2DArtist Issue 092 Aug2013

92
Issue 092 | August 2013
3g0of
pa es
tutorials
inside!
Brom
Fantasy art legend
Develop
victorious
personalities
The almighty Brom talks Kickstarter,

traditional versus digital, superpowers
& more in an exclusive interview
Paint fantastical
cities
Learn the art of designing

conquering heroes with
Fernando Acosta
Learn the secrets to creating a stunning

fortress cityscape in Photoshop with
YongSub Noh
Learn to paint
heroic characters
Create the cover! Talented Photoshop artist Charlie
Bowater shares her digital-painting techniques
when concepting playful, low-gravity characters
plus
10 of the best
digital artworks
Jeff Miracola

shares his sketches
Discover how to

paint portraits
+ much more!
Sinister attire
Ahmed Aldoori takes
you through the
steps and methods in
Photoshop to fashion
medieval get-up
2DARTIST MAGAZINE | ISSUE 092
Editors Letter
Welcome to the August 2013 issue
of 2dartist magazine!
JESS SERJENT-TIPPING
Deputy Editor
In celebration of our new-look magazine, we bring you

the inner thoughts of fantasys darkest artist, Brom,
as well as a brilliant array of his haunting work in our
feature interview. Speaking of fantasy, Jeff Miracola
also takes us on a tour through his sketchbook in this
issue, sharing tips and techniques amongst the pages of
barbarians and goblins.
Even though we have a brand new look, the content
inside is still as high quality as ever, full up with amazing
images from the digital world, including a diverse
selection of step-by-step tutorials to help you grow as a
digital artist. What youll notice now is that all this lovely
content is so much easier to read and enjoy!
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Contributors
BROM
Brom, painter of all things nasty that bite, has worked
in all facets of the creative industries. From books
to games and films, hes been spewing out his own
brand of deviltry for the last 20 years. This issue, we
interview Brom to find out more about our dark hero!
JEFF MIRACOLA
Since 1993, Jeff has been a freelance illustrator in the
fantasy gaming industry. His art can be seen in games,
books and magazines, as well as childrens books.
Inside this issue youll have opportunity to devour the
innermost pages of his awesome sketchbook.
CHARLIE BOWATER
Charlie is a 25-year old illustrator living in the North
East of England. She works at Atomhawk Design as a
concept artist and is an all-round doodler the rest of
the time. She swings by this issue to reveal her best
secrets for painting incredible characters.
FERNANDO ACOSTA
Fernando is a concept artist in the video-game
industry. Originally from Columbia, Fernando began
his career as an electrical engineer before moving
on to work as a storyboard artist and illustrator. This
issue, he reveals how to craft a hero in Photoshop.
KHASIS LIEB
Khasis is a French illustrator specializing in portraits
and caricatures. He lives in Paris, France, and paints
whenever he can. Being a big fan of concept art, he
was over the moon when we asked him to drop by to
share his portrait creation tips with us!
YONGSUB NOH
YongSub Noh is a self-taught, 3D animation artist from
South Korea. He currently works for NCsoft and enjoys
playing PC games, the drums and working on concept
art in his spare time. We invited him to the pages of
2dartist this issue to show us how to paint a fortress!
2 | 2DARTISTMAG.COM
AHMED ALDOORI
Ahmed is an illustrator/designer working in Los
Angeles on a variety of digital-painting projects. He
is currently designing content within the theme-park
industry, so this issue weve drafted him in to teach us
how to paint some medieval attire.
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Az Pishneshin
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Jo Hargreaves
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Disclaimer
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stated, is copyright 2013
3dtotal.com Ltd. Artwork that
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Contents Issue 092

06__ Brom fantasy art legend
Brom talks Kickstarter, traditional versus digital,

superpowers & more in an exclusive interview
06
An exclusive interview with

the almighty Brom
21__ Drawing magic
Fantasy game illustrator, Jeff Miracola, gives a

fascinating peek into the pages of his sketchbook
36__ Art gallery
Serge Birault and Andreas Rocha feature in our top

10 inspirational images from around the world
50__ Learn to paint heroic characters
Talented Photoshop artist, Charlie Bowater,

shares her digital-painting techniques
60__ Paint fantastical cities
Learn the secrets to creating stunning concepts in

Photoshop with YongSub Noh
70__ Create sinister attire
Ahmed Aldoori takes you through the steps and

methods in Photoshop to fashion medieval get-up
80__ Develop victorious personalities
Learn the art of designing conquering heroes in

Photoshop with Fernando Acosta
88__ Paint a personal portrait
Khasis Lieb shares his step-by-step guide to

painting credible portraits
94__ Digital art master: Theo Prins
Theo Prins shares his processes for creating epic

landscapes with a look at his image, Sitting
4 | 2DARTISTMAG.COM
70
Master sinister
costume design
60
Learn the skills to

paint an epic cityscape
36
Helpings of inspiring
images to whet your appetite
88
Take a portraitpainting masterclass

5
Brom
fantasy art legend
Fantasy art legend Brom first became known for his concepts for TSRs roleplaying worlds. Now, hes one of the most highly regarded fantasy painters in
the industry. He talks to us about the Kickstarter campaign for his new book,
The Art of Brom, as well as his career, digital art and superpowers.
The Artist
Brom
Web: www.bromart.com
Interviewed by:
Emalee Beddoes
Brom, painter of anything
that is nasty and bites, has
worked in all facets of the
creative industries. From
books, to games, to film, he
has been spewing out his
own brand of deviltry for
the last twenty years. Most
recently, Brom has turned
his hand to writing a series
of illustrated novels: The
Plucker, a twisted childrens
book for adults, and The
Devils Rose, a romantic
western set in Hell.
2DARTIST MAGAZINE | Brom fantasy art legend
2DArtist: Hi Brom, Thanks for speaking to us here

at 2DArtist. We last interviewed you back in 2009
and discussed your awesome career, yet even
with the short amount of time thats passed since
then, there is so much more to talk about! What
have been the highlights of these last few years
for you?
Brom: Well, for starters, Ive actually managed
to leave the house on several occasions; still
avoiding the neighbors, though. The life of a
reclusive, introverted, workaholic artist comes
with its challenges.
Hmm, what else? Ah, yes, Ive also written two
illustrated novels: The Child Thief (a dark retelling
of the Peter Pan myth) and Krampus (a tale of
Every artist hopes their work resonates with people. It is very

rewarding to find out that people appreciate what you do
revenge between Krampus and Santa set in
rural West Virginia). Oh, and in my spare time I
managed to put together a new art book. You can
find all the details for these books here: www.
bromart.com
2DA: Yes, congratulations on your new book, The
Art of Brom (set to be released on the August 5th),
which was launched with an incredibly successful
Kickstarter campaign. It must be awesome
to see that so many people are interested in
a monograph of your work. Did you have any
idea that your work meant so much, to so many
different people?
Oil, 2005, cover art for Broms illustrated novel The Plucker
8 | 2DARTISTMAG.COM
B: Every artist hopes their work resonates with

people. It is very rewarding to find out that people
appreciate what you do. I feel very fortunate to
have such a supportive fan base, but even so, the
wonderful response to the Kickstarter campaign
caught me completely by surprise. The only
downside was the multiplications of promised
rewards resulted in me getting to sign over 12,000
prints ack!
2DA: What made you decide to make The Art of
Brom at this point in time? We hope to see much
more from you in the future; might there be an
The Art of Brom 2?
Oil, 2005, part of an ongoing series of floating, winged creatures
10 | 2DARTISTMAG.COM
Oil, 2009
Oil, 2007, interior art for Broms illustrated novel The Devils Rose
B: I certainly hope so. I am currently working on a

new novel that sets up a world that I have wanted
to play in for some time. I hope to bring it to life
with several volumes of themed art work.
As far as the timing to my latest release, well, Ive
accumulated a lot of new art since my last art
book, so I wanted to get that out there, but I also
wanted a chance to reproduce my older paintings
in a larger format and with better reproduction.
To this end I re-scanned and hand-proofed
everything. The Art of Brom is the best Ive ever

seen my work reproduced.
2DA: Your work has been likened to numerous
movements and artists from the history of art.
How do you personally perceive your work within
these narratives?
and such become more obvious. In my case,

much of my early work was a combination of
things that I loved punk rock, horror, fantasy,
romanticism, fetish fashions, etc and I feel
that this combination helped to create a unique
aesthetic. How that fits into the ever-evolving face
of art is hard to say.
B: It seems that labels often get applied in

retrospect. Most artists pursue their personal
visions, and then later the lineage, influences
I guess at best, one can hope that they, in some

way, contribute; that their work has some
influence. But this will be for others to say. All I
11
Oil, 2005
Artist Timeline Broms career up to this point

