erate g alae s! lie Se ibd a DAWN CARLOS | SAI FOO | LOIS VAN BAARLE | MOON | MARTIN ABEL DARIATHEODORA | MICHAEL KUS | LORENA LAMMER | AND MORE.Welcome to Wiasirie hx THE ULTIMATE SKETCHBOOK COLLECTION ‘Sketchbooks are ofien personal and sacred to an artist, filled to the brim with pieces that show off technique, skill and process in the guise of uncensored thoughts and emotions. I's place where the artist knows they don’t have to hold back, and when you get a glimpse inside you're bound to see something truly special. In the Ultimate Sketchbook Collection, take a peek inside the minds of artists from all over the world as, they share their designs and creations, Meet original characters, uncover new worlds and explore the creativity that exudes from the pages. Ifthat’s not enough, we've also got some handy tutorials to help you improve your own sketching, from capturing people to refining your pencil strokes. So what are you waiting for? It’s time to get inspired and get sketching, and your journey begins just over the page.4 L FUTURE 4 rTHE ULTIMATE SKETCHBOOK etn dig ON liviaigielX fordPE AULTIMATE KREPONBOO! eee i . Cex ose ee Creu cur aco Tey —S 6) Utimate Sketchbook Collectiontimate Sketchbook Collection (78) Utimate Sketchbook Collectiontimate Sketchbook Collection (9Ultimate Sketchbook Collection THE JOY OF SKETCH Sketching isn’t just a means to an end, it’s a way of life, as Tom May finds Cue y very artist spends time sketching, usually atthe start of 1 project, as a technique for formulating and refining their vision, But sketching shouldn't just be a means to an end. It's also vital part of developing yourself ee eI ingen See ialy ae your imagination going and gives ‘yur skills workout: its foundational for any artist. Sketching, regularly helps you become better as, an artist, and gives you a platform to ‘experiment, mess up, ty again (and. again), and grow.” Itsalsoa good way. e tocome up with new "ideas, as long.as yout prepared to open your ‘mind, let loose, and sce where the sketch takes you, says Miles Johnston. *One of my anatomy teachers once told me tha every time you sit down todravs, you want itto look good.” he says, “ut that ean get inthe way of many other kinds of thinking, ‘Sketching with no formal plan, in contrast, can free you from these restrictions, and lead to unexpected ideas and concepts spilling out onto youreanvas J ohatssomething o1 toletmyself doodle, and an almost fully formed idea wil come out of nowhere" he ays @ Sketching with no formal plan, in contrast, can free you from these restrictions 10) Utimate Sketchbook CollectionThe joy of sketch PPS ALi TONY DITERLIZZI Re eee) Peers sae Ce ered eee be sorted out be eee ere ee os pee eed Peete ar nate es een ere eee een ate timate Sketchbook Collection 1Ultimate Sketchbook Collection >> Everyone agrees, then, that regular sketching is essential. Buthow do you 0 aboutit in practice? That seems to bbe more ofa personal thing, HOW OFTEN? Take frequency. James Gurney, for cxample, favours Edwin Austin Abbey's advice to a youngart student "You should be sketching always, | he says Terryl however, says her best work | done in the morning after she walks | her greyhound, fost | sketching in the evening “Ut burt sketching at museums is | they're moving around, i ikea ‘workout. also like sketching on | airplanes, on cocktail napkins. Thats / V consider my best ideas.” always.’ So he ties oft sketcingito every spate moment he has, especialy Sag when waiting “Inrecent months Ive sketched in the grocery BY store while my wife [La shopped, tvedrawn the | seresen ioe interiorofthecarrepairshop while | tiatentem geting an oil change, and te sketched | Miles, however, limits his sketching towork hours only, “There ae those artist who are never not drawing, but itworks better for me to let myself rest lo,” he explains. “Sol ry to limit my sketching o studio time; otherwise theres no time to let your brain just process everything” SKETCHING TOOLS ‘Something else that varies from artist. twartstare the tools they use for sketching, although each of our creatives offers clear reason for their | particular choices Ei % 12) Utimate Sketchbook Collection | fellow people around me n the dines,” and she avoids to sketch just about anywhere | particularly relaxing” she adds. Atthe | 200, Il sketch sleping animals; when | Terry forexample favours Canson racing paper. “isa great surface with subtle velvety took, and fast sturdy.” she explains, “The fact that ifs only ‘racing paper’ and not an expensive ‘Moleskine that 'm afraid to mess up ves me a psychological permission to | be fre, experiment and explore.” Followinga similarlogic, Miles prefers to sketch using pencils with a hick lead, or ballpoint pens “for any | sketching where I want tobe loosey- goosey. Thats because when you're sketching in pen, you expect to muckit | upabit, so that makes it easier to think | I try to limit my sketching to studio time; otherwise there's no time to let your brain just process everything 9 in the right way. Youre taking visual notes instead of trying wo make something pretty” Olly, however, has always found it ‘very daunting” using pencil and paper forsketching, and so since January he's been using the Pad Pro and Apple Pencil instead “With paper, youre making ‘permanent record, and you fee ike you'Te under pressure to create something perfec.” he says, “ike to sve a warm-up for maybe the frst, half-hour to an hour in which l expect the drawings to come out terrible 50The joy of sketch I don't want do that on paper. t's loteasier if just wipe the canvas ike the iPad lets me do, and t’sjust as Portable asa sketchbook” James, meanvsile, uses hey'e the fastestand most versatile ‘media, and they combine well with ‘each other” he says. “Tusea homemade sketch easel whenever ean, to getthe work up out of my lap and nea the line of sight." For Robh Ruppel, however, the tools aren't important a al.“ have several Moleskines, but 1 also sketch on my phone hheexplains. “The ideas are {= more important than the ‘medium, Ive found.” ‘STORING YOUR SKETCHES Finally, what to do with your sketches ‘once they/re done? While Olly likes to delete his digital sketches ashe goes, he's very muich in the minority. “Lkeep all my sketchbooks,” reveals Robh. “They are diaries, archaeology, time machines, maps, journals and testing grounds." James, meanwhile, shares his sketches online, videos them for putting on YouTube, nes and Terry doesn't go that far but does store all the sketches she ikes in sed hisown | botntwescn tbat comingup thane Android app based on them, lay one's hands on sketches is one less oot on «alld Living Sketchbook, thing to worry about” LUtimate StetchbookColection (13Uncover ways to improve your sketches, from the human anatomy to your own creature creations 14) Utimate Sketchbook CollectionTT At cay timate Sketchbook Collection (18Tutorials 24 TIPS ON HUMAN ANATOMY & FORM Illustrator is on hand to help you draw hands, before passing on his expert advice on capturing the human form correctly Drawing the human body without some knowledge of anatomy islike playing aboard game without the rule book and some key pieces missing It's rustrating and confusing ‘After you learn all the rules and get good at the