strong blues as a he is art director at Spire
Luca Pisanu explains why finding an equilibrium of accentuate its colours and push the transition colour in the shadows Animation Studios.
https://bit.ly/3G2bXQM
Tech Focus Visual balance
busy and quiet areas in your artwork is a vital skill design and contrast by simplifying a helps to convey a sense of depth.”
67
Workshops
Photoshop, Blender & traditional media

CREATE A STYLISED
BUILDING CONCEPT
Discover the 2D and 3D techniques used by Georgi Marnero as
he constructs architectural designs based on real-life references
Artist In this tutorial I’ll I like to travel a lot, whether that is you’re doing, something that you
PROFILE show you my process
behind creating an
getting out into nature or touring a
city with beautiful architecture and
can’t do when working digitally.
After that I brought those sketches
Georgi architectural concept artistic culture. Here, I’m going to into Photoshop, where I was able to
Marnero for video games or share my experience from visiting explore the colour and texture.
LOCATION: Bulgaria
animation. We’ll walk through the the amazing city of Lisbon, the When I had a clear idea of what I
Georgi is a concept artist process of searching for inspiration capital of Portugal. wanted to create, I moved over to
and illustrator, who has
worked in the field of and how to find it in your everyday For my process, I began with the Blender, where I did a quick 3D
environment art for life. To begin we’ll look at studies, camera on my phone and took tons blockout and played with light and
games and animation for
and then I’ll explain how to apply of photos to record all of my visual colour a bit more. I do that because
the past eight years.
https://bit.ly/40zHsJX what you’ve learned to your personal experiences. After that, I drew a lot there are occasions where I want to
design projects. of small pencil studies in the pages try different camera angles, or
Personally, my creative workflow of my sketchbook. change the lighting and colour
usually starts out with visiting It doesn’t matter that we’re in a without wasting much time, which
somewhere, seeing somebody, and super digitalised era; I think that it’s 3D software is great for.
doing something. In other words, vitally important to keep those When I’m happy with all of that,
having real-life experiences that I can traditional sketching skills. Drawing it’s time to paint over the model, add
interpret into my artwork . This is on paper always makes it more details and textures to it, and wrap it
also a skill that I want to see in other personal and exciting. It’s more up as a completed and presentable
artists’ work. tactile, and you can touch what piece of concept art.
Pencil studies
2 Back home, I’ll look over the photos on my tablet
Inspiration and reference gathering or laptop and start doing small pencil sketches, using a
1 As artists, we’re always looking for inspiration to ignite our creativity. It could 0.5mm mechanical pencil on Moleskine paper. I try to
be a book or a movie, or just a walk in the park and seeing a magnificent autumn figure out how the buildings are created, for example why
tree. For me, the best pieces of art are those that connect us to the artist and tell us they have a certain shape, and may be tall and thin due
something about their personal experience. I recently went to Lisbon for the first to the space around them. I recognised a pattern of small
time and was astonished by how beautiful and grand the city looked. I took a lot of terraces with beautifully ornate railings, while no two of
photos in the Old Town, which sits next to the coastline. I wanted to capture the the front doors looked the same. Next I put them into
hundreds of snuggled-up houses with their warm colours, bright rooftops and Photoshop and filled in the pencil work with white paint
organic textures that have been transformed by the weather. to define the silhouettes.
68
In depth Building concepts
69
Workshops
Colour and detail studies