1984: Started first commercial art job
1997: Released first art book: Darkwerks
1987: Produced first comic cover
2001: Released second art book: Offerings
1989: Hired as a staff artist at TSR game company
2005 2007: Published the illustrated novels: The

Plucker and The Devils Rose
1994: Art directed and illustrated Dark Age

collectible card game
2010 2012: Published the novels: The Child Thief

and Krampus, the Yule Lord
2013: Awarded Grand Master by Spectrum Art
Annual
2013: Released The Art of Brom 30 year
retrospective art book
Oil, 2009
13
...Good art is good art

regardless of the medium it is
created in
know is that there are some wonderful synergies
going on with this new birth of realism and I am
continually inspired by the art and artists that are
around me.
Oil, 2012
2DA: In fine art circles, there is an ongoing

discussion about the future of painting. It is often
debated where digital art sits within this and
whether it poses a threat to traditional painting.
However, your work extremely traditional in
both technique and subject is hugely influential
in the digital art world. In your opinion, what does
the advent of digital art mean for the future of
traditional painting?
B: In a nutshell good art is good art regardless

of the medium it is created in. Any argument that
art created digitally is in any way a lesser art form
than art created with any other medium is just
nonsense.
As far as what digital art means to traditional
currently digital art is unsurpassed in concepting
and in most other commercial applications. Its
I guess if I had to set a goal

at this point, it would be
something more universal,
like Evil Overlord of the
World, or semi-professional
kitten juggler
I feel traditional still has an edge over digital

when it comes to fully rendered images. There
tends to be a greater degree of diversity in style,
because so many digital artists seem to use the
same tools and techniques. But as digital tools
continue to evolve this will soon not be an issue.
difficult for traditional tools to compete with

the speed and ease with which you can create,
adjust, and make changes in the digital medium.
2DA: Its great to hear that you see such a positive

relationships between the two mediums we
fully agree! Do you ever dabble with digital?
B: I do a bit of preliminary work in Photoshop,

but mostly I just use it for tweaking and touching
up once the painting is finished. Like any artistic
medium, I would love to have more time to play
and explore.
2DA: As a master of realist fantasy and the
macabre, are there any other genres that you
experiment with or would like to try?
Oil, 2007, a scene from Arthurian legend
15
16 |Oil, 2011, interior painting for Broms novel Krampus, the Yule Lord
2DARTISTMAG.COM
Oil, 2005, interior painting for Broms fully illustrated novel The Devils Rose
B: Not really. I love bringing my imagination to life

and creating things that dont exist, and theres
no better genre for that than fantasy/horror. Also,
my love of the macabre is a thing born in me; no
matter the subject I am always drawn to the dark
side (pun intended).
2DA: Do you still have any big career goals left
that you want to achieve?
B: Its a funny thing being an artist. No matter

how much you have accomplished, you are never
satisfied. I start every painting thinking this is
going to be the one, that ever-elusive, perfect
painting, and yet my work never achieves what I
see and feel in my minds eye. But you still learn
something usually what not to do and so
theres this perverse optimism that the next one
really will be it.
Career goals other than creating a masterpiece?

Well, I feel I am doing what I have always wanted
to do: writing and illustrating my own works. I
guess if I had to set a goal at this point, it would
be something more universal, like Evil Overlord of
the World, or semi-professional kitten juggler.
2DA: When youre not working or eating spiders,
what do you like to get up to?
17
Oil, 2011, interior painting for Broms novel Krampus, the Yule Lord
B: What? I dont even understand the question.
Not working? What does that even mean?
2DA: Finally (and probably most importantly!) if
you could have one superpower, what would it
be and why?
B: The superpower of youth! Youth is (of course)

so wasted on the young. If youre young (and by
young I mean under 40) and youre reading this,
stop wasting your superpower, put on a cape, go
run around and have fun!
That or maybe the ability to turn into a house

plant. That could be fun too. Gosh, just think of
the things you could do.
2DA: Thank you very much for taking time out of
your busy schedule to take part in our interview!
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The Artist
Jeff Miracola
Web: www.jeffmiracola.com
Since 1993, Jeff has been a
freelance illustrator in the
fantasy gaming industry. His
art can be seen in games,
books and magazines, as
well as childrens books.
Sketchbook of Jeff Miracola

Wizards of the Coast artist, Jeff Miracola, shares
a fascinating insight into the innermost pages of
his sketchbook...
My sketchbook isnt a book. The last time I kept an actual sketchbook
was in my college years. I have a difficult time drawing on small sheets
of paper; it feels too confining. When I draw on small sheets of paper, I
often distort my figures to make them fit on the page, which results in
anatomy that isnt correct.
I admire comic-book artists because they can draw in small, confined
spaces. I need a large sheet of paper so Im free to explore compositions
or add more elements. I draw on sheets of 16x20-inches or larger.
Sketching is important to do all the time. I draw nearly every day,
regardless of whether I have an assignment to work on. Like anything
else, the more I do it, the better I get. My ability to sketch out ideas
happens much faster now than it did 20 years ago. Also, mechanically
I have more control and accuracy. I sketch because I love to do it and
because I have so many ideas floating around in my head that they need
to be drawn on paper or my head will explode!
Inspiration and ideas
My main inspiration comes from the animal kingdom. I love to visit my local
zoo and watch the animals move around. Powerful creatures like elephants,
lions, lizards and oxen have incredible musculature that I think about every
time I draw a monster or dragon.
Im also very inspired by the work of other artists, such as Frank Frazetta,
Brom, Jeff Jones and Berni Wrightson. All of these artists are masters
at defining form in their sketches and paintings. Its obvious they have
spent a lot of time observing life and studying human and animal
anatomy.
Materials
I never limit myself with materials and you shouldnt either. Try many
kinds of surfaces and drawing utensils because you will get new and
exciting results that you never expected. I sketch on standard white
Bristol paper, toned printmaking paper, colored paper, watercolor
paper, and drawing papers of various textures and brands.
In addition to the many surfaces I sketch on, I also use a wide array
of drawing utensils, such as Ebony pencils, colored pencils, brushes
and India ink, pen brushes, quill pens, charcoal pencils, water-based
markers, and enamel-based paint markers.
PRO TIP
Pencil grip variation
Not only do I experiment with different kinds of pencil and

the surfaces I sketch on, I also experiment with the way I
hold my pencil. Holding the pencil on the side, so that it is
nearly parallel to the surface, allows me to do shading that
would otherwise take much longer if I held the pencil with
the point down.
Applying different amounts of pressure as the side
of the lead moves across the surface also gives me
varied, pleasing results. I use this technique for shading
musculature and quickly covering large areas of my sketch.
22
2dartistmag.com
2dartist magazine | issue 092
I tend to make my pencil

marks follow the contour of
the form Im rendering. This
gives the muscles volume
and weight
A forest nymph queen

accompanied by a tree
elemental, presents
the viewer with deer
carcasses in this sketch I
call The Offering.
Sketched purely for fun,
this drawing emerged
without any planning. I
just put pencil to paper
and started drawing.
I love to draw meaty
creatures where it
appears the skin is tightly
stretched across the
muscles.
I like to explore the
anatomy of different
creatures. Giants are often
depicted as being gangly
with thin, sinewy muscles.
Other than their look,
the only clue that these
are actually giants is the
human skull one of the
giants is holding.
23
24
2dartistmag.com
When I draw muscles, I tend to make my pencil marks follow the

contour of the form Im rendering. This gives the muscles volume and
weight. This goblins nose and lower lip are a good example of this
particular technique.
When I sketch with brush and ink, I feel like Im sculpting rather than
drawing. I use short brush strokes to carve my forms and also pay
close attention to my lights and darks to move the viewers eyes
around the composition.
Some of my sketches start out loosely and I get tighter

and tighter with my rendering, to the point where it
becomes a finished piece of art rather than a sketch.
Such is the case with these two drawings.
26
2dartistmag.com
Sketches done during a convention, such as this

barbarian, are a great way to explore themes, subjects
or expressions that you might not otherwise tackle. I
like the cartoony expressiveness to his face.
PRO TIP
Tools of the trade
Who said sketching had to be done with just pencils? I like to use
all kinds of tools to achieve various results when I sketch. An old
toothbrush is perfect for creating splatters. I pour out a bit of ink onto
my palette and dip the toothbrush in the ink. Wearing a vinyl glove, I
then flick the toothbrush to create splatter effects on my drawing.
Sketching should be about experimenting to find new and surprising
results, so expand the tools at your disposal by using items like a
toothbrush, sandpaper, plastic fork, etc.
The theme of Neanderthal mother and child is something that shows up

in my sketches a lot. Im intrigued by the idea of a large, powerful being
having a softer side and caring for a small, delicate creature.
Quick strokes with an Ebony pencil can create very expressive lines,
allowing me to define a form with only one stroke. The sketches seen here
were each created in a matter of minutes.
There are days when every pencil stroke is a struggle. Then there are good
days when the pencil seems to be moving itself. These warm-up sketches
have a lot of energy and movement because it was a very good day.
28
2dartistmag.com