game, you can change the | rules. But thats because you ‘understand the dynamics of the game and you can change things to Improve it Take hands. They'e pretty complicated, and can be hard to draw | intimidating, even, Butwhen you | ‘understand hands from the inside ‘out, you don't have to guess any Artist | PROFILE | andyou can make confident ‘mote. You have a blueprint you kknowrall the dimensions, you understand the structures and joints, actly what angle to pull the muscles off the bones a. You overlap ines to represent the overlapping natomy and add depth and interest joyour drawings. If drawing sa game, then anatomy jst gives decisions about hove youre representing the hand, ‘Before that litle space between th index finger and the thumb was just | you more pieces to play with! So in a cure" or “L-thing’ But now, you | this workshop fm going to break lookatitand understand how the | down one ofthe bodys mos difficult, first dorsal interosseous muscle is ehands into digestible ‘overlapping the thenareminence, __| chunks. Being confident with You know that the dorsal surfaces of | anatomy makes drawing easier and the firstand second metacarpalsare | more fun! Then I'l give you some still superficial, right beside this soft | advice to guide the rest of your tissue mass and you trustthebones | anatomy studies so you can go out aslandmarks to guide your here and create the best drawings proportions and structure. You know | of youreareer. ARM AND LEG BONES | UPPER ARM AND LEG BONES The humerus and the femur are thick, strong bones. They're shaped like mallets, with a long cylindrical body and a set of big bumps (Condyles) on the bottom. The humerus Measures two cranial units long, and the femur is three cranial units long. 2 ‘The ower ims are spt into two bones, In our forearm, the radius can rotate around the una so our hands can flip over. The lower leg bones don't move as ‘much, but having two bones creates more attachment space forthe ankle ‘mover muscles. The tbia carries the weight of the body; the fbulais therefor support. The tibia and bua are about three-quarters the lenath of the feu, {and the radius and ulna are also three-quarters the lenath of the humerus. 16) Utimate Sketchbook CollectionHuman anatomy HAND AND FOOT BONES Our hands and feet are built from the same three sections: a jumble of bones at the start, then a set of long bridge bones, and then the three-jointed digit. But the proportions are flipped. The hand's three sections are ‘organised from small to large for maximum dexterity, so you have a short wrist and long, elegant fingers. The foot is organised from large to small for maximum stability, so, the ankle bones are long and tough and the toes are. stubby and short. The hand's length is equal to your face, and the foot's length is equal to your whole head, ANATOMY OF HANDS “4-THENAR EMINENCE Most of the musces that control your hand ae located in your forearm (called ‘extrinsic muscles). But there are some on the hand that you should know about (called intrinsic muscles). They create three squishy masses on the ctherwise bony surface. All thre of them are teardrop shaped, so this ir too hard! You probably know about the biggest one that goes from your wrist ‘to-your thumb. It creates a roling hill when the thumb is out, andl alves the thumb a pot belly when the thumb istowards the palm. S HYPOTHENAR EMINENCE The other palmar mass goes from the base of the hand to the pinky metacarpal. It actually wraps around the outside of the bone, which, is why the pinky edge of your hand is kind of squishy and soft. This pinky mass is flatter than the thumb mass. »» timate Sketchbook Collection (17Tutorials - ;EOUS The third major muscle mass is on the back of your hand. It fills in the space ‘between your thumb metacarpal and your index finger metacarpal. It’s easy to see when you tuck your thumb up against your index finger and it creates a big, round egg form. When the thumb is out, it becomes stretched thin. 7BONY IN THE BACK. ‘The dorsal side of your hand is bony. especial atthe joints. You can represent this characteristic by ‘raning the dorsal contour with straight ines and comers. The back of the hand isa flat plane and doesn't change much when the hand moves (ust some tendons, unke te front of the hand which changes a lot depending on the postion ofthe pinky and thumb. © TIME FOR TENDONS. There are also tendons that run along the back of the hand. Each finger receives at least one. When drawing tendons, keep them subservient to the larger form of the hand. Don't shade each cylindrical tendon with dark lines and sharp edges: this will Just create funny-looking, distracting chasms in the middle of your hand. A subtle indication here and there is all you need, unless you're drawing a character that calls for pronounced tendons. timate Stetchbok Coeston (9 >)Tutorials ANATOMY BEST PRACTICE © Learning anatomy is a slow process. Take * ur time with every area of the body %Human anatomy r | i Al Aj\ / eS —l, eh X susroetre V1 eyaricgntirs —_Fonmstlom gstire Dyna ish {5 DON’T RUSH 4 iL Learning anatomy is a slow Gesture les at the heart of every figure drawing. Anatomy Process. Take your time on should bea nev layer, anew way to express gesture..not a every drawing and with replacement for it. The anatomical forme should be designed every area of the body. to follow andl reveal the gesture. BS ip s ‘The human body is organic. t's full of curves, Bumps and mushy-looking things. But your drawings should look mushy. You can try to copy ‘exactly what you see, but ifthe understanding and accuracy is there, then it will how. better approach isto lear to break down the body into simple forms. Thisis why I teach the simple form forall area ofthe body. Simple forms are simple enough that you can actualy memorse ‘them, and pul them out of your pocket whenever you need to! timate Sketchbook Coll ion (CmTutorials 16 DON’T GUESS THE ATTACHMENTS. It’s easy to tell when an artist doesn’t know the _| of the muscles and body fat. Knowing the skeleton skeleton, even just looking at their fully fleshed | makes it easier to construct the body, understand figures. The muscles won't aim to the right place. _| how it works, and put the muscles on top of it The skeleton is complicated, but there's much less _| correctly. Take the time to learn it and your variation in the forms of the skeleton than the forms | drawings will benefit for the rest of your career. Knowing the skeleton makes it easier to construct the body and put the muscles on top 7 K [After you finish a drawing, take a cical look ati to see where {you can improve. You can aska friend, mentor oF online ‘community for help, Then, actually follow through on what you notice, and make corrections to your drawings. I's not enough for your eyes to see what went wrong - your hands have to fk it-You can do ths to yesterday's homework, or even drawings ‘you made months or years ago. / 18 DON’T JUST READ ABOUTIT | Reading or listening to an explanation of anatomy may be enough for you to intellectually understand it, but that doesn’t mean you can draw it. We're artists. We have a bigger job to do than just understand anatomy. You have to eam to draw it so it’s believable and interesting, and the only way to do