3 As the city is by the ocean, the humidity has created Sketch from imagination
painterly textures on the buildings. The stucco has fallen 4 Once I get familiar enough with my subject matter in real life, I start to
near pipes, and splashes of green and blue have appeared generate new ideas from my imagination, listening more to my emotions and
in places. Graffiti tells of a street culture, and the doors trying to represent the feeling of the environment itself. Here I was thinking what it
are painted in saturated colours. The combination of would look like if a few of those tightly packed buildings were combined into one,
stone and plaster is perfect, and the rickety chimneys and bringing together the many balconies and windows, and the hundreds of rooftops
rooftops give the buildings playful character. all into one building that has every element and is sat near the water.
Add details
3D blockout 6 Based on my studies, I start adding details, again
5 When I have a clear idea of the concept, I jump into Blender. I like modelling thinking in big, medium and small. Starting with the
because it’s almost like you’re doing a maquette, which you can rotate and zoom doors and windows I search for variety, but not too much
on in different areas. Starting with the big shapes gives me the silhouette quickly. so none of the pieces appear too out of place. Then I
To check that it works correctly, I try to find the balance between big, medium and attach frames to them, and also beams to the walls and
small shapes. The square forms give a feeling of stability, but as I wanted something the roofs. The last job is to add the roof tiles. Since this
more dynamic, the pointy triangles of the rooftops gave me that mood. When I will be overpainted in Photoshop, I’m not trying to be
have the silhouette done, I break the straight lines with curves, which gives the too precise because I want to leave the door open for
design a more organic look and a bit of a soul. some more creativity later on in the process.
70
Choosing colours
7 For this step I brought in an element from my personal background. Since I’ve grown up in a country where most of the neighbourhood
buildings are huge and grey, subconsciously I added a little of that mood to my concept. When in Lisbon, I adored the blue sky, which
complimented the warm orange and yellow buildings so beautifully. As a result, I decided to make the building in warm brown/reddish and
ochre colours, but still kept it desaturated so that it became more moody and gloomy.
Camera angle
Add a light source 9 The camera angle depends on the purpose of the
8 When thinking about the light I start with an HDRI environment, which concept, the story you want to tell, and the emotion you
gives me the overall colours and adds a bounce light to the building. Then I add the want to present. If it’s for a 3D modeller, they may not
sun, which is my key light source. I try to adjust it in a way that guides to the focal want a crazy point of view so they can understand how
area, where the biggest contrast falls; in this case the door at the end of the bridge. I the concept functions, while a director may want to see it
also add soft area lights coming from above the roofs, which will enhance the light in the exact way it’ll be presented in the game or movie. I
coming from the sky, while doing the same from below will enhance the bounce needed a little drama in the shot and to add a sense of
light from the surrounding object and the ground. You can see this below the stoicism, as if the building has outlived all of its
bridge where the water offers some green bounce light. At the end, I add backlights surroundings. It is alone and looks at the horizon above
to separate the object from the background. the water, which is why I chose the angle from below.
71
Workshops
First texture pass

11 When adding textures, the major points to consider
are what materials the building is made from, the
weather, and how they interact with each other. Have
10 Move to Photoshop
My first step when bringing the render to Photoshop is to refine the
there been any human or animal interactions? Maybe
natural disasters like fires or floods. And how do all these
silhouette and smooth the edges. The 3D process leaves you with sharp, perfectly external circumstances influence the materials? In this
formed shapes, which I want to get rid of as soon as possible in favour of a case the facade is made out of bricks, stone and stucco,
painterly vibe, which I’ll develop later. Getting an organic feel is much easier to and due to the high wind and humidity the stucco has
achieve in 2D than 3D for me, as I had years of experience in traditional painting begun to fall apart, while mould has also formed dark
before moving to digital. While I’m speed modelling, there are planes and other green drips on the corners. Again, I start with larger spots
details that look out of place, which I’ll also try to correct. of paint and colour, and then move to smaller areas.
12 More detail
When I’m happy with the overall textures, I start to think again about the details and where I can add more. I decided to put two windows
into the rooftop because there was too much repeatability of the small roof tiles, which I wanted to break up by adding a medium-sized detail.
The washed sheets on the terraces suggest a human presence in the building and tell us the scene is lived in. Additionally, I brought in wooden
planks on the window covers and worked on the grass. Other small details including antennas, ropes and stairs can give you a line of direction.
72
13 Characters
When there is a character in the scene, it’s much easier for the viewer to feel an emotional connection and identify with what is happening
in the image. It also helps to present a sense of scale. Our job here is done by the seaman, standing on the dock and staring at the endless
horizon. I also added cormorants taking a break from fishing, as birds on rooftops always offer a sense of tranquillity.
15 Finish the piece