Quick strokes with an
Ebony pencil can create
very expressive lines,
allowing me to define a
form with only one stroke
29
PRO TIP
Toned paper and white pencils
When I have a little more time for my sketches, I

occasionally like to work them up in more detail,
especially if Im happy with the direction the sketch
is going. Sketching on toned paper, such as Rives
Tan Printmaking Paper, allows me to use a white
Prismacolor pencil to render highlights, so that I can
flesh out the various forms I am rendering.
This technique has the added benefit of speeding up
the final painting process, since Ive already given a lot
of thought to the dark and light areas of my sketch.
As an artist I never stop learning. Even though Ive been

out of college for over 20 years, I attend figure drawing
classes because I feel improvements can always be made
to my drawing skills.
Detailed sketches are sometimes needed for me to
really envision what I have in mind for a painting. And
sometimes I just get carried away rendering a knotted,
gnarly tree. It was time-consuming, but fun.
This female warrior sketch was created for an oil painting of mine
entitled Forsaken. In creating this character, it was very important
to me that she be portrayed as a true warrior, not a half-naked
warrior that fights in a bikini.
Pencil marks were flying all over the place in this sketch. I did this
drawing in 10 minutes, which kept me from getting too focused on
details and instead allowed me to capture the essence of the pose
and form.
32
2dartistmag.com
33
Would you like to see your sketches

featured in 2dartist magazine?
Were always on the lookout for talented artists
and their artwork to adorn the pages of our
magazine. If you think you have what it takes,
get in touch!
To submit, simply email Jess at
[email protected] with a selection of your
images or a link to your portfolio online, plus a
little information about you.
We look forward to hearing from you!
34
2dartistmag.com
2DARTIST MAGAZINE | The Gallery
Each issue the 2dartist team selects 10 of the best digital images from around the world. Enjoy!
Blood River
Andreas Rocha
www.andreasrocha.com
2DARTISTMAG.COM
Submit your images! Simply email to [email protected]
37
Greedy Bear
Felipe Hansen
www.felipehansen.com/portfolio
2DARTISTMAG.COM
We are Enjoying a Picnic

Aekkarat Sumutchaya
www.facebook.com/Webang111
Red Gate
Byzwa Dher
www.arte-grafik.com
2DARTISTMAG.COM
41
Trapped
Markus Lovadina
http://malosart.blogspot.com
2DARTISTMAG.COM
43
Selina Bonnat
Serge Birault
www.sergebirault.fr
A Train Home
Andrey Vozny
http://truenorth.carbonmade.com
45
Desire to Live
Hrach Gevorkyan
www.facebook.com/hrach.gevorkyan
2DARTISTMAG.COM
Forgotten Land
DangMyLinh
www.facebook.com/dangmylinhART
Concept Cities
Juan Pa Roldan
http://juanparoldan.blogspot.com
47
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LEVEL UP YOUR DIGITAL SCULPTING SKILLS
TRAIN WITH KILLER ARTISTS

3D CHARACTER DESIGN SERIES
WITH SCOTT PATTON
In this two volume series, Scott Patton shows the processes he uses to
create a 3D character for feature films. The first volume explores
Patton's fast and efficient method for concept sculpting, skipping the
2D sketch phase all together and designing the character entirely
within ZBrush. He covers everything from blocking out the forms
and fleshing out the muscles, to adding props, detailing with alphas
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creating a final color rendering using ZBrush and Photoshop. Patton
cr
shows how he squeezes the most from ZBrushs powerful renderer to
create both a wide and close-up shot of the character. He then shares
creative Photoshop tips and tricks to quickly get to a finished piece of
concept art from the ZBrush renders, covering topics such as adding
and refining skin texture, hair, eyes, shadows and scars. Patton also
discusses how to create backgrounds that enhance the character and
overall composition.
ov
All Tutorials Are Now Available

As DVDs, Digital Downloads,
And Part of The Online Training Subscription
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The Artist
Charlie Bowater
Web: http://charliebowater.
tumblr.com/
Software Used:
Adobe Photoshop
Charlie Bowater is a 25 year
old illustrator living in the
North East of England. She
works at Atomhawk Design
as a concept artist and is an
all-round doodler the rest of
the time.
Learn to paint
heroic characters
When designing characters for movies or video games, its important to think
about the different possible worlds and how a human character could have
evolved to cope with his or her environment. In this tutorial, Charlie Bowater
takes you through her design process, exploring a variety of factors that would
affect and influence the characters evolution and anatomy, to convey a visual
idea that could be passed on to a 3D modeler or art director.
Charlie Bowater reveals her

digital-painting secrets for
crafting convincing characters
My starting point for this character tutorial is
the theme low gravity and the idea that the
character must have adapted to survive in that
particular aspect of their environment.
Any time I have a brief to work to its always
good to research, especially if theres a
particular in that brief that you arent that
familiar with.
After a little reading, let me tell you: the effects
of low gravity on the body arent that great.
Aside from how fun it looks to float around in
space to start with, low gravity soon takes its
toll on the body.
Theres no way to know exactly what would
happen to a human if they spent a few years
in space, but there are examples of the kinds
of effects astronauts suffer: loss of body
mass and bone density, muscle atrophy,
nasal congestion, motion sickness and sleep
disturbance, just to name a few.
With these kinds of effects it would be easy
enough to throw together a pretty grimlooking character, but Id rather lean on
the fun side of things, take a few elements
from the side effects and work them into the
character design.
01
Starting with a sketch: To get things

started Im blocking in some sketchy
character shapes and silhouettes. This is to help
me try and find the character that Im after. At this
point I really dont know if I want to paint a male

or female, although I am leaning towards the
female side.
One thing that particularly stuck with me when
reading through the low gravity effects is that
without the force of gravity, a lot of the blood
in a human body pools around the core the
torso, chest and even the head so Im trying to
exaggerate that shape a little more than usual.
02
Iteration, iteration, iteration: So here

we have my chosen character silhouette.
I like this one the most and she has that subtle
apple shape to her figure and a simple pose;
handy if she were ever to be a fully modeled.
Next up is the task of fine-tune her design and
deciding on an outfit! I know that I want it to be
PRO TIP
Dont be afraid of color
Color is such an important part of
painting for me and I really enjoy
having fun with it. That doesnt mean
that I want to use bright or high
contrast colors constantly; sometimes
I love a nice, subtle palette. I guess
my point is, dont be afraid of it.
Practice what works well together,
keep a color wheel where you can
see it or even look up color palette
creators online;
http://colorschemedesigner.com/
for instance.
51
2DARTIST MAGAZINE | Adapt human characters
fairly form-fitting, nothing too bulky or anything

that would get in the way when you have even
less control of your body in low gravity. Id also
like it to be fairly structured and provide a little
support/protection if you were to float around
and bump into things.
03
Deciding on the initial design: So here

we have my chosen initial design. I like
the look of this outfit and it hits on some of the
elements I want to include; form-fitting and a
little structured.
I do like certain aspects of the other outfits, but
Im happy to go ahead with this as my initial
design. I can always add further elements to her
design as I work my way through the painting.
Sometimes Im pretty set on the initial idea
and other times they progress throughout
the painting, I think either way can work well
depending on the purpose of the character.
04
Starting the color: So now that I have

a design that Im happy with, its time to
get started on the color. I mentioned before that
with these types of low gravity effects the design
could easily get quite grim, but I actually want
this to be a fairly fun design. After all, how often
would I get the opportunity to paint characters in
a low-gravity environment?
So Im taking inspiration from the effects, but
taking charge of my artistic license too. Im laying
down all of my base colors, both underneath and

on the character herself. Im using an Overlay
clipping mask layer above the character and then
merging the character and color layers together.
05
Choosing a light source: Now that Ive