that is to draw. Draw alot! 22») Utimate Sketchbook CollectionAGSTEER CLEAR OF SNOWMEN: Dont draw symmetrical ulges everywhere ~ that makes your drawing look stif and ‘boring. The contours tend to 2igzag down the body, creating a dynamic flow. Furthermore, musces usually work in pais. When one side flexes the other i resting 20 DON’T DRAW EVERY DETAIL Simplify so the right anatomy can shine. Not every bone, tendon and muscle has to be accented in every drawing. Indeed, anatomical details in the wrong spots can make a drawing look stiff and fake. Pick and choose details that support the overall picture, and let those be enough. In general, you'll probably choose details that are at or near the focal point, and that flow with the gesture ‘or composition. »» timate Sketchbook Colection (23Tutorials GENERAL ADVICE 2) LEARN TO BE PATIENT Learning anatomy is a slow process. Take your time with every drawing and with every area of the body. You can't learn everything in your first pass ~ youll have to come back to review and add to your understand of all the parts every few years for the rest of your career. Don't expect to be a master immediately. Never stop learning. 24 Uttinate Sketchbook Collection 22 BE GOAL-ORIENTED 1N-YOUR PRACTICE ‘There's alot to anatomy to study and lots of aspects oft to study For example if youre practising gesture, the anatomy needs context. Make the forms work with the pose and focus ‘on making the anatomy dynamic. If you're studying form, use cross contour lines and shading to adel dimension. Focus on constructing the body parts using simple forms ‘and avoid organic forms you don't Understand. Pck a goa and focus on It Make sure youre getting the most cut of your practice time. 25 TRY DIFFERENT EXERCISES ‘Anatomy tracings, drawing from life, drawing from photos, drawing from your imagination, drawing from other drawings (master copies), sculpture... Not only is this more fun, but it helps your brain process information in different ways, and fills in gaps in your knowledge.© Pick a goal and focus on it. Ensure you're getting the most out of your practice time 9 Human anatomy 24GETTOGR ITH THE LANGUAGE There’ lots of memorsation with anatomy, andit canbe overwhelming if ‘you're hearing all these terms for the ist time, Terms ike medial and lateral, {abduction and adduction origin and insertion, subcutaneous and soon, ‘Consider making flashcards or other old-school study methods to help ‘memorse the bulk of the terminology babble. \When you ean speak about anatomy fluent, you can tink about anatomy fluently, which means you're going to have an easier time when ‘you're drawing, Thisis the least important part of anatomy for artist, but it ure helpful You'l fee alot better when you know the tems. And of course, youl eave your fliow spel in the dust on Scrabble nights! @ timate Sketchbook Collection 25Tutorials DRAW EXPRESSIVE FACIAL FEATURES Comic artist Neil Edwards takes you through the construction of a face and reveals how he’s able to capture a character's emotions an [GPRM Drawingheads with | Whenitcomestodawinghead, drawings usingrefrence and my emetons and nothings tin stone bree tectmigucs when ding heads PROFILE) [hewe) | cwccrcinesi | ieicnanenncraty | Tuclsuuis tan ht ie sivaysdifettand | ifeentfeaes eta roundingin| and warkona Cig Companion challenging tren now | head anatomy wllenableyouto" | forptelimsand on the actual comic PONS | srgglewih noc ee imentconiery anit wil | pagesen27inch Cig hooked up Pose) However: percreranceandhard | eerainlyshow inyourdwing. | toa 2t inch Nac wih 468 of AM Feed ortwiligincexpesivelock | tnthisworishop flake you Tigh. ab ashe bok o your I our xitin youre | hough how go fom init Cina eset "=~ \ CHARACTER HEAD VOLUME 5 Drawing two circles gives you a basis for the volume for See the character you want to depict. The more squashed the circles, the wider and heavy the face, while the more SS) elongated the circles, the longer head shape. 4 Ikeep ate sketch book to practise cifferent lp shapes for when the characters talk Study films and TV programmes to seehow actors exaggerate their mouths. Experiment and ‘explore lifferent mouth shapes. Try to convey “oh’, “ah and "ess": this willhelp when {you want figures to look ke they're having a conversation, >> 26») Utimate Sketchbook Collectioni = ‘SLINE UP ELEMENTS ‘Aivays remember that the eyes, nose and mouth are onthe a ‘same plane onthe face, otherwise things could goa bt lopsied and weird! magine that the facial features are warped ‘round a cylinder so they have a natura curve. Align the top of the eyebrow and bottom of the nose so that they're lined up ith the height ofthe ear. Thishelps the face look more natural giving flow, and avoiding It from feeling at © Look in the mirror and 4 NOSES attempt to overexaggerate erg eee et ee your facial features. Try to put tetra ramesberng todd ine weight and shadow both octom of the nose.{ keep the detail light, adding only what's needed. feeling into the drawing 9 SHAIR ADVICE When drawing a character's hair | first create the basic hair shape, noting that the hair is bigger than the scalp. | then add direction to the hair, remembering to draw strokes from the crown of the head. To give hair a more natural appearance, | introduce a sense of weight to the bottom of the shape. Try drawing the hair shape with a thicker ‘outline and thinner internal lines - this gives it direction. 6 HAVING FUN ‘Once you've got the basics i's time tehave some fun with your figures! [Asa genera rue, try tomake the character veract, to really convey the emotion in your drawing. usually start with a super-quck gesture drawing to capture the emotion im ater Lookin the mirror anc try #2 overexaagerate your facial features. Try to put feoling into the drawing, 28») Utimate Sketchbook Collectionwith them. Adda light source to ive them ie. Re din genera ave the top ofthe eve lid & ACTING CLASSES When drawing characters, try to get into their mindset: how they're feeling and where they're coming from emotionally. Then act out the expression, using a mirror or photo reference to capture the emotion. Always try to get that perfect snap-shot moment, and. make it look as dynamic as possible. Facial features to keep them focused and tela story ve female characters longer and thicker line to indicate a shadow from the eye li 9 BEING SUBTLE ‘Sometimes, though, subtlty is required. slightly raised eyebrow or mire can be very effective. Adding just a touch of emation or ‘quirkiness to the character can make them feel natural and fe-ke, >> timate StetchbookColection (29‘10 DON'T BE SCARED. Grab every opportunity to ‘experiment with the expressions. Try topush what you'e used to drawing, ‘anc look at yourself inthe mirrorto — T1 CHARACTER CLOSE-UPS seehow the facecan move. Tryand Both the eyes and mouth are expressive. A powerful technique when bbewhacky withthe efferent facial drawing a comic page is to use a close-up of one of them. Consider expressions, but be carefulnet to _ illustrating an open mouth, snarling teeth or stern lips. Using just one area hold your breath for too long} of the face will really push you to convey the emotion and sell the drawing, 12 BASIC HEAD CONSTRUCTION NCTM a ag aloo neo) aa Me Boke eo MT (Ee Maio A