ImagineFX January 2016 UK

EXCLUSIVE!
“IAIN MCCAIG SHOWED

ME HOW TO DRAW,
CRAIG BROM SHOWED ME
HOW TO PAINT”
MULLINS
Tutorial and interview from
KARLA ORTIZ
the digital art innovator
OUR GREATEST
WORKSHOPS!
RAPHAEL LACOSTE
The art director creates an
epic castle in Photoshop
TODD LOCKWOOD
Paint magical book cover
art with the D&D artist
ERIC DESCHAMPS
MÉLANIE DELON
REBECCA GUAY
ROSS TRAN
SYD MEAD
BROM
And more!
TRADITIONAL TIPS
PERFECT
PENCILS
Allen Williams’ advice
for drawing unique art
LEGENDS ART & ADVICE

BORIS Celebrating a decade of ROBH RUPPEL SHOWS
HOW TO CREATE DEPTH
& JULIE
Delve into the sketches
inspiration with the greatest
artists in the world!
BRING WEIGHT TO YOUR
ART WITH BOBBY CHIU
TRAN NGUYEN ON WHEN
of the fantasy art duo NOT TO APPLY DETAIL
Editor’s letter
to the big one!

What a difference a decade makes. Ten years
and 130 issues. Good god, that went quick!
Since year dot, we’ve had a blast discovering,
meeting and celebrating amazing artists, and
inspiring our readers to create great art… I’m
exhausted just writing about it.
Yet the six or so years I’ve worked here have
been a joy. Artists, you see, may be 80 per
cent insomniac-workhorse-ninja, 1 per cent
genius, and 19 per cent bananas, but they –
you – are the most inspiring, driven and altogether groovy people
on earth. And it’s been ImagineFX’s privilege to work with the best.
The names on this cover are proof of this, and I hope you’ll agree
we’ve put together an issue worthy of our 10-year landmark. I’ve
met many of the artists featured in this extra big issue, including
Karla Ortiz who I speak to on page 50, and one thing that always
surprises me is how enthused they are to work with the mag.
Without going all hippy, there’s a lot of love in this ‘small’ world of
ours… (Hold on a minute. I think I have something in my eye.)
Whilst I’m all emotional, I’d like to mention that the continued
success of ImagineFX is in large part due to über-editor Claire
Howlett, who’s been on the mag since issue three (aaaages ago).
She’s on maternity leave right now, but her dedication to IFX has
kept it at the top of its game for this long. You rock, Claire!
Oh, did I mention the calendar full of exquisite art, the Syd Mead
workshop, or the Craig Mullins interview?! Crap, no room… enjoy!
Our special cover for

Beren Neale, Acting Editor subscribers this issue.
[email protected]
Contact us
Email: [email protected] Tel: +44 (0) 1225 442244
Art submissions: [email protected]
Web: http://imaginefx.creativebloq.com
@imaginefx www.facebook.com/imaginefx
Print subscription queries

UK, Europe and rest of the world US and Canada
Web: www.myfavouritemagazines.co.uk Phone (toll-free): 1-800 428 3003
Email: [email protected] Web: www.imsnews.com/imaginefx
January 2016 3
Save money when you subscribe
to ImagineFX! See pages 33 and 40
Contents
Your art
8 Reader FXPosé
Industry pros cast a critical eye
42
over this month’s reader art –

and we’re pleased to report
that they like what they see!
News and events

20 10 years of digital
Cheaper software, better tools,
global audiences… but is art
any better than a decade ago?
28 Artist in residence
The values of hard work and
discipline run throughout Long
Pham’s organised studio space.
“I got a D in high school art
– that’s pretty hard to do!”
Your questions Craig Mullins looks back on his career
See page 8 for the best new art
34 Artist Q&A
Pro advice on giant stomping
beasts, facial details, directing a 20 50 34
viewer’s gaze, roaring, shadows
on a torso, and plenty more.
Features
42 Craig Mullins
He’s been an innovator since
the start, but that alone isn’t
the secret to his success...
The digital dream? The art of Karla Ortiz Q&A: beasts
50 Karla Ortiz
How Brom and Iain McCaig
helped her out, and the benefits 56 35 37
of working with a fever.
56 Sketchbook
Husband-and-wife art masters
Boris Vallejo and Julie Bell
open up their sketchbooks…
Reviews Sketchbook:
106 Software Boris Vallejo & Julie Bell Q&A: details Q&A: roaring
109 Hardware
111 Training
112 Books 27 28 38
Regulars
3 Editor’s letter
6 Resources
32 Letters
33 Subscriptions: US
40 Subs: worldwide James Bond Artist in residence Q&A: shadows
82 Next month
4 January 2016
Issue 130 January 2016
DOWNLOAD RESOURCES Turn over the page for
this issue’s art assets
Workshops 64 68
Advice and techniques
from pro artists…
64 How to rework
a Frazetta classic
Ross Tran on keeping
your artistic voice.
68 Paint a scene
of awe and beauty
Craig Mullins paints
a huge interior basilica.
74 Use light for a