laid down my base colors its a good
time to start thinking about my light source. I
want something that will really help the colors
pop and I think having the character under-lit will

help with that, it seems like it just ramps up the
contrast in general.
So I block in some lighter tones and picking out
the sections of the face where the light will hit the
most: her chin, under her nose and underneath
her eyes. Theres also a slight graduation from
light to dark as you move up the face.
06
Dont forget to flip! I do it so much it

seems a given really, but dont forget to
flip your image. Flipping is a great way to gain
a new perspective on a painting. It really helps
when noticing mistakes; they usually stick out like
a sore thumb once flipped!
Try and do this every hour or so; that way you
wont reach the end of a painting and realize
it looks terrible flipped the other way (Image >
Image Rotation > Flip Canvas Horizontal).
07
A little bit of detail: Now that the color

and light source are underway Im happy
to start building up the details. I always gravitate
towards working on the face when it comes to
characters. I like giving the painting a focus and it
normally cements whether or not Im happy with
the character the face has to be right!
Im building up the under-lit lighting and the
contrast of the color hitting her face, adding in
more orange tones. Im also just gradually adding
in more details like her eyes and her freckles.
08
To outline or not: I dont normally like

to keep outlines or sketch lines in the
final artwork when it comes to characters, but I do
kind of like some of the outlines in this painting.
Youll notice there are some pretty solid lines
around her face and her jaw line in particular.
I feel like this is bordering on cartoony, enough
to carry off leaving some lines behind, however I
am making sure theyre not black. Black outlines
PRO TIP
Oh, clipping masks!
I spent an awfully long time never using
clipping masks, but I think once you
discover them you realize how helpful
and time-saving they can be. If you have
a character silhouette, for example, its
great to add mask layers (New layer > right
mouse button > Create Clipping Mask)! Now
everything on that layer is constricted to the
shape of your character. Theres no more
pesky erasing of the sections you dont
need. Huzzah!
53
would be a bit too stark, but I think going with a

tone similar to the color of her shadows works
quite well.
09
Color theory: I want to briefly touch on

the subject of color theory, which is a
whole kettle of fish in itself really! Ive gone for a
fairly monochromatic color theme here, as you
can see, which is centered around blue. If I kept
everything in the image blue however, it would
look boring as hell.
Adding a splash of vibrant pink in her hair and
accents on her suit really help to add some
contrast to the image. It makes the blue look
bluer and the pink look pinker. It ramps up the
contrast between the colors, but also adds a
sense of harmony. Im only using small accents of
pink to make sure it remains an accent and not a
50/50 split.
10
Starting on the armor: So now that the

character is in full swing, Im happy with
the face and the progression of the color theme,
its time to start on the armor. Well, Im calling it
armor, but I want it to look somewhere between
padding and armor, perhaps the kind of structure
you might find on motorcycle jackets, although
Im going for something a bit more sci-fi looking.
I want to give it a segmented approach, so that
it still allows for plenty of movement and isnt
I dont want the armor to

end up looking like metal,
so Im avoiding making it
highly reflective. Keeping
everything soft and not overly
highlighting it should help
with that
restricting, and Im giving the segments a kind of
egg shell-look/texture because I think itll look
good. Any excuse.
11
Lighting and form: At this stage Im

building up the form of the armor and
the lighting hitting it as I go; the two go hand-inhand so it makes sense to work on them together.
Im trying to give the armor a form-fitting
structure whilst trying to retain some softness.
I dont want the armor to end up looking
like metal, so Im avoiding making it highly
reflective. Keeping everything soft and not overly
highlighting it should help with that.
As for the main light source, again Im following
the lighting from the face and lighting it from
underneath.
12
A little more texture: Up until now

Ive barely looked at the poor girls legs,
so its high time to give them a bit of attention.
All Im doing here really is following suit with the
rest of the image, and building up the form and
55
texture of her outfit. And, of course, adding in the

all-important lighting.
Being as the lighting in this image is coming up
from underneath the character, it makes sense
that her legs and feet should have some of the
strongest highlights and rim lighting, so Im
making sure to use some really bright pops of
yellow and orange.
13
Dont forget the Hands! Dont worry; I

wasnt really going to leave her without
any hands. I may have done once upon a time,
but seriously dont do it. The best way to improve
at subjects/themes/body parts is to paint them,
so no hiding them behind her back.
All joking aside, its a pretty simple pose, so Im
just opting for having her hands resting gently
at her side. Im giving her white gloves to tie in
with the color of her armor; somehow I dont
think pink would have worked as well...
14
Because I can, damn it: So were pretty

much in the final stages of the painting
now and for me this usually consists of adding
in all those super fun final details... and in this
painting, that means glowing stuff.
Now I dont normally like to add nonsensical
floating, glowing bits of clothing. But I couldnt
help myself this time. How often do I paint
characters in low gravity? So to hell with it, Im
giving her a little shoulder accent in bright neon
pink; I think it adds a bit of fun and another touch
of color to add to the contrast. I did say I was
leaning on the fun side of things, after all.
15
The final touches: Im obviously loving

the pink as I couldnt stop myself from
adding a few more touches. Im out of excuses
now! Pink aside, Im adding the final touches
to the rest of the character, making sure not to
neglect the feet and adding in some nice details
to her shoes, possibly some sort of anti-gravity
magnetic thing going on there, maybe?
Im finishing off the under lighting and also

adding in another soft, blue rim light on her side,
just to help her pop a little more.
PRO TIP
Keep it simple
I try not to get too bogged down with
too many brushes. Custom brushes
are great and you can add some great
textures with them, but Im not sure
how helpful they are when youre first
starting out. Id definitely recommend
keeping your brushes fairly simple
and honing your craft before you try
using every custom brush that you can
get your hands on. A fancy brush will
never rescue a dodgy painting!
The Artist
Charlie Bowater
Web: http://charliebowater.
tumblr.com/
57
30 Minutes. 30 Days. 30 Sketches.
Summer Sketch Days

August 1st - 31st
The Challenge
We challenge you to take out your sketchbook
and SKETCH for at least 30 minutes each day-and SHARE the results.
The Reward
At the end of Summer Sketch Days, you'll have the
start of a great online sketchbook you can draw
on for inspiration, and you could win some cool
prizes!
Visit SketchDays.com
Artwork courtesy:
Paul Mellender, Joanna Pasek, Katerina Koukiotis, Mary Layton, Aaminah Snowdon, Maja G.
Presented by
Paint fantastical cities
Fictional universes are often used in games and films, with fantasy being a popular theme. They
are made up of many different features such as characters, environments and vehicles, and it is
important that all these elements work together to create a believable environment and society
to engage the audience. In this tutorial, YongSub Noh takes a comprehensive look at creating a
fantasy world from a concept perspective, and investigates the processes and techniques that
can be used to create an epic fortress
The Artist
YongSub Noh
Web: http://yong.cghub.com
Software Used:
Adobe Photoshop
YongSub Noh is a self-taught,
3D animation artist from
South Korea. He currently
works for NCsoft and enjoys
playing PC games, playing
the drums and working on
concept art in his spare time.
2DARTIST MAGAZINE | Paint fantastical cities
YongSub Noh reveals his

digital-painting secrets for
creating an epic fortress.
Im tackling a medieval European fantasy
theme, which famous works such as The Lord
of the Rings, Guild Wars, and World of Warcraft
are based on. This is a popular theme used in
modern digital art, so all concept artists will
likely embark on it at some point.
Concept
The first step is to visualize your city in your head.
I decide to aim for a general outdoor view of a
fortress city with a high and strong wall. To add a
little exotic flavor, I can use an Islamic style.
You may imagine a more detailed city, or only a
rough outline, or a different shape, perspective
or style. This is fine; there is no right or wrong
answer in concept art!
01
Setting up: Before we start, I will briefly

show you how I set up my Photoshop
work space. This is just one sample reference, so
you dont have to follow exactly what I do. You
have got your own working style, so set it up as
you like!
The software I am using is Photoshop CS6. From
the screenshot you can see three types of brushes
and a floating Color Picker with HSB sliders. I like
using the HSB sliders as you can set the color
with H, adjust the brightness with B and adjust
the chroma with S. It can be a little tricky when
adjusting values on a small area, but it can be
surprisingly handy when you get used to it.
Actually, there are many more convenient plugins out there, but Im an old-fashioned artist
using only default functions in Photoshop! I just
customize them to fit my own preference. I click
on Transfer and change the pressure option to
Pen Pressure for those three brushes, and for
the Leaf brush, I check Shape Dynamics and
Scattering, then allocate appropriate values.
Aside from that, theres no special setting apart
from assigning a few hotkeys, expanding History
States from Preferences and un-checking the Use
Graphics Processor box.
The reason why I suggest this simple and
plain setting is because I want you to focus on
improving your basic skills rather than getting
techniques from the actual tools. There are many
different settings and various external plugins, but as an experienced artist I suggest you
concentrate on improving basic skills first. Basics
are first; learning techniques are secondary.
02
Background color: First, I spread