Te) Pore} peers ines slightly in fr pia . = Fi eee ee ee eae eet nor en hetero aaa eter cs Peers 30) Utimate Sketchbook CollectionFacial features 13 BODY LANGUAGE While drawing heads you also have to think ofthe figure's body language, which will show in the close-up. {tit ofthe head or shrug ofthe shoulders can temphasise an emotion. draw beyond the panel to check thatthe body language is working ands anatomically correct. Remember to have fun and try out new things! ‘4 WRINKLES. Adding facial lines to characters can emphasise an expression but its important to bear in mind the age ofthe person. The more character lines and emotion lines you depict ona face, the older & character wil look. Men usualy have harsher have fewer. Younger characters will have also have fewer ‘around the eyes, forehead and mouth Thisis a good excuse to put together a reference brary of faces young and ol, ) 66 A tilt of the head or shrug of the shoulders can emphasise an emotion 99 ines and Te 15 ANGER There's always a ton of angry characters in comics and it’s the one emotion that you have to get right! So experiment with all forms of anger, whether it's from a crazy-eyed villain or determined superhero! Remember the eyebrows, too: they can be very effective - especially when using variations of eyebrows and eye shapes to convey the angry mood of the character. » Utimate SketchboTutorials 16 WAYS TO DRAW BETTER CREATURES Bobby Rebholz wants you to design fantasy creatures with purpose, and presents a range of techniques for making them look as real as possible Creatures have always been a part of my antisticjourney. Ever since | was four years - old, Lean remember drawing creates that I sain films and on television. I spent hours tuying to draw litle plastic dinosaurs, ASI grew older, my passion wast just drawing creatures twas drawing | creature design. Artist design and applying mera | in general. quickly reatised that this. | ‘was going to be my profession in life. ‘After going to school for industrial freelancing and to creature creation, ve been fortunate to not only teach for CGMA, but learn new things | along the way that have helped shape my design sense when itcomes to Its vital thatyour creatures be believable because people are watching and studying what you create. In my experience, no matter how crazy your designs seem to ge, | just remember that they all must be grounded in some way. Here, I'l explain some tips Ive learned about aking creatures believable and | hove you can achieve this goal those skills 0 THUMBNAIL CR ‘SHAPE LANGUAGE step that’s often skipped inthe design process - as wellas in portfolios ~ isthe thumbnail creation process. Chances are that you won't land on your best design right cut of the gate. Thsis where thumbnail exploration comes into pay withthe ‘addition of studying real-world reference. Dont worry about details at this stage. Instead, focus on shape language and just having fun with the shapes youre creating. By doing so, ‘yur fina design willbe that much ‘more thought out and believable, {and tt have your passion for the Creation process shining through, 2 KEEP EXPLORING! You can never da too many thumbnail sketches, This stage is vital {and ensures that you're exploring 3s, ‘many avenues as possible. lot of times, wel geta specific idea in our heed anc think that design isthe final. Although this does happen on rare occasions, chances are you" far from landing that awesome final S72 | design. Thumbnail creation wll ease f the process and surprise you at the same time, Thats why t's so fun? 132) Uimate Sketchbook Collection EATIONDraw better creatures NARROWING DOWN YOUR CHOICES 3LOOK BEYOND THE NORM FOR IDEAS The first thumbnail that interests me is number 16 Geen in the image from tip one). One of the important aspects about ‘choosing thumbnails is finding an interesting silhouette. In this case, a multi-leaged creature with a strange torso excites me and I go with it.I try to find silhouettes that don't follow standard shapes, which verge on the cliché. For instance, it’s common to see creatures with hulking shoulders with ‘small heads. There's nothing wrong with that; however, I'm aiming for a non-traditional design. 4 OUTSIDE THE BOX Number 21 (aso seen in tip one) intrigues me, specifically because | never intended for my creature to look ike fungus. The slhouette is working because we have a familar shape while stil looks unexpected ‘Whenever | sketch creatures ry to censure there's a uniqueness with a touch of familiarity. But I1g0 into mosdesiataxtemioty nei 66 try to find silhouettes that SREALWORLD tip. With this thumbnail | explore plant shapes and try to imagine how this creature will move and eat t's ‘88 what the third choice beings! don't follow standard shapes, _This thumbnail intrigues me because it's a mix of which verge on the cliché 99 insect shapes. Insects have been a major influence in my creature designs. in this particular case, luse shapes from crickets and spiders. The rear legs offer a unique shape, with them bowing outward and able to support the creature's weight as well as aiding in jumping. I'm also choosing this as the third thumbnail to develop because something about it says ‘other worldly’ to me. It's a shape that’s not common and should offer fun Possibilities. Using unexpected shapes can turn into awesome designs down the road. =» timate Sketchbook Colection (38Tutorials HEAD EXP ORATION G TAKE INSPIRATION FROM NATURE ‘One of the most enjoyable stagesin the creature design process is head ‘exploration. Here, m exploring the first round of heed designs. know that | want something insect‘ke and creepy, 50 begin looking at references of Earth insects and 2rachnids. Whenever youre stuck ‘and dent know here to go next in the design process, ust take a good look at ea-world animals! They offer allof the answers and give you city when coming up with new designs Bawrohe 34) Utmate Sketchbook Collection Pc 7 MAINTAINING THE ‘SHAPE LANGUAGE, It’s important not to limit yourself when exploring with thumbnails, so I'm. doing a second round of head studies just so | have a. good number of ideas. It'S easy to get carried away with random shapes and not-so-believable features. With these head studies, i make sure that all of the shapes stay within a unified shape language. For instance, number 5 (above left) looks like a ‘combination of an ‘earthworm’s head and bark from a tree. | make sure that all of the shapes taper like a worm's head and the ‘ends look like broken bark. S HEAD DESIGN FINALISATION. Refining the head is so much fun, ‘This is where you can realy bring the creature's personality out Here, you can see that gointo detail about the creature's face, functions and overall _20sthotic. 