The final stage is more about analysing and
evaluation than it is actually painting. For this image, I
added in adjustment layers to make the scene brighter
and to provide contrast. Using a Soft Light or Colour
14 Background
The background for this concept is pretty simple because I wanted to keep the
Dodge layer, I put in spots here and there on the places I
wanted to accent more. Then I made my last refinements
sketchy, hand-drawn vibe. That’s why I added these flat, white clouds, outlined to the shape of the masks where I felt they were out of
with a thick, black and somewhat free line. The sky is a dull green in order to balance. There may also be tidying if I’ve left extra lines
compliment the red colour of the building. With this being a building concept, you or spots, while I can also make more colour and light
don’t want any more distractions than are necessary in the scene. adjustments to wrap up my work.
73
Technique focus
EXPERIMENT
“This piece was opposite approach to my hyper-
inspired by Sparth’s realistic photobashed commissions.
Space Traffic artwork. I started by scribbling some simple
WITH COLOUR
Joe Gloria recommends a helpful plugin
I’ve wanted to try
creating something
similar for a long time. Before I made
shapes and perspective cubes. It was
important to change the perspectives
in random ways to avoid repetition.
this, I’d been feeling stuck in terms Once I’d settled on my designs, the
to perfect your palettes in Photoshop of creativity, so I decided to take the next crucial step was to apply the
74
Artist
PROFILE
Joe Gloria
LOCATION: France
colour. To do this, I used the
Joe is a senior concept
rectangle tool and the Coolorus add- designer working in the
on for Photoshop. This is the best video games industry
way to test different colours with a with Ubisoft’s Paris
studio, and has over 10
single click. This took more time years of experience. His
than designing the spaceships as I drawings are inspired by
wanted to use punchy colours to all things sci-fi.
https://bit.ly/42Ud5zy
create a sense of coherence.”
75
Workshops
Photoshop & Clip Studio Paint

PART 1: DESIGN AND
INK A COMIC PANEL
Marvel artist Steve Ellis explains his process for illustrating
an action-packed post-apocalyptic comic battle sequence
Artist This is the first of a and world, and how to tell a story handle matters when the page goes
PROFILE two-part series on
creating a page for a
that both moves the action along
and establishes the setting. This is
awry or changes are needed.
I tend to start my work in my
Steve Ellis new project. This page especially important in a new sketchbook, then move the sketches
LOCATION: US
is for an upcoming project, as we need to quickly give to the computer, print them out,
Steve is an illustrator and comic with writers Shannon Eric the reader an understanding of the work in pencil, and so on. It’s a back-
writer in the worlds of
comics and fantasy art,
Denton and Kevin Grevioux called environment and the stakes riding and-forth process. With each
and has worked for both Ironkiller, set in a post-apocalyptic on the story. iteration I’m adding, rethinking and
Marvel and DC. His focus hell world occupied by demons and We’ll also go over my process for refining until I get to the final ink.
is on bringing to life his
personal projects like
recreated through evil magic. working a page from rough layout to Sometimes, as in this case, I even
Thornclaw Manor and Here we’ll cover how I design and finished ink, and some of the tricks I have last-minute changes, but it’s all
Moonshine Bigfoot. make decisions on the characters use. I’ll also talk about how to part of making an exciting page!
www.steveellisart.com
DON’T
MISS PART
TWO!
Make sure you grab a
copy of our next issue to
catch the second part
of Steve’s comic
workshop!
Design the characters

1
I want our main character, Gale, to feel like a tough-as-nails creation out of the Mad Max world, with a little Dungeons and Dragons hero
mixed in. I went back and forth with writers Shannon Eric Denton and Kevin Grevioux before we ended up with a fun, gritty character.
76
In depth Comic panels
77
Workshops
Create the world

2The world is supposed to be our own after a magical calamity where demons
walk the Earth, so I wanted there to be recognisable, modern landmarks mixed
with a crazy hellscape. I used New York as the basis for the buildings and then
added some gravity-defying demonic elements too. I used Photoshop here to
collage a vision board of what I wanted the world to look like.
Lay out the page