my chosen background colors on the
canvas. The area with dark green color will be
the ground and the area with blue color will be
the sky.
Try to make the canvas size as large as possible;
this example is 8000 x 6000 pixels. Environment
concepts might require more detail than
character concepts, and if the canvas is not large
enough then you might not be able to express
your work in any degree of detail. And of course,
bigger-sized pictures can be used better in many
ways, so just work with a large canvas all the time!
03
City silhouette: After laying the base

color, I start work on sketching the
silhouette of the city.
Set a bigger brush size here and start sketching.
Remember, you dont need to think of all the
details here. Its better to sketch large masses
that give a sense of volume, and also consider
the direction of the light. Also, you need to think
about the color and atmosphere of the city.
Im experienced enough with this job so I
dont set the vanishing point, but if youre
not comfortable with capturing the correct
When you sketch

architecture, its very common
to use styles that already exist
in the real world
perspectives; draw some basic vanishing points
on the canvas. Some artists solve that problem by
using 3D tools and making 3D models.
When my city is mostly blocked in, I add a lake to
the forefront of my picture.
04
Defining shapes: I now start adding a

little more definition to the shapes in the
city. As I mentioned earlier, Im using an Islamic
style, so I start work on this by putting domes,
pillars and arches in the scene. I also give some
more shapes to the terrain. Now the city behind
the lake is being created.
When you sketch architecture, its very common
to use styles that already exist in the real
world. So if you seek to become a professional
environment concept artist, its a good idea
to study the styles of architecture throughout
history. Its hardly possible to create a perfect
original style of architecture without referring
to existing ones. Often, even if you think you
did create an original style, you might be
unconsciously inspired by an existing style. So
my advice is to put as much reference material in
your head as possible.
05
Starting small details: Now I am going

to move on to the smaller details. When
you draw something, it is important to draw in
a balanced way. If you become obsessed with
more detail in one area, or focus on detail over
proportion, you might lose the overall balance.
It is better practice to start with a large, blocked
mass and eventually move your focus to detail.
Some of you might be curious about layers. In
my case, I dont use layers very often as it feels
unnatural and so makes my work timid. When
painters paint in the real world using tangible
materials, there are no layers. Of course, I
sometimes use layers when I need to draw

something very small and sophisticated that
would jeopardize my work if done wrong; when
Ive done the job though, I merge those layers and
start with the one canvas again. Im not telling
you this is the right way; it depends entirely on
your work style.
I dont think in too much detail during this
planning stage. I prefer to jump in with a few basic
ideas, and then add and fix things as I progress.
06
Achieving reality: I then fix the

appearance of the city and add reed
beds between the lake and the city. At this stage,
you can begin to imagine how this concept art
will look in its final stage.
When I draw something, the most important
element I want to get across is a feeling of reality.
No matter how great the other elements like
shape, color and composition are, if they dont
fit together and come across as natural in your
scene, they mean nothing. Even though the
63
2DARTIST MAGAZINE | Paint fantastical cities
subject is boring and ordinary, it can still impress

people if its expressed realistically.
07
Perspective: In addition, perspective

and a sense of space are also essential
elements when creating scenery and architecture.
You feel a sense of depth when recognizing the
space between objects. The depth of a building
can be expressed by light and darkness, but
when you draw a landscape you need to focus on
perspective and a sense of space.
As Im drawing clear and bright weather, Im
drawing closer objects vividly and drawing distant
objects blurry. To learn more about perspectives
and a sense of space, keep observing your
surroundings in real life, and scenes in pictures
and photos.
08
More details: I decide to add some

more detail to the sky, so I just extend
the upper area of the canvas. Its important to
keep a flexible mind when judging your image; its
perfectly normal to fix aspects of your image as
you go along. There is no such thing as a perfect
picture or a perfect linear progress.
I can now start to polish and add more detail to
certain areas of my image. As this is a city and
therefore has multiple components, it has a very

complex structure and composition. There are
huge examples of sweeping architecture and
also tiny, detailed buildings, so I have to take
good care to keep these components clear and
separate in order to create a sense of detail and
realism in the work.
09
Creating ambiance: Its now about 80%

complete. After polishing details of the
city, its time to express an ambiance.
I didnt start with a specific ambiance in mind, but
in reality concept art doesnt feel right without
expressing an ambiance. I decide to add in some
wet fog and vapor to indicate the ambiance

experienced in the early morning. I paint the wet
fog in a light blue color with a soft brush, and add
some sunlight of a light yellow color above it all
to make a delicate and bright impression.
10
Lighting and layers: I add two layers

of wet fog and sunlight in the Layer tab
on the right-hand side. I set those two layers to
Hard Light. Hard Light is a very useful tool for
expressing lights, and I use it a lot in my work.
I mentioned before that when I do use layers, I
usually merge them afterwards. This time, I will
not merge them as those light and fog layers
affect the whole picture. Having them on the
same layer will make it difficult to edit the city.
11
Finalizing the ambiance: Now I have

finished adding the ambiance. Wet fog
from the lake and ground, heavy vapor in the air
and a strong, bright light give an impression of a
moist morning. I also add some flying birds.
12
Revising the atmosphere: To me it is

a little murky for the atmosphere I was
looking to create, so I revise that blurry and murky
tone.
To do this, I tie every layer into one group layer,
and I copy that group layer. I then merge the
group layer into a new layer using the Merge
Group function. If I change that new layer to
Soft Light, and add the saturation and contrast
changes, it creates a less murky effect. This
technique enables you to do a tone revision
without affecting your original work.
65
When I draw something, the

most important element I
want to get across is a feeling
of reality
The Artist
YongSub Noh
Web: http://yong.cghub.com
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The Artist
Ahmed Aldoori
Web: http://medders.deviantart.com
Software Used:
Adobe Photoshop CS6
Ahmed Aldoori is an
illustrator/designer working
in Los Angeles on various
projects. He is currently
designing content within the
theme park industry.
Create sinister attire
Costume design is an important element to character design as it helps to

enhance a characters personality. You can create an evolving plot of color, and
even change the social status or period through the visual design of garments
and accessories. In this tutorial, Ahmed Aldoori describes the painting of a
character from a fantasy medieval world, complete with clothing suitable for that
characters job description. And the character? A jester!
Ahmed shows you how to

concept and illustrate a
medieval jester
Research is important to serve as a foundation
for creativity, so I find myself looking at old
medieval paintings as a start. Sure, I could just
copy a jesters costume directly from reference
and called it done, but that would be boring.
We, as artists, have the opportunity to take
something and put an interesting spin on it to
fit a character. In this tutorial you will find the
development of loose pencil drawings into a
more refined design in the end.
Its important to get a feel for the characters
emotions. We want this jester to be a sinister
type who despises everyone. Hes a court fool,

after all. Conveying this idea is supported by
sketching facial expressions within the design
process.
Even though they wont all make it to the
final illustration, its beneficial to feel that the
character has emotion while youre designing
the costume. Otherwise it will feel like youre
designing a costume tailored for a blank
mannequin.
An understanding of anatomy is a required
skill for this type of design. Without knowing
how the human body works, a cool-looking
costume in a still image could end up
completely useless when it comes to being
animated for human movement.
PRO TIP
Research and collect references
Your designs will only be as good as what you know. You should always be on the lookout
for new content as well as old. Your mental library will kick in when an assignment is
handed to you. It is up to you to update what you know by studying different things.
Having said that, do drawing studies from life instead of photos. Your brain will retain
something from real life much better than from a flat 2D image; your eyes can see depth
and will perceive an object in its entirety, rather than flat shapes on a print or screen.
Photoshop knowledge is also important for

this process. I will be using layers, levels and
blending options to help me with my design.
Enjoy!
01
Exploration sketch phase: Youll find

a variety of different jester designs from
history. There are extravagant costumes that
include all kinds of silk and silver bells, and there
are simpler costumes that appear to be made out
of rags.
In these sketches I am figuring out different hat
designs, as well as fabric configurations. The
expressions on the faces help me solidify the
jester as a real character. Props are important
too; a lot of the jesters had some kind of rod with
a mask on it representing a smaller version of
them to add to the whimsical entertainment they
provide for royalty.
02
More pencil drawing: In addition to