190 into the importance of calloutsin tip 12, buthere you can see they're useful for deserbing a functional feature. And make sure that your creature has personality ‘This doesn't necessary mean facial ‘expressions, but the skull design, ‘eyes, mouth, muscles and overall shape are very important.oes Draw better creatures EN elo aE f anatomy design to your development process, and see how far you can push the believability of your imaginary creature. FRc rue ce Rear three-quarter Sane tee uta ELS eau ESI Thiysd your design PP uc) timate Sketchbook CollectionTutorials FINAL DESIGN 10 PROPORTIONS ut ofthe thee sketches | developed eater, im choosing the third ideation because ofthe uniqueness of the sihouette, Proportions are key because ithelps sly a design ks arms, leas, torso and head aren't too long or too short. The shapes are just the right size so we don't question something being cut of place. This creature has unique proportions sol must ‘make sue it remains believable using real- orc reference. MEP, age ut Ere ABO, # + TLSKIN TEXTURE Skin texture is extremely important because it adds realisrn to your creation. It also gives the viewer a close look at your creature's environment, eating habits and evolution, With skin texture, I'm figuring out what type of environment my creature lives in. And with this information, I can begin to tell its story. ‘12 IMPORTANCE OF CALL-OUTS Calouts enable you to explain a certain feature ‘bout your creature. Movement, weaponry and feeding are just a small numbers of features you ‘canhave for your creature. The problem | =ee with 2 lot of creature design is too many ambiguous surfaces with no real thought behind them. Calling ‘out certain areas and explaining what they are helps make the creature more believable. luse cal-outs to give my creatures a sense of purpose 36») Utimate Sketchbook CollectionDraw better creatures TSENERGY Showing energy and Movement gives a real sense of how your creature moves as if it, were standing in front of you. Conveying that type of realism will be helpful ‘when you're sending your sketches off to the art director and modelling department. They need to get a real sense of how your creation will behave asa living, breathing thing. Energy brings your design to life. 5 ANATOMICAL LANDMARKS ‘Throughout my years of designing creatures, one aspect that I can't stress enough s developing good anatomy to support ‘J4.BRING IN A DEGREE OF FAMILIARITY. your creature design. Without accurate and believable Establishing femilarity means you're bringing recognisable shapes into your anatomy, you might as well top sketching your creature unt Creature design Indeed, this approach should be applied throughout the __youlearnto study this one crucial lament. Earlier in my ‘design process, These fantasy insect sketches are based on mood boards that Establishing Anatomy tip section, you can see the depths 190 feature images of ciferent insect species, because my creatures heavily into when designing a creature. One thing tol my students influenced by bugs. The more | paint these fantastical extrapolations of real- that by studying the skeletal and muscular structure of today’s ‘world creatures, the more familiar Ibe with what actually exists on Earth. animals, you can bring a wonderful sense of famility anc ‘This will help me create a believable creature in the end believabilty to your creations allat once 16 FINAL SKETCH I combine all of the stages of my design process into a single sketch. A side view keeps things simple and can show enough of the creature to get a sense of its proportions, textures, and build. Don't limit yourself to just doing a side View, though. A front three- quarter view is also effective and can show anatomy as well. When. making your final sketch, think about what story you want to tell the audience. Is your creature believable? If 50, you've done your job as a creature concept artist. @Tutorials CREATE DEPTH BY USING VALUE Patrick J Jones thinks like a sculptor and works on overlapping forms, as he explores the illusion of the third dimension using tonal value nero ed eens ponent tora ed 38 Sketching from a real life model is important togetarealsticend Se sesuk. inthis toriat 2 well be working with ‘my regular life model Alana placing ‘our focus onthe gates while creating depth using tonal value, The forms of the gluteus offer the best shadow and light options to clearly see and draw - structure and depth, ‘On our paper surface we can only rave across two dimensions. We can drave up and dove, leftand right, but sve obviously can't draw inside’ the flat paper, because tha’ the impossible thd dimension of depth. Yel this doesnt mean we can't ereate anillasion ofthe third dimension, Teas the illusion ofthe third dimension that fist drew gasps of Utiate Sketchbook Collection J amazement when the OM Masters | sich as Rembrandt and Caravaggio >Tutorials 40>) Utimate Sketchbe Looking for clues Although this looks like asymmetrical stance, the hips are tilted downwards to the right. Look tothe let side pinch ofthe wast forthe clue. The hips are a fused ‘mass, so thetiltafects each side. The pinch indicates the oblique muscles bulging between the ribeage and hips Making changes Togive the figure’s pose more movement, Itt the shoulders toward the higher hip. also pull the right arm fut litle using a small piece of willow charcoal. Note the sacrum triangle above te gluteal midline, and its orientation, The angle ofthe sacrum will show us which way the hips are tilted.Entering the third dimension explore the body landscape, feling the depth of flesh asif «drawing inthe third dimension. Drassing the corner of the ghuteus as [would a box but with softer edges helps me to clarify the idea. Notice hhow the backside ofthe gluteal masses resemble an upside-down butterfly: This sa visual clue known asa mnemonic. The power of illusion ‘With everything in place add some greyscale tone with the broad side of my charcoal. The trie immediately brings in a sense of volume to our illusion ofthe third dimension. I'm keeping everything light to begin with, in order to have the freedom to change shapes and tones before going into detail, »> timate Sketchbook CollectionThink al usea serap piece of newsprint to stop from Adopt the mindset of a sculptor smudging as I draw: I could use reworkable spray fixative ‘There's now enough charcoal on the newsprint surface for me to shape the at this stage, butt would make blending and also erasing ‘esh using my fingers alone. m thinking lke a sculptor. This has the two-fold highlights more difficult late, so 1 prefer to leave my fect of making theillsion of flesh softer as well as adingthe image. With the options open as long as posible. When you do use mage knocked back, Inow havea less confusing drawingto putline on top of. _reworkable fixative, spray it very lightly and in stages. New opportunities By adjusting the leg inward more in the las step, All fingers and thumbs the figure is now more solidly balanced. Iwas icky 0 see ‘Aerating between finger smudging and penciling Iworkfrom darko opportunity for change before t added heavier ine work, Fight coneso find further illusions of depth. Ive pulled the standingleginward which is more dificult to erase Bvery stage sa new 'more before detailing, The early stages are the best times to make changes. ‘opportunity to rethink and improve the drawing 42.) Utimate Sketchbook Collectionos Figure drawing ‘Adjusting shapes © Stay focused as you erase [continue to smudge into the flesh untl havea good mi-tone [don fear the hard-> timate Sketchbook Collection (48Tutorials Feeling the pinch {pull out the brightest highlights with a pencil Working with a light touch eraser. Extreme highlights on flesh are usually found on ake my shammy cloth