4 Now I figure out the action so it flows on the page
Rough page sequence layout and makes narrative sense. I storyboard out the action so
3 No page is an island, so I have to figure out from the script where the page the character is believable moving around the page. I try
will fit in the scheme of the story. In the last page, I have a close-up of Gale’s eyes, not to have the ‘camera’ go past 180 degrees from its
and I want to reveal the situation she’s in on this page. I also need to take into starting point, so I don’t lose the readers with confusing
account where this page ends so that the next flows naturally out of it. Usually I’ll action. I do this in Photoshop so I can move pieces
rough out the entire book. These are called loose breakdowns. around without having to redraw parts that I like.
78
Spot the blacks

Perspective 6 In order to create a dynamic page, I feel like a solid
5 I hop into Clip Studio Paint and use the Perspective tool to make sure the relationship between line white and solid black really
windows on that building in the background work with the perspective on the makes a comic punch. I print out my layout and do a
figures. Even though the building will be destroyed, I want to make sure it has the quick trace with Sharpie on photocopy paper to figure
basis of perspective before I destroy it. out the rhythms of black and white on the page.
Finished pencils
8 These are ready-to-go pencils. If I was going to send
this to an inker, I’d get even more detailed, shaping every
Print out the rough pencils line and filling every black area. As I’m inking it myself, I
7 I print out this rough draft of the pencils and lightbox it onto another piece can be less intense about the detail. I get into things like
of paper for pencilling. I’ll trace this and refine the lines into shapes and marks that facial expressions, detailing hands, correcting anatomy
define form and volume. This is the real foundation of my page. and polishing the basic foundation of the page.
79
Workshops
Scan and print out blue lines

9 To make the page ready for inking, I want the pencils on the page without them interfering with the inks. I scan in the pencils and to
approximate the old practice of drawing in blue pencil, which I dislike, I create an adjustment layer in Photoshop that I place over the pencils to
make them a light blue. I can print this onto my Bristol board in preparation for inking. It prints just dark enough to see my lines for inking.
10 Inking stage 1: Framework

My first step in inking is to put down all the lines of a single, almost universal line weight; one that’s thin and can outline most of the art.
I typically use a technical or nib pen here. This gives me a framework over which I can choose to place thicker brush lines in the next stage. I
focus a lot here on the little details; before I go in with the brush, I want to make sure all the little things are taken care of.
80
12 Ch-ch-ch-changes!
I decided late in the game that I really didn’t like
Gale’s pose in the first panel. Her movement felt a little
stilted and not as much fun as I wanted. Luckily, I can
easily change that in post. I design a new, more dynamic
Inking stage 2: Embellishing pose, and lightbox it over the page to ensure placement,
11 Once the thin lines are down, I can start to choose where I want to place the since it’ll be covering over some of the art I’ve already
thicker lines. The blacks are already sorted out in the spotting stage, so now I just done. I also mark down a few points in pencil that I’ll use
need to figure out where to put thicker ink lines and texture. I use my trusty No3 to make sure the patch will lay well over the art. Once I’ve
fake sable watercolour brush for this stage. This is where the magic of using line- gotten it to the point where I have an image and
weight changes gives a 2D piece of art a sense of depth and volume. placement I like, I finish the drawing and scan it in.
Clean up and repair patch art 14 Final line work

Once the patch is done, I create a Levels adjustment
13 After I scan the patch, and before I paste the new artwork into the old page, I layer and change the three values, from left to right, to
need to clean up the edges in Photoshop. I want the white space between the ink 125, 1.00 and 195. I’ll zoom in and make sure there are
lines to block the background art, but I don’t want any white space outside the line- no grey areas around the lines, and will either erase those
art to interfere with the background. I clean the edges of the art by adding a or turn them black. I change the file to Grayscale,
coloured layer, in this case pink, and erasing the white from around the figure until discarding all colour information, then Bitmap at 600
the black is the outside edge. I’ll also need to fill the background digitally. For this I DPI and 50% Threshold, which will remove any grey
use a hard round brush to recreate the ink lines that will go behind the new figure, matter I might have missed. Then I change it back to
and a hard eraser to get rid of the former version of Gale. Grayscale at Size Ratio 1 and RGB for colouring.
81
Workshops
Technique focus “This piece was made and get more images out of the door.
FIND FOCUS as an inspirational