Chiaroscuro feel
Mélanie Delon shows how
to work light into her art.
Immense interior
78 Help the story
shine through
Eric Deschamps explores Channelling Frazetta 92
an epic adventure scene.
84 Capture the 92 Depict an epic

spirit of a book film environment
How Todd Lockwood Raphael Lacoste uses light
illustrates a cover. and atmospheric depth.
88 Create lighting 98 Know yourself,

setups for a film know your tools
Shelly Wan gives a film’s Thomas Scholes on staying Cinematic castle
art director several options. motivated and creative.
118 122 130
Inspiration and advice from

the best traditional artists
116 Embrace oils
Rebecca Guay’s romantic secrets.
118 Give your art rhythm
Allen Williams shares top tips. Rhythm & shapes Dark fantasy
122 Pull the viewer in
Brom on contrast and detail. 124
124 Create an illusion
Syd Mead goes into detail.
130 First Impressions
Dan Dos Santos talks ad work.
116
Futuristic concept imagery Dan Dos Santos

Emotional art
January 2016 5
Resources
Resources
Getting hold of all of this issue’s videos, artwork and OVE
brushes is quick and easy. Just visit our dedicated 10 HOURRS
web page at http://ifxm.ag/decadeifx of workshop a
Q&A videos tond
watch and
learn from!
WORKSHOP VIDEOS
Be inspired
by Frazetta
Ross Tran shows how to work up
a strong fantasy image efficiently,
while maintaining your artistic voice.
GET YOUR
RESOURCES
You’re three steps away from
this issue’s resource files…
1 Go to the website
Type this into your browser’s
address bar (not the search bar):
http://ifxm.ag/decadeifx
2 Find the files you want

Search through the list of
resources to watch or download.
3 Download what you need

You can download all of the
files at once, or individually.
PHOTOGRAPHY Future photography studio CONTACT US

DAN OLIVER group editor-in-chief PHONE +44 (0) 1225 442244
RODNEY DIVE group art director EMAIL [email protected]
ADVERTISING ART SUBMISSIONS [email protected]
SASHA MCGREGOR advertising manager WEBSITE http://imaginefx.creativebloq.com
EDITORIAL TWITTER @imaginefx
[email protected]
BEREN NEALE ACTING EDITOR +44 (0) 1225 687675 FACEBOOK www.facebook.com/imaginefx
[email protected]
CHRIS MITCHELL account executive POST ImagineFX, Future Publishing Ltd, Quay
CLAIRE HOWLETT EDITOR [email protected] House, The Ambury, Bath, BA1 1UA, UK
(on maternity leave) +44 (0) 1225 687832 PRINT SUBSCRIPTIONS
DANIEL VINCENT ART EDITOR PRINT & PRODUCTION UK, EUROPE & REST OF THE WORLD
[email protected] UK PHONE O844 848 2852
VIVIENNE CALVERT production controller
CLIFF HOPE OPERATIONS EDITOR MARK CONSTANCE production manager OUTSIDE OF UK +44 (0) 1604 251045
[email protected] NOLA COKELY ad production manager EMAIL [email protected]
NATHAN DREWETT ad production co-ordinator WEB www.myfavouritemagazines.co.uk
TOM MAY group content editor MICHELLE ROGERS operational purchasing US AND CANADA
JULIA SAGAR commissioning editor manager PHONE (toll-free): 1-800 428 3003
SAMMY MAINE deputy commissioning editor WEB www.imsnews.com/imaginefx
ALICE PATTILLO staff writer LICENSING
DOMINIC CARTER staff writer MATT ELLIS senior licensing & syndication DIGITAL SUBSCRIPTIONS
CRAIG STEWART managing editor, Creative Bloq manager APPLE DEVICES http://ifxm.ag/apple-ifx
ANDROID, PC OR MAC www.bit.ly/r938Ln
KERRIE HUGHES content manager, Creative Bloq FUTURE PUBLISHING LIMITED
GOOGLE PLAY http://ifxm.ag/google-halfprice
MATTHEW PIERCE head of content &
CONTRIBUTIONS BARNES & NOBLE NOOK http://ifxm.ag/1FlnypM
marketing, photography, creative & design
Charlie Bowater, Brom, Chaanah Carr, Bobby Chiu, AMAZON KINDLE http://ifxm.ag/kindle-ifx
NIAL FERGUSON director of content & marketing
Tanya Combrinck, Mélanie Delon, Eric Deschamps, ZILLAH BYNG-MADDICK chief executive
Vaughan Emerson, Rebecca Guay, Damian Hall,
Matt Hanson, Tim Hardwick, Richard Hill, Richard
NEXT ISSUE ON SALE
THURSDAY 31 DECEMBER 2015
Hood, Raphael Lacoste, Todd Lockwood, ImagineFX is the registered trademark of
Loopydave, Fraser McDermott, Syd Mead, Craig Future Publishing Ltd. All Rights Reserved.
Mullins, Tran Nguyen, Robh Ruppel, Dan Dos
Santos, Thomas Scholes, Alex Summersby, Ross
Tran, Paul Tysall, Shelly Wan, Garrick Webster, Allen
Williams, Henry Winchester, Ross Tran.
6 January 2016
Issue 130 January 2016
EXCLUSIVE VIDEO TUITION!