and soften edges. his takes light touch, and is oly parts of the skin such as the nose and forehead, but something youl need to fel as you go. The landscape of flesh now has all the value also where flesh gets pinched. The pencil eraser also has And sofiness I need to start thinking of syle. tl the drawing The Entity. brush on the end for sweeping aay erased particles, The art of conversation “To finish,Itame the strokes down and shape them with my smudgy fingers, erasers and tssueto create a ‘mystical swirl What is the mysterious Entity’in the title? Well ike my drawings to be open to interpretation so the viewer can use their imagination In this way, art becomes a conversation, Time for a little black magic ‘Now I work into the absolute darks to achieve the greatest sense of dimension, The darkest darks will bin the occlusion shadows (where flesh meets flesh), Lalso add some energetic strokes here o bring back my gestural hand, which can become sii the drawing sense ofthe wor, aftera lot of structural drawing, “44 ) Utimate Sketchbook CollectionFigure drawing THE DIMENSIONAL GLUTEUS | _ STUDY Sf Theline between the hip crest and the ‘great trochanter bone is relatively straight and shows the boxy form of the female hi ; “The widest part ‘of the hips | 2 : fs usually in The gluteus is relaxed on line with the the non-welght-bearing leg. Se. | gluteal fold. ‘andhas a rounder shape. . Gluteus study sheet Although the wo gluteal masses seem : € i 3 é simple, there are subtle differences, especially e “Th straighter gluteal Ina three-quarter view or with one leg {] fold iscreated by the relaxed. To avoid a‘double bubble’ shape, : 7” biceps of the leg study each gluteus separately, working 4 | pressing upwards on the ‘utvard from the central gute f timate Sketchbook Colection (45Tutorials Seo ete caBuilding intensity with graphite BUILDING INTENSITY WITH GRAPHITE Discover how is able to create a strong sense of depth and focus within a drawing, by building up layers of graphite powder and pencil PROFILE graphite asa medium | Regardless of what medium I used, your plans!). forillustration, frst ‘was to workin |” Additionally livingin a small ‘only with mechanical goingto look | apartment necessiatesa small studio, pencils then over the pasttwo years | deep enough or properly integrated | and workingin graphite means that adding povdered graphite into the | unless they were built up patiently. | Ian reduce my entte setup toa ‘mix. Theart I make sall about Graphite opened new doors in this | desktop drafting “table” with a lamp subvlety of sentiment and narr regard; oved how suited itwastoa | and my computer. and | wanted to find a medium gradual proces. sa forgi ‘which I could really explore that. ‘medium, comingin many forms, able | BACK AND FORTH Even priorto exclusively working | tobe applied alot of different ways, | Forme drawing in graphite involves Ingraphite, Wwasalwaysafan of | and can erase seemingly forever (oF, | alotof working backand forth with soft "washes in its powdered form | and structured hatchingin pencil Yetitsall focused on bringing forth a subtle, engaging image. As someone ‘who jokes about her contro issues, this method has proven to bea remarkable mix of managing every Single detail while also finding ‘opportunities in happy accier Inthis workshop, Ide how use pencil and pow eraphite rendering in my rendering process use single: direction pencil h | to-ceate my forms and pow graphite to build my values. That being sid, by working from | 00d photo reference and making sure one method does out the othe, the outcome isa realistic ilustration, Notevery step winds up | work tly, but through improvisation and the discipline to | ssork withthe medium instead of fight cll getto se exactly ‘what graphite can accomplish timate Sketchbook Colection (47Tutorials WORKSHOP MATERIALS, ‘Thumbnailing the idea Reference compositing When I frst havean idea fora drawing, Leuen it Now that havea thumb, [take reference photos around in my head forsome time before puttingit dovin and composite them on top of tin Photoshop. I decile ‘on paper. only do three thumbnails before deciding that wo buySuzanne Helmigh’s Gumroae references fr the thefirstone i the winner afterall, butts still important cloak, and find some photos online that Ican patch tosee what the variations look like outside of my head. together foran approximation of the swan pose I want. Tightening the drawing Before I can start with powdered graphite, need 10 Transferring the reference make sure my transferred lines won't disappear! | go over {printout therefcomp and cover the backin graphite, then Itapeitto my _allof my lines with the 28 mechanical pencil, refining the Bristol and trace te image. I ransfer the figure and drapery fan exactly, butam inital drawing and developing a more elegant line in very general with the bed, because 'm sill exploring where I want o take the pose, transfer was awkward, 48») Utimate Sketchbook CollectionFirst powdered graphite pass I serub in powdered graphite with an old, no- brand, sot, synthetic flat brush, and while fm keeping generally to the correct areas, 'm also being pretty messy After the powdered graphite begin the next layer inthe dark areas with 2B ‘Thisis where I discover shapes and movement that vertical hatch marks. 'm using medium pressure, so the line is prety dark without ‘might not have thought to build for myself. This also gives _ scoring the paper. This i a natural stroke for my hand, and it will be almost ‘mea base from which to build my darkest dats, everywhere in the drawing by the end ~ an easy way to unite the whole image. Establishing pencil texture Softening as | work Itsimportancto keep the pencil stokes from ‘overwhelming the soft felingm going for, so aftr each ‘Adding the darkest values section of hatching go ove it with th same brush | used Having lad in the base forall compositional elements and begun my forthe initial powtered graphite pass. The newlines rendering. I tat wo pick out where my darkest values are with the 4B pencil. This is soften and become more integrated into the image. Fido. wiere the image begins to come together, although Im using this sso render ‘this throughout the est ofthe drawing proces than to establish the value range for my own reference a this point. >> vine stactoakcatcten (40>)Tutorials Finding the flow ‘There's been something bugging me about the flow Detailing the swan - finally ofthe cloak, and I'm going ofxit draw in the new tvebeen avoiding the bird up to now. fm not certain how to drawit, and shape right over the existing graphite and then with my although try notto psych myself out to badly, it happens sometimes. Theanswer kneaded anel mechanical erasers lft out the graphite Js tojust dive ino it [focus on my reference an the gesture and as oon as begin that'to0 darkorin the wrong place. Then Lay in new to actually work on the bird, realise isnot so bad. sraphite hatching to patch the gaps. Darkening the values Faving fixed the cloaks shapes, I realise that it Building the environment ‘not nearly as darkas I want it could add more hatching ‘ve left the grass on the rolling hills until now because I consider rendering to darken i, but its much faster to do another dark serub- tedious, but it’ time to bite the bullet Pencil hatching winds up being a great in with powdered graphite. have to go back over _method for gras: just make varying shapes with sim gaps berween them, then go with pencil o re-establish the texture, butt finally fis the ‘over those with different shapes. Addin some individual blades, and you're one! value structure that | wanted. 