postcard for the
When I’m making images like this
that have a lot going on, I like to
IN KEY AREAS
incredible Bungie raid focus on details and refine the visual
development team. Its information in one or two key areas,
goal was to sell the visuals of the then let the rest fade away with loose
Jacob Gonzalez on why adding texture Root of Nightmare raid in Destiny 2 brushstrokes. This creates a winning
with a single shot. The image was combination of simple, bold
and detail sparingly created a winning created in Blender and Photoshop, geometry and detailed texturing
design in his Destiny 2: Lightfall artwork which allowed me to ideate quickly where it matters most.”
82
Tech Focus Detailing
Artist
PROFILE
Jacob
Gonzalez
LOCATION: US
Jacob is a concept artist

at Bungie. Having fallen
in love with Destiny
during high school, he
© Bungie, Inc.
worked hard to become

part of the team.
https://bit.ly/3Zy2Q19
83
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Traditional Artist
Inspiration and advice from the best pro artists
90 96
This issue:
86 Traditional FXPosé
Discover this month’s selection
of the finest traditional art,
which has been sent in by you!
86 94
90 Workshop: Paint
symbolic dreamscapes
Boris Pelcer explains how he
captures dreamlike visions.
94 Tech Focus:
Storytelling with details
How composition gives life to
Warrick Wong’s Gundam fan art.
96 First Impressions:
Moon
The artist on his varied work,
love of nature and new artbook.
85
Traditional Artist FXPosé
SHOWCASING THE FINEST TRADITIONAL ARTISTS
Simon Gane
LOCATION: England MEDIA: Ink, watercolour WEB: www.instagram.com/simonjgane
Simon is a comic artist, illustrator and sketcher. His

current work includes the art and design for Burning
Sky Brewery, and the graphic novels SUNBURN and
PARIS, both published by Image Comics.
1 2
1 ELEKTRA
“An homage to the great Frank Miller
creation. One of those drawings that started
2 BONNIE PARKER
“The infamous outlaw, with more than a
nod to Faye Dunaway’s 1960s stylings in the
3 ADÈLE BLANC-SEC
“This is my take on a Jacques Tardi panel.
His meticulous backgrounds combined with
with a doodle of a face before evolving.” film Bonnie and Clyde.” cartoony figures is always an appealing mix.”

Inspirational art
4
4 HELLBOY
“A commission of
Mike Mignola’s famous
character, and a way to fit
an assortment of
architectural elements
into one drawing.”

Traditional Artist FXPosé
Faith Grey
LOCATION: England MEDIA: Ink, watercolour, gouache, oil WEB: www.instagram.com/elesriil
Faith draws inspiration from nature, femininity, and Slavic and

Asian folklore. She gets the most enjoyment out of the painting
process and exploring the possibilities of the medium.
1 2
1 TEMPERANCE II
“I decided to experiment
with a more expressive way
3
of creating watercolour
washes. To contrast this, I
added a black snake to
anchor the character.”
2 160722
“Mesmerised by the
atmosphere of Thessaloniki, I
wanted to convey the feeling
of freedom and melancholy
it evoked in my heart.”
3 NINEN
“I was asked to create a
portrait with an intense gaze.
The biggest challenge, and
also the greatest pleasure,
was exploring the medium.”
4 MXNGROVE
“This represents the
parasitic relationship of
intrusive thoughts and the
futility of trying to escape
them. Yet the character is
learning to coexist.”