using the expressions to help solidify
the character, the poses are important as well. It
helps to think about the character in motion; in
this case the jester could be performing in front of
his audience.
Ive chosen to give him an angry look to indicate
the resentment he holds towards everyone.
71
2DARTIST MAGAZINE | Create sinister attire
The evil smile in the top right can really sell that
idea of him being truly sinister; its universally
understood. Stay away from anyone that looks at
you like that! On the bottom right I have made a
smaller version of him.
03
Pose specific to the final: The next few

steps only need the basic Brush tool with
pen Opacity turned on. These poses have been
drawn with the final image in mind. Whatever the
final illustration is it must showcase the costume
completely for the art director or 3D modeler to
understand.
With this in mind, I avoid poses that cover up
important parts of the design. A typical T-pose
is an option, but I want to make this look
interesting, so I go with the more pensive stance.
Its important to flush out a lot of different pose
possibilities.
04
Pose refinement phase: I lower the

opacity of the thumbnail from the
previous step and make a new layer on top to
draw another pass of the design. I take the creepy
face I drew before and use it as reference for this.
It is drawn at a different angle here.
For the masked rod I draw a geometrical frame
with symmetry to act as a placeholder for the
mask to be drawn in perspective. Its better to lay
down a foundation to help guide your drawing,
rather than trying to draw it without a framework.
05
Refinement round two: I do the

previous step again on top of the first
drawing pass. This allows for another layer of
specificity. The main difference you can see here
is form indication. The jester hat is a complex
object so it requires some planning.
I have the hat shape drawn out from before;
the form was slightly suggested, but here the
wireframe lines help make a clear statement of
its volume. Youll see on the floor a grid sketched
beneath him to indicate perspective. This will
ground your figure so that he seems to be
03 Ive drawn these as small thumbnails in order

to avoid getting caught up in details. The gesture
of the jester is the important factor in this phase.
04 The thumbnail underneath has a low
opacity; it eventually fades away when I do this
step again on top of this drawing.
05 Once again, this pass will slightly fade away
as the next drawing pass comes into play. This is
a building process; one step lays the foundation
for the next.
It is important to be smart
with value placement. If
the darks are too evenly
distributed you will lose
movement and focus, unless
having a bland design is the
intention
standing on actual ground rather than floating in
the air.
06
A bit of tone and value: Again, the

opacity of the previous step is lowered.
This time I draw in the triangular patterns on the
jesters costume and fill it in with value. The value
breakup will help you control the focal point.
It is important to be smart with value placement.
If the darks are too evenly distributed you will
lose movement and focus, unless having a bland
design is the intention. But we want this character
to stand out. Youll notice that Ive drawn the
mask on the side. This was easier to draw on a
flat view, which will be put in place using Free
Transform.
07
Transform into perspective: Up until

now the only Photoshop tools I have
used are the basic brush and layers. In this step
I use the Free Transform tool to place the mask
onto the rod in perspective.
Press Cmd + T (Ctrl + T if you are using a Windows
PC) and a bounding box will appear, you can hold
Cmd (or Ctrl), and click and drag the corners into
any perspective. Once you are happy with the
placement, you can double-click within the box
or hit Enter to finalize the transformation. This is
very useful for placing things into perspective.
08
Masking the jester: Making a mask for

your design will make painting it a lot
easier. The purpose of this is to make a sharp
silhouette under the line drawing and to keep it
on its own layer. I use a Clipping Mask layer above
the silhouette to get the line drawing confined
into the silhouette.
You can do this above any layer by holding Alt
and clicking between the two layers. You can
create multiple layers this way and whatever you
paint will stay within the silhouette. I have chosen
green arbitrarily; it can be any color.
09
Color thumbnail exploration warm

and cool: Coming up with a decent color
scheme can be difficult at first. However, if you
simplify the process to a few colors, you can come
up with many variations to choose from.
73
The first three are dominant with warm colors,

green being a cool color accent. In the references
I collected I have noticed that the majority of the
jester color schemes contain reds, yellows, and
greens. I want to make an interesting change
to the typical colors, so I try cool colors being
dominant, accented by a warm orange. It seems
out of place, and I like it.
10
Blocking in colors: I place the color

thumbnail in the corner of my big image
as a reference. I use the basic round brush to
block in the colors in the clipping mask. It might
be helpful at first to keep each color set on its
own layer: blues on one layer, yellows on another
and so on.
At this point there is no need to model or render
the forms. Flat coloring will set the local color for
the design, which will then be manipulated using
level adjustments. I recommend avoiding fancy
texture brushes when doing this.
11
Lighting and form: Heres the fun

stuff, the good ol one-two punch. This
secret move will help you move forward with
your paintings very quickly. Simply duplicate
your flats and use Level adjustments to make it
halfway darker. This will make all the shadows
equally dark, setting a unified value range for all
the darks.
75
You simply erase out where you want light to go.

I use the airbrush as an eraser to shine light onto
the costume. Instead of using just the eraser,
you can also use something called a layer mask
if youre familiar with that. Both methods work
great.
12
Clothing indication and bounce light:

Clothing has thickness, and should be
indicated as such. Once again I use the basic
round brush. Wherever the cloth meets at a
seam, I indicate a lip where the stitching might
be. Wrinkles are slightly indicated as well. The
purpose of this is to avoid having a design with
flat shapes that are seamless.
Bounce light will assist you in showing the form
of the clothing as well. I use the airbrush to paint
a soft light coming from below. This also helps
indicate the cloths material, which in this case
has a silky reflectivity.
13
Costume refinement and details:

Here I paint some more of the costumes
design elements. Jesters always have interesting
patterns and shapes. I highlight the triangular
design language on the hat by outlining the dark
shapes with a yellow line. This could end up
being some kind of embroidery or just flat color,
depending on the level of detail that the video
game allows.
I also start painting the face, which also has an
angular language to flow with the rest of the
design. I dont want to over-paint the face since
the more important factor for this project is the

costume the jester is wearing.
14
Shadows in perspective: Here is a

neat trick that will make your character
seem to be placed in an actual space. Since I
already have the silhouette cut out from the early
steps, it will suffice as a semi-accurate shadow
shape. Simply duplicate the silhouette, and use
Free Transform (Cmd + T, or Ctrl + T) and squash
everything down beneath the character.
You can then paint in a solid gray color onto
the whole thing using the same clipping mask
methods as before. You can erase away any parts
that do not make sense, like the shadow of his leg
sticking out.
15
Three paintings in one: Earlier I

mentioned the option of color shifting
your costume to explore other colors. This is a
really quick way of implying that you did a ton of
work, wink wink!
Since we have the face separate from the
costume, we can turn that layer off and mess
around with the hue shift (Cmd + U, or Ctrl + U).
This will expose new color schemes that you may
never have thought of or seen.
There is also a dropdown menu within the Hue/
Saturation window, so you can select specific
colors to change; if you want only the blues to
shift it will lock every color except blue.
PRO TIP
Step back a minute!
Take breaks often! Staring at an

image for a long time can cause your
brain to ignore obvious mistakes.
Its essential to walk away from your
artwork so that you can get a fresh
look at your design when you return.
Stay alive by doing small physical
exercises to keep your brain function
at its top performance; health is an
often overlooked necessity in doing
good artwork. Being physically active
in a sedentary workplace can be hard,
but do whatever it takes!
The Artist
Ahmed Aldoori
Web: http://medders.deviantart.com
77
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so much easier to use than Autodesks Matchmover.
The Artist
Fernando Acosta
Web: www.facosta.com
Software Used:
Adobe Photoshop
Fernando Acosta is a concept
artist in the video game
industry. Originally from
Colombia (South America),
Fernando began his career
as an electrical engineer,
before moving on to work
as a storyboard artist
and illustrator. Hes been
working as a concept artist
in Canada for the past five
years now and his credits
include titles such as Halo
4: Crimson Map Packs, Star
Trek and Warframe. He has
also designed some G.I. JOE
figures for Hasbros Pursuit of
Cobra toy line.
Develop victorious
personalities
Shapes, color and theory are an important part of character design. You can
create a feeling of good or evil in visual design by changing the combination of
these. In this tutorial, Fernando Acosta reveals his industry techniques when
depicting a bold hero, conveying the key elements that will typically make heroic
traits recognizable
Fernando leads a step-by-step