50) Utimate Sketchbook CollectionBuilding intensity with graphite Rendering the forms using the pencils Now that everything’ in place and Ihave my value range, its time for my favourite part of the process: rendering! I'm using both the 28 and 4B pencils as needed, and I'm stil using vertical hatching almost exclusively; details in the hai, nosti, et, and finger joints ate exceptions. fm working from my reference, but allowing the drawing to evolve as wel, ‘Sharpening the edges Edge control separates a pretty good drawing ftom a drawing that finished. Not every edge should be had: Final highlights and finishing up teas in shadow ot far from the foreground can and With my kneaded eraser, go through the entire drawing and gently lft out should be softer. Things coming oward the viewer, or highlights in the face, har, bird ane arm, Some volume and key highlights have areas of desired high contrast come sharpened, ‘become lost with all ofthe softening passes, o it’s immensely satisfying to pull although Tm trying not to make anything look lined". them back outas my final ouch. ter that, the drawings done! timate Sketchbook Colection (1Tutorials ELEVATE YOUR SKETCHING SKILLS Tim Von Rueden distills his extensive teaching experience into 15 key pieces of advice that will help you grow in confidence when putting pencil to paper Tere are many pieces ofadvice that want share with you on your creative endeavour, but | "believe takes a partnership of technical skill and authentic creative pursuits to manifest great works, so make sure that you don ignore Thad to narrow it learning the fundamentals or neglect. down to just 15 tips forthis sketching | the ruth and message you want to workshop. These tipsare meant to | create in your works. help you build some underiying Inthis tutorial, Fm going to Focus structure, hopefully spread alittle | more on the technical side with inspiration, and support you so that | sketching ips that wil help any artist you can get motivated rightbackto | to elevate therideas and translate the drawing table! them on paper in the way that they'e seeing them in theirhead. Having, been a teacher for sx years, | understand that just geting started ‘canbe the hardest obstacle to ‘overcome asan artist So use this workshop asa reminder to keep drawing, because the best sway to level up in your work isto apply what you learn through practice, practic, practice. And alvays staying hungry for that desire to improve and grow! H (Hardness) HBO 2H 4H ‘52 ) Utimate Sketchbook Collection Know your pencils Tse both traditional and ‘mechanical pencils. Mechanical pencils are usually better suited for precision, while traditional pencils are great for laying down large areas ‘of texture. Whichever you prefer ‘doesn't matter as much as the pencil hardness in the graphite you're using. For example, theresa big difference between a 211 and 4B hardness. recommend starting somewhere on the H scale asa foundation and then finishing with the darker B scale Keep in mind that most mechanical pencils come with HB pre-inserted, ‘which ives you only the middle range to work with, @ There's a big difference between a 2H and 4B hardness 9°os Elevate your sketching skills ‘seribbling Make use of different methods of mark making ‘There's no “right way” to draw. There are so many different methods and techniques to achieve the same end result and look within your ‘work, Here are a fee examples to show that you can create form and depth with completly distinctive styles of rendering. believe it’ {important to experiment and find what works best for you, to not only complement but enhance your style. So while prefer smoother value ‘ranstions with the pencil strokes blending in against a thin outline, you may be more partial to cross-hatching against a bold outline, 6 impact of high and low contrast yen though {enjoy working with contrast, that doesnt mean every drawing has to have high-contrasting value everywhere. Subtle ow- contrasting shading canals showcase form and canbe as a8 effective (f not moe) in shoring details and pall the viewers eye to aspecific area, In these examples, you can se that the soe, low-value contrat piece enables the eye to wander and doesnt define an area of focus, while ‘the area of focus in the high-value contrat piece rests on the darkest darks agains the lightest lights. >> uintesicrboxccaecton (8Tutorials - Edge control When I think about edge control within a drawing, there are four techniques that come to ming. thin and hard edge that fist generates literal border to your subject matter and then defines where it begins and ends. lost edge, ‘where the subject mater and background values blend together so that the edge i ultimately implied. And finally, an undefined edge, ‘which relies on the viewer to do the heavy lifting and decipher the subject matter’ edge. All four of these can be used to separate your subjects within your composition, You can also experiment with a combination of them to produce intresting results. Thinedge © You don't always need extreme contrasts to show dimension, just well-placed hints to imply it % Creating the illusion of form ‘We draw on a flat surface and its our job to creat the illusion of form and. depth, This an be done with gradations or purposeful mark making, often with a Tight source in mind. You've seen the examples of a well shaded sphere and it showcases how light to-dark vahie transitions can create a three-dimensional form. {sant to also show that you can imply the illusion with subtle shading and well- placed highlights/shadows within a mid-range value spectrum, You don't always reed extreme contrasts to show dimension just wel placed hints to imply it >). Utimate Sketchbook Collection Make gradients work for you ’My favourite inclusion within a drawing (besides contrasting values) isa well placed gradient Thisis typically referred w asa gradation from alight to dark value. They are visually pleasant tothe eye and can direct the viewer’ attention toan area of focus. The scope ofthe ‘gradients important as wel. gradient that covers most ofthe drawing o subject matter will influence where the ‘viewers look, and smaller gradients can add a pop of detail and contrast fyou feel your pieces looking flat or has ost focus try adding a subtle gradient.es Elevate your sketching skills Contrast, contrast and more contrast Tove contrast, Our eyes attracted to areas of contrast and we ‘can play with that knowledge in our imagery. Contras is usally The 70/30 rules applied tall sorts of cifferent facets in ite, ‘thought of asa value contrast, which consists ofa dark and light value but I was taught this rue when creating art. The main idea i that you butting up against one another. But contrast can aso be found in hue, place 30 per cent of the detilfocus/contrast in one area of your piece saturation, shape texture, edges, proportion and more. Heavy