Inspirational art

Traditional Artist Workshops
Acrylic
PAINT SYMBOLIC
DREAMSCAPES
BORIS PELCER shares his process for capturing a dreamlike vision using different
mediums, and shares the meaning behind his ethereal artwork
S
ometimes I wonder
whether my ideas, visions
and epiphanies are not a Three top tips: Important steps for your workflow
product of my mind, but
come from an external
source. It’s interesting to contemplate
that in some way they could be a
1 SET COLOURS
WITH WASHES
After I’ve traced the lines
window into something else. They of the drawing and its
may indeed come from my own ready to be painted, I
mind, but it’s more fun to imagine begin with acrylic washes
the possibility that there’s more to it. to set the colours in place:
This sort of thinking is why I blue for the sky, pink for
became intrigued with the idea of the clouds, green for the
Pasithea from Greek mythology; she main female figure, and
is the personification of relaxation, so on. I do washes to
meditation and hallucinations. It’s leave the graphite details
enchanting to imagine that ideas visible under the paint.
could be the product of divine
intervention, which is precisely what
I wanted to capture with this piece.
For the initial concept stage I used
2 CREATE LIGHT
AND SHADOW
Once I have the main
my iPad Pro with Procreate. I’d washes done, I begin to
initially intended for this image to be paint the shadows and
digital, but an opportunity to do a the lighter parts of each
solo show for Nucleus Portland section with opaque
arrived, so I instead decided to paint acrylic. I do that with each
traditionally. I used a projector to section, and do my best
trace the image onto a wood panel, to blend the colours in
and slowly chipped away at different order to get the mid-
parts of the painting. range tones as I go.
I didn’t do a colour study for this
piece, but just thought about it in my
head. Since then, however, I always
do colour studies to not leave too
3 THINK LIKE IT’S
PHOTOSHOP
I start with what I imagine
much to chance. Over the course of as the bottom layer in
this piece, I used lots of brushes for Photoshop, so that I can
both the more opaque application keep the top area clean as
and for washes. When I was done, I I paint each layer. This
added a couple of layers of varnish. means that I begin with
Boris is a visual artist based the biggest elements from
in the US. He creates his back to front, painting
work as a way to explore the them in sections and
complexities of human adding in the details as
emotions, thoughts and behaviours. See the final step.
more of his art at http://borispelcer.com.
90
Artist insight Dreamscapes
91
Traditional Artist Workshops
MATERIALS
In-depth: Inspirations and technique PAINTS
Golden Matte Fluid
Acrylic
Golden OPEN Acrylic
Medium
Liquitex Heavy Body
Acrylic
VARNISH
Liquitex Satin varnish
Character colour OTHER EQUIPMENT

One fascinating aspect of this iPad Pro
artwork is the use of green hues Procreate
for the central figure. She
represents my personal
Projector
perspective on nature: an
enigmatic, living entity that I’m
yet to fully comprehend.
Whenever I observe trees, I
perceive a sense of wisdom
inherent within them. So when I
brought this image to life, it was
driven by an urge to encapsulate
a deity-like presence that exudes
mystery and possesses human-
like qualities, but ultimately
remains an integral component
of nature’s organic tapestry,
living in the delicate balance
between the ethereal and
tangible realms.
Logical process
From a technical perspective, I had to really
consider how I would paint each element.
Thinking logically, I started with the
background and worked my way to the
foreground, leaving the most delicate
elements till last. Whenever I paint from my
imagination, I tend to use a light source
from above, as it’s much easier to render.
Cloud textures
The clouds are pink and have
brain-like textures. That was
inspired by Michelangelo’s The
Creation of Adam, where god is
surrounded by a shape that
could perhaps be a brain. One
interpretation could be that what
we perceive as something higher,
like a deity, only exists in our
mind. Similarly, I have thought
that the illusions and visions we
might experience, even during
psychedelic moments, might all
simply be a by-product of our
brain’s chemistry.
Washes for blending Butterfly symbolism

When creating this image I used both opaque The ancient Greek word for butterfly
paints and washes. The washes of acrylic are how translates as soul, and the insect has often
I’m able to create lots of blending, and over the represented the soul, mind or spirit. They
years people have asked me how I do it. It’s mainly have also been used as metaphors for the
about establishing at least two or three colour psyche, especially transformation, like the
values, and adding washes of a darker colour for changing of a caterpillar into a butterfly. It’s
shadows, or a lighter colour for highlights. symbolism that I use often in my art.
92
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93
Traditional Artist Workshop
Final art: Digitally coloured 1
Technique focus
STORYTELLING
WITH DETAILS
WARRICK WONG explains how the big and small
3
features combine to give life to his Gundam fan art
W
ith this drawing, I wanted I used Kuretake and Pentel brush
to create a story of the pens to create the original drawing
everyday lives of a on top of a loose pencil sketch. Once
Gundam maintenance crew. It’s set the original ink drawing was
during the crew’s lunch break, which completed, I then scanned in the
is also when the workshop’s stray drawing and digitally coloured it
cats come to interact with them. using Photoshop. I kept the digital
I wanted the Barbatos Gundam to element as minimal as possible as I
be the focal point of the image, and wanted to retain the energy of the
the crew to add life and human original ink drawing.
elements to an otherwise lifeless Warrick is an artist and
mech. It was also a fun way to play storyteller based in Australia.
around with scale. But what really He likes to create his own
adds the charm to the story are the spin on popular series, as
stray cats, which were added as a sort well as telling his own unique stories. To
of Easter egg hunt. see more, visit www.warrickwong.com.
94
Tech focus Storytelling
4
95
Traditional Artist Interview
First Impressions
Moon
Discover the artist’s
first inspirations and
artbook plans
Where did you grow