tutorial on the creation of a
true hero, Gladius...
Gladius was described as being tall and lean,
with his form of attack incorporating sharpedged weapons. With other design aspects left
open to my discretion, lets do this!
01
Thumbs: After reading the brief I decided

to start sketching some ideas. I came up
with these three thumbs. I was looking for some
poses that would show the character in an action
setting and that would also be able to show a bit
of his personality. Since he has sharp weapons I
tried to incorporate them into the silhouette of his
design as well.
I liked the middle one the best. It reminded me
of the old master paintings of the hero, victorious
after a battle. So I decided to run with it.
02
Line art: The next step was to blow the

thumbnail up and do a line drawing over
it. I just lowered the opacity in Photoshop, made
a new layer and did a line pass.
While I was drawing him, I was thinking about the
character itself. Who was he? What did he do?
PRO TIP
I tend to flip my images all the time
to make sure they are working from
all angles. I usually have F11 as a
hotkey for it and then I just map it
onto my tablet or Cintiq.
81
2DARTIST MAGAZINE | Develop victorious personalities
These were the questions I needed to answer

before I started refining him further. So I thought
that maybe he could be a sword master. He
collected all sorts of blades and swords from
around his world, and just kept adding them to
his costume.
I wanted the setting to be a Mad Max-like fantasy
world. So the costume was crafted in a similar
way, out of different materials and parts he has
found along the way.
03
Rough colors: I then multiplied the

line art over the thumbnail and, using a
combination of Overlay layers and Color Balance
adjustment layers, I started to lay in the color.
Using some textured brushes I started to add
paint opaquely and also started to work on the
images background.
04
Rim light: Upon looking at the

image, I noticed I was going to need a
justification for that rim light. I experimented
a bit with a sunset in the sky, but ended up
deciding that maybe some spread out fires on the
ground would make for a cooler visual. The fires
would also help reinforce the victorious after a
long battle idea. So I added some textures, as
well as using some textured brushes to lay the
foundation for the fires.
05
Reference: I took a picture of my

anatomy tools busts, for reference. These
little guys are a great way of playing with your

lighting setup. I normally have a lamp light shine
down on them to act as my key light and then I
use my monitor as a rim light.
06
Face block-in: After I set my references

up, I started working on the face. All of
the foundation had been laid down, so I could
start refining some areas. I tend to start from the
face and work my way down. I blocked in the

different head planes and from then on I started
refining the character.
07
Refinement: My whole process is

typically very organic. I tend not to get
too attached to the line drawing. If I put a mark
that works or adds visual interest, I rather run
with it.
At this stage I was also starting to think about

what his costume was going to look like and what
materials he may have used to construct it.
The feathers were a softer touch to his otherwise
sharp weapons. A little curve-ball like that can
help you say a lot about the individual inside of
the character.
83
2DARTIST MAGAZINE | Develop victorious personalities
I like to finish images with

final adjustment layers,
Color Balance, Contrast and
Brightness, Levels, etc
08
Changes: While I was working on him

I noticed that his face was too generic
and it was also starting to get a bit lost with the
competing fire light source below. So I decided to
work a bit more on his head by adding a ponytail
and tattoo. This gave him a bit more character
and the green-ish color of his tattoo added some
contrast to reaffirm this as my main focus point.
Its the only green among all the warmer colors,
so it instantly tends to pop out.
09
Final: After I was done with the figure

I played with some final touches, such
as some particle FX in the air and some heat
ripples in the background from the fire. I like to
finish images with final adjustment layers, Color
Balance, Contrast and Brightness, Levels, etc.
As my cherry on top of the cake I decided to add
a bit of a Smart Sharpen filter on certain areas
where I wanted it to look a bit crisper and voil!
He was done!
This was a very fun character to work on and I
hope you have enjoyed my first tutorial. Thanks
for reading and please feel free to visit my website
for more art!
The Artist
Fernando Acosta
Web: www.facosta.com
next month
The art of Ryan Lang, concept
artist for Wreck-It Ralph
YongSub Noh paints a
fantasy world
Derek Stenning leads a
desert-painting tutorial
Mohammad Keivan Marz
reveals his top tips and tricks
Learn to paint a battle scene
Improve your character designs in Photoshop
10 of the best digital images
from around the world
Sketchbook insights from a digital art pro
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The Artist
Khasis Lieb
Web: www.khasislieb.com
Software Used:
Adobe Photoshop
A French illustrator
specializing in portraits and
caricatures; Khasis Lieb is
also a fan of fantasy art. He
lives in Paris, France and
paints whenever he can.
Paint a personal
portrait
French illustrator, Khasis Lieb, explains how he created his wonderfully realistic
portrait Charlotte #1, which was inspired by a friend
Khasis Lieb describes his

creative workflow when
painting portraits
Its always a great opportunity to share your
workflow with other artists, so I hope youll
enjoy this and learn something from it.
I often like to paint realistic portraits, and for a
long time Id been wanting to paint a particular
woman, who I had a clear image of in my head
(I usually have a clear image before starting a
painting that will require a large amount of time
and work).
This woman I wanted to paint had a leather jacket
on, with a white t-shirt underneath. Her shoulders
were resting against glass that reflected the night
landscape of my neighborhood here in Paris. As
you will see, I didnt quite end up doing that.
I started out by looking for a model. I had some
ideas based on the women I see in my daily
life, but I hadnt asked any of them about it yet.
Then one day, on Facebook, I saw that my friend
Charlotte has posted a photograph of herself,
with glass behind her, but in the daytime.
I thought it was perfect, so I called her and asked
if she would be okay if I painted her portrait.
She was happy with the idea and we agreed on
a photo shoot one night. I took more than 100
photographs of her for reference, so that I had her
face from every angle and the reflection of the
night in the glass etc.
01
The painting: I did the initial sketches

in my sketchbook for once, instead of
on my computer. Then I started adding some
gradient to the portrait, with some night-like
colors (a city at night, so kind of purplish). Then I
moved on to blocking in the overall composition
and light with a big brush that had a little texture
in it. I wanted a front-facing portrait, kind of a
Hollywood photo shoot feel, so I framed it from
the waist up.
02
Background atmosphere: Once this

quick stage was finished, I started to
create some atmosphere in the background by
adding blurred, lit-up signs (to achieve the feel
of a photo I added some Lens Blur, with Bokeh
PRO TIP
Dont stop yourself from using photo

references, but dont copy them
either. Understand your references,
so youre free to do what you want to.
89
2DARTIST MAGAZINE | Painting a personal portrait
At this point I was still working on refining the

face and the woman was starting to look more
like Charlotte
and light burns), still using the big, textured brush. And of course, I began the
most important part of a portrait: the face.
03
Starting the face: For the face, I used the Photoshop default
brush 24 (with the Opacity Jitter added). I also did all the rest of the
painting with it.
I continued re-working the proportions, the likeness, and refining areas. At
this stage I had two layers (and this went on until the very final step, where I
started adding some layers for details, grain, lights, etc), so the proportions
of the subject could be easily re-arranged without losing any of the
background, and vice-versa.
04
Achieving a likeness: At this point I was still working on refining

the face and the woman was starting to look more like Charlotte; the
lights really sculpted the volume. I also transformed the background a little
bit, so the composition still worked, and I changed the hue as well, making
the image more blue. I did this to achieve a sense of cold that would tie in
with the fact that she was wearing a coat.
I detailed the scarf as well, and a small part of the coat, as I knew it would be
huge job.
05
Fabrics and faces: Next I did some work on the coat again, and
changed its hue. By now the overall shape had changed and the
silhouette was more feminine. I also continued

refining the face, most importantly the eyes!
The hard part about painting someone you really
know, as opposed to a portrait or caricature of
a celebrity, is that you have a feeling about that
person and so you know when something is
wrong. While working on this piece I often found
myself thinking, Its her, but its not her damn!
At this point I added some texture on the scarf, so
I could test some texturing of the fabric for later.
06
Composition: At this point the portrait

had already been about 15 hours of
work, so I put it aside for a day and when I came
back to it, I noticed that poor Charlotte was kind
of lost in the big picture.
That could have been interesting if the rest of the
image was a part of the story, but as I mentioned
earlier, I wanted a photo feel for this image, and
wanted to have a blurred background. I had
to put aside my feelings and do the best for
the picture, so I cropped it and re-centered the
subject to give her greater importance.
07
Shadows and readable volumes:

This image represents a big step
forward, maybe up to 15 more hours of work, to
detail the hair, face, fabric, background and the

longest part: the coat! This is almost the final
image.
I added some soft shadows on the face, to make
the volume more readable.
There was one more step left before another big

decision about the composition. I thought that
the coat was distracting the eye, there were too
many details, to many motifs, too many things,
and my eye was being led away from the face.
91
The Artist
2DARTIST MAGAZINE | Painting a personal portrait
Khasis Lieb
Web: www.khasislieb.com
08
Final touches: So there went 10 + hours

of work on the coat into the garbage.
And here came the dark gray to replace it. But I

thought it was for the greater good of the image,
as now it really had a better balance in all of
the areas, which would benefit the viewer. And,
finally, it was done.
09
Conclusion: As is often the case with

me, I ended up with a completely
different image from the one I had in my head
before starting, but I think thats what makes
painting so hard and fun. Its these unknown
elements that turn your creation into something
that you didnt think of in the first place.
A great moment of painting portraits for me is

when I offer the finished image to the model who
was kind enough to pose for me. So here you can
see the wonderful Charlotte holding her portrait;
she was happy with it and so was I.
Thank you for reading this project overview and I
hope you found some useful information or tips.
3DTotal presents the new issue of

3dcreative magazine, a downloadable
monthly magazine for digital artists for
only 2.99 (approx. $4.79/3.69).
Visit www.3dcreativemag.com to see a full preview of the latest
issue, subscription offers, and to purchase back issues.
4g2of
pa es
Issue 096 | August 2013

FREE RESOURCES
INSIDE THIS ISSUE
96
tutorials
inside!
ZBrush
insights
Jose Manuel Linares Lopez shares

his creature sculpting techniques
for cartoon characters
3ds Max
character
creation
Sculpt
photoreal
faces
Dmitry Shareyko masters

the legs, trousers, boots
and belt of a stylized dude
Discover how Square Enix artist

Dan Roarty sets up a high-res
base in Mudbox
Model
accessories
in Maya
Expert Patrick Evrard
concepts and creates
characterful adornments
Expert aliens
San Francisco-based artist Kurt Papstein

reveals how to create awesome
extraterrestrials with ZBrush
The art of
stylized pin-ups
In-depth interview with Andrew Hickinbottom.
Plus! Discover his pro modeling secrets in an
exclusive tutorial for 3ds Max
plus
10 of the best images
from around the world
Jan Jinda shares the
pages of his sketchbook
Go behind the scenes of a
sci-fi scene in Maya
+ much more!
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2DARTIST MAGAZINE | Digital Art Master: Theo Prins
The Artist
Theo Prins
Web: www.theoprins.com
Software Used:
Adobe Photoshop
DIGITAL ART MASTER:
Sitting
by Theo Prins
Theo Prins is a master of urban sprawls. This issue, he divulges his creation process
when concepting environments. Read on to discover the making of Sitting...
20%
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95
My painting
When I sit down to work, my hand automatically
starts drawing shapes of buildings and cities. Its
been an enjoyable habit of mine over the years.
Occasionally I view it as a comfort zone, and
though that may be true, its also true that theres
always more to explore within the subject matter.
Ive never managed to be completely successful
in portraying exactly what it was I was searching
for. Until that happens, Ill probably keep trying.
This piece was one of those attempts.
By keeping the painting

vague my minds eye was
able to see detail and color
possibilities in the textures
Initially I was working with a fairly ordinary view of
a city (Fig.01 03). After shifting through several
moods, from a gray city to a green one and then
back again, I arrived at Fig.04. In scale its fairly
similar to what we might find in our cities today;
skyscrapers with normal proportions, highways
and a dense urban sprawl. I liked the textures and
color tones, however I was hoping to discover
something more otherworldly and extreme in
scale. Thats when the idea for a new composition
came about.
I had a sudden urge to strip apart the painting
and rearrange the pieces at different angles on
a new canvas (Fig.05). I see each step in the
painting process as the potential foundation for a
new idea I may not have imagined by staring at a
blank canvas. Even though the result of my initial
efforts didnt appeal to me, it led to a new idea
and that made it worth painting.
This quick mock-up quickly became the basis for

my final image. After a short while I had laid down
the basic composition, placing an emphasis on
the curve-like flow of the railway tracks below and
the highway overpass above (Fig.06). By keeping
the painting vague my minds eye was able to
see detail and color possibilities in the textures. I
then subtly developed these discoveries into the
actual painting and kept molding the shapes until
solid structures began to appear (Fig.07).
The red temple materialized when I began to
feel the need for more character and variation
in the metal dwellings in the foreground, which
had become quite generic. The little man sitting
under the light helped create a sense of relative
coziness. Perhaps the smell of freshly brewed tea
is spilling out of his doorway (Fig.08 09).
At this point I had also started to become very
eager to convert the painting into a stereoscopic
3D pair, which is a whole other story. As a result,
I raced to the finish and prematurely detailed the
image. My lights and darks became too scattered
and messy, and the background became
difficult to distinguish from the foreground. After
indulging in my stereoscopic version I decided
to return to the painting to fix all the bothersome
parts. Blurring my eyes to get a sense of the
whole picture made it easy to see what was
wrong. Whilst painting, I also tend to glance at
the navigator every few seconds. By doing this
Im aware of each brush strokes impact on the
overall image.
97
I worked on improving the composition by

removing clutter and simplifying portions into
larger, more harmonious elements. For example,
I changed and lightened the entire background.
This gave the painting the sense of scale and
atmosphere I had been looking for and also more
clearly defined the buildings in the foreground
(Fig.10 11). I painted the temple a more solid
red, and simplified the supports of the overpass
as well as the overall silhouette of the structures
above it. Again, I had to like what I saw in the
navigator (Fig.12 14).
The final step was to create a feeling of crispness
and definition in key areas, including the main
illuminated window in the center of the painting,
the edges of certain objects, the buildings, and
odd corners here and there. If just the right spots
are detailed, it can create the illusion of definition
across the rest of the image. For me, the process
of finding those spots involves just letting my
brush dart around the canvas, adding detail
wherever I feel the impulse.
Looking at the painting now, there are still things

Id like to change. One example is the coincidental
alignment of the overpass with the large black
pipes and the curved roof of the red temple.
Sometimes things like this may not grab my

attention until I revisit an image several months
later. Theres always more that could be done, but
thats it for now.
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What different types of digital art are featured?

92

Issue 092 | August 2013

Fantasy art legend

The almighty Brom talks Kickstarter,

Learn the art of designing

Learn the secrets to creating a stunning

2DARTIST MAGAZINE | ISSUE 092

In celebration of our new-look magazine, we bring you

WOULD YOU LIKE TO SUBMIT TO 2DARTIST?

2DARTIST MAGAZINE | ISSUE 092

Get the most out of it!

Top tips for viewing

Whenever you see this symbol, be sure to click it to

For lots more tutorials and exclusive articles, visit

Special thanks to 3DHype,

2DARTIST MAGAZINE | ISSUE 092

Contents Issue 092

Brom talks Kickstarter, traditional versus digital,

An exclusive interview with

21__ Drawing magic

Fantasy game illustrator, Jeff Miracola, gives a

36__ Art gallery

Serge Birault and Andreas Rocha feature in our top

50__ Learn to paint heroic characters

Talented Photoshop artist, Charlie Bowater,

60__ Paint fantastical cities

Learn the secrets to creating stunning concepts in

70__ Create sinister attire

Ahmed Aldoori takes you through the steps and

80__ Develop victorious personalities

Learn the art of designing conquering heroes in

88__ Paint a personal portrait

Khasis Lieb shares his step-by-step guide to

94__ Digital art master: Theo Prins

Theo Prins shares his processes for creating epic

2DARTIST MAGAZINE | ISSUE 092

Learn the skills to

Take a portraitpainting masterclass

2DARTIST MAGAZINE | Brom fantasy art legend

2DArtist: Hi Brom, Thanks for speaking to us here

Every artist hopes their work resonates with people. It is very

B: Every artist hopes their work resonates with

2DARTIST MAGAZINE | ISSUE 092

Oil, 2005, part of an ongoing series of floating, winged creatures

2DARTIST MAGAZINE | Brom fantasy art legend

2DARTIST MAGAZINE | ISSUE 092

B: I certainly hope so. I am currently working on a

everything. The Art of Brom is the best Ive ever

and such become more obvious. In my case,

B: It seems that labels often get applied in

I guess at best, one can hope that they, in some

2DARTIST MAGAZINE | Brom fantasy art legend

Artist Timeline Broms career up to this point

1997: Released first art book: Darkwerks

1987: Produced first comic cover

2001: Released second art book: Offerings