contrast _ and let the remaining 70 per cent be “Biller o less interesting, to push will demand attention, thus I ecommend placing the highest value moreatention towards that 30 percent focal point. In this drawing contrast in yourarea of intent focus. You can also add contrast 10 ‘'m showing 70/30 detail example to show this rule applied in separate forms and distinguish subject matters from one another. __practce. This can also bea reminder that in some cases, less is more! Concave versus convex ‘This isa simpler tip! earned in college while grasping the differences between shading ‘something convex and concave. [think about it every time I draw horns or when I'm placing the lighting within the rs of an eye W's all about the direction of light source and how different forms will respond! that information o create the illusion of depth. In these ‘examples you can see how a simple study can be pushed further and result in a more complex form while ‘sll maintaining the same ‘onstruction and thinking process behind both. >> timate Sketchbook Colection ($5Imperfections and anomalies ‘The details and quirks that make an objec stand jut also add character and a potential story for the viewer Understanding textures to elaborate upon. Instead of ust looking at what makes “Textures are distinct from one another and shoul be drawn to reflect that an object recognisable, you should also consider how to ~ you wouldn't want o shade skin the same way you shade metallics or fut. They make this object stnctve. For my examples, Im taking cach have unique properties and capturing that will elevate your drawings because a simple vegetable and showing the general “look” that ofthe accuracy depicted. To begin understanding textures, analyse two main ‘may come to mina at first thought, From there I bought concepts: does the texture tnd to absorbjrefect light. and how smooth/rough isan actual carrot for reference and emphasised its thesurface? For example, a reflecting and smooth texture such aschrome usually anomalies, bumps, roots and imperfections Look o add hha higher contrasts and prominent highlights, while an absorbing and rough those on any given subject mater and ty to have some texture lke cotton has low contrasts and litle to no highlight present. fan pushinggit into something fantastical @ Step by Step: Building up your image from a strong foundation Fe . So KEEP AN OPEN MIND 2 ENSURING A CLEAR ‘READ’ 3 ADDING ALAYER OF DETAILS Wnenioking to str, try token myline afer ee confotbl with my bse, My tevurte partis the rendering and wovtfld qdckendopenochange Arts thenlocktotreduceseme value matinot dealing caplet remeber nto enter ageing pemaneno dont twenties focsng onthe detain buteter acing the isatage ety becouse you wat tobe efit {ough nething canbe altered or changed. Focus drawing reads clearly and creates accurate form. with your ims onddetaling can consume ot of moreanlaying downlines hot youean constuct thelpsto back way romthestetchtobetter Ri Juste patient and have fun adeng the deta ‘your drawing ontop of saeifthereare any mists. that wil to bring your pecs toe Uttinate Sketchbook Collectionos Elevate your sketching skills Realism versus stylised imagery TTeliewe is necessary to understand the value of learning realistic pursuits suchas lighting, values, proportions, anatomy and much more while honingin on your craft snot that tealism look s any better than a stylised one. Once you ‘understand how to recreate something realistically itecomes incredibly easy to then create a stylised version ofthe same abject, especially for creatures and characters. Overtime you'll make seemingly smal, personal preference choices on the actual execution ofa piece (often straying from realism) and that’s what will help you to gradually build up your own style. © Once you understand how to recreate something realistically, it becomes easy to then create a stylised version The heart is in the details How often have you heard “The little details are the most important”? [believe those details are where a piece reflects the artists heart and soul The adaitonal time put into adding elements that may go unnoticed are like treats for viewers who take the time to look for them. I emphasise puting tha extra care {nto adding the secondary details without rushing them, because italso teaches patience and practice. Greatart should be nurtured, not manufactured. Don't ‘overlook those details or let time be a deterrent, Embrace them! Sess ‘Trust your intuition and be confident in your decisions CGreatingart takes courage. Fully expressing who you are, ‘what you'e interested in, how you're feling and what you stand forcan be daunting. Too many artists play it safe, finding an appealing and marketable comfort zone, And then only creating from that space. can speak from ‘experience that people respond anc will resonate when the work feels authentic. When you'ein your creative zone, trust your gut feelings, and be expressive with your preliminary sketches and thumbnails, Don't worry about the reaction, Create without the fear of whether it will be “good or not”. © timate Sketchbook CollectionSKETCHBOOKS Delve into the minds — and sketchbooks — of some of the world’s best fantasy and concept artists and illustrators i) an £\ a N 58) Utimate Sketchbook CollectionSketchbooks DAWN CARLOS 7: Insects, gaming and aliens - in fact, almost everything | ssa she sees - provide inspiration for the concept artist and illustrator’s sketchbook INSECTARIUM ‘AND THE QUEEN 60») Utimate Sketchbook CollectionDawn CarlosSketchbooks © I played the Mass Effect trilogy and my love for all things sci-fi was rekindled 9° 62.) Uimate Sketchbook CollectionDawn CarlosSketchbooks © Played Overwatch and had a horrible losing streak. So gave up and drew the characters instead 9 ——_ 64) Utimate Sketchbook CollectionDawn Carlos CAT-LIKE THIEF AND THE MUSHROOM PONCHCOAT 1S p Teannapt! timate Sketchbook Colection (€5Sketchbooks ALEX THOMAS = Heavy-duty industrial design plays a big part in the futuristic concepts that feature in this English artist’s sketchbookAlex Thomas A fun theme that was discussed at a London drink and draw 9SketchbooksAlex Thomas I was inspired by cranes seen across parts of London 99 timate Sketchbook Colection (€9Sketchbooks MOON Colourful sketches of melancholic characters. populate this graffiti artist-turned-professional illustrator’s sketchbook 70 >) Utimate Sketchbook CollectionAlimited palette can lead to so many possibilities72) Utimate Sketchbook Collection SketchbooksSketchbooks 74) Utimate Sketchbook CollectionWIN | NONNC o2Sketchbooks CHRIS ae CAMPANA pee Heavily influenced by fantasy, this comic artist’s sketchbook is filled with dragons and mythical beings 76») Utimate Sketchbook Collection7~ 2 Chris Campana Af 6 I try to tell a powerful story through my art, and inspire young creators ZDe 4x (4, = | Utne Sketcrbook Colection (77 F] OMe ea.Sketchbooks SAM HOGG Horns, hats and characters from the web video series Critical Role crop up on a regular basis on this concept artist’s sketch pages vp GADUCEUS CLAY 4 ~ Blending cultures to create unexpected yet familiar costuming is one of my favourite things to do 99 —_—_—__—_ 7B) Utimate Sketchbook CollectionSam Hogg timate Sketchbook Collection