up and how has this
influenced your art?
I spent my first 18
years with my family
in the countryside, in a small village
in the west of France, and in the
nearest town for school and friends.
The rural environment, playing in
the paths and building huts in the
woods, gave me a great affinity with
nature. That theme is very much
evidenced in my illustrations. But
my work today has retained an
urban aspect thanks to the graffiti I
started practising in the city with
my friends as a teenager.
What, outside of art, has most

influenced your artwork?
Nature. I have always loved organic
things. As a kid I was crazy about
dinosaurs and animals; I wanted to
be a wildlife reporter! I’m still
obsessed today, though maybe less
so with dinosaurs, but the vegetal
world genuinely fascinates me with
its diversity and complexity.
What was your first paid

commission, and does it stand
as a representation of your talent?
I believe the first time I made an
invoice for a commission was in
2003, and it was for Carhartt. I was
asked to do a graffiti for them in an
indoor skatepark in Nantes. It’s far A BEGINNING
from what I’m doing now in style, One of the pages from my
last artbook, Drizzle, which
but has definitely contributed to I drew with gel pens.
what I’m doing right now.
What’s the last piece that you

finished, and how do the two
artworks differ?
My last piece was a daily drawing, as
I’m doing a daily challenge for a
year for the third time, which will
be compiled into a new artbook,
96
Moon
A BEE AND THE MOON

A private commission that I
created with watercolour
and Indian ink.
97
Traditional Artist Interview
Today my CROWN
A private commission, this
drawing is more is my biggest watercolour

and Indian ink painting to
date at 50x50cm.
meticulous and
mastered
9021
named 365 Squares Vol.3, by Is making a living as an artist all With the years of practice, my
Editions Caurette and should you thought it would be? mastery of drawing and colours is
release in 2024. These pieces are My work as an artist has run parallel better, but I think my style remains
totally different in format, a to other activities for a long time. In the same with variations according
drawing on 15x15cm paper and my career, I’ve usually worn several to the mediums used.
graffiti on a 6x5m wall, but also in hats and therefore had different
term of style. The project for incomes: graphic designer, art What does the future hold for you?
Carhartt was done with spray cans; director, graphic design teacher, There will definitely be more
a street scene with a rough painter, graffiti artist and publisher. artbooks. I love making books so
background, drips and textures with These different roles complement much. It has always been a kind of
acrylic. Today my drawing is more each other and the proportion that grail to see my work in print, and
meticulous and mastered. each one takes evolves over time. To especially in book form. But I also
be honest, I never expected it to hope the future will help me to find
Where do you create your art? happen like this. a lot of new, interesting people and
I spend most of my time in my unexpected projects!
studio, which I’m lucky enough to How has your art style evolved? Moon started as a graffiti artist in the
have at home. But as soon as the My style has been built and refined 1990s and became an art director after
weather is good I draw outside, in over time. I started with graffiti in graduating from art school. Since then,
DRIZZLE
the woods or in parks. There are The cover of my last artbook, the 90s and since then I’ve added he has carried on developing his own
fewer things that distract me and Drizzle, made with gel pens. all my inspirations, which vary universe through drawings and paintings.
You can purchase the book at
that allows me to be more focused. https://bit.ly/3MLMVth. according to the periods of my life. www.instagram.com/moon_mxtr
9000
98

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Editor’s letter

Welcome to… EDITOR’S CHOICE Three of my top

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28 A day in the life of...

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90 Paint symbolic dreamscapes

94 Storytelling with details

96 First Impressions: Moon

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