Watch our videos to gain a unique insight into how our artists create their stunning art
Todd Lockwood Eric Deschamps

Discover how to capture the spirit of a book of short stories with no overall theme, Understand how to let the story shine
as the artist goes from developing a strong concept to polishing the final art. through when painting an epic scene.
Plus WIPs and final image Plus WIPs, brushes and final image
Q&A VIDEOS
Raphael Lacoste Mélanie Delon Bobby Chiu

Learn how to handle light and atmospheric See how you too can use light to achieve Depict muscle tension and facial changes
depth when creating a film environment. a chiaroscuro feel in your artwork. so that your art conveys a creature’s roar.
Plus WIPs, brushes and final image Plus WIPs, brushes and final image Plus WIPs and final image
TRAINING PLUS...
Bobby Chiu Brian Yam Ruan Jia

Ensure that you capture the essence of a The film and video game concept artist Watch how the concept artist, who recently
huge beast charging through a forest. passes on first principles in his video, The worked on Halo 5: Guardians, paints a
Plus WIPs and final image First Sketch: Quickstart to World Creation. deadly encounter with a dragon.
AND ALL THIS! Detailed workshops with essential pro advice from Charlie Bowater, Tran Nguyen, Loopydave, Robh Ruppel,
Craig Mullins, Shelly Wan, Thomas Scholes, Rebecca Guay, Allen Williams, Brom and Syd Mead.
71 CUSTOM BRUSHES, INCLUDING…

DEBRIS BRUSH DETAIL BRUSH PLASTIC WRAP
Ross Tran uses this brush to Mélanie Delon precisely defines This brush helps Eric Deschamps
quickly add texture to his art. elements in her art with this brush. to add streaky-looking textures.
January 2016 7
THE PLACE TO SHARE YOUR DIGITAL ART
Ayya Saparniyazova 1
LOCATION: Turkmenistan
WEB: www.ayyasap.deviantart.com
EMAIL: [email protected]
MEDIA: Photoshop
A few years ago, Ayya

discovered the exciting
world of digital art, and
couldn’t tear herself away.
“I realised that it’s what
I want to do in life!” she says. “Digital art
has enabled me to create without limits.”
The artist likes to paint portraits and
design characters, and in her work Ayya
expresses emotions, feelings and moods
through a characters’s eyes, colours and
lighting. “I take my inspiration from
anime, computer games and films,”
Ayya reveals. “They’ve all helped to
form my own style.” She freelances,
where she has a great scope for
creativity: “You can learn a lot and work
with interesting people!”
1 KATRINA’S MISSION “Sometimes

I just like to paint new characters,
such as this cosmic cat. Actually, she’s
part human, part cat, a big fan of
adventure and very curious – like any
normal cat! She’s trained in martial arts
and weapons, loves adrenaline and risk,
and often gets into dangerous situations
where escape seems impossible.”
2 HARLEY QUINN “I decided to draw

Harley Quinn because I like crazy
characters – you never know what to
expect from them! She’s playful, armed
and dangerous.”
3 SUMMER SMILE “I love the sea, the

sun and the beach. Here I wanted to
capture this happiness in the girl’s face,
the wind blowing through her beautiful
hair, and the warm light of the tropical
sun. My aim was to recreate the
atmosphere of summer for the viewer.”
8 January 2016
3
Ayya’s colourful work

impresses Genzoman
on many levels…
“Ayya’s handling of
light is exquisite,
and she achieves
the delicate balance
between cartoon and
realism. Her colours and
softly rendered images are
rich in atmosphere.’’
Email your submissions to [email protected] January 2016 9

Mathias Zamecki
LOCATION: Poland
1
WEB: www.mathiaszamecki.com
MEDIA: Photoshop, ZBrush, Blender
“I always used to draw

on the back of my school
notebooks,” recalls
Mathias. His digital art
journey became more
serious in 2009, his final year of high
school. In 2010 he studied a one-year
program of 3D animation and effects,
after which he decided to paint, produce
concepts and pursue a career in the
video game industry.
“My first inspiration was Craig Mullins
and the traditional feel of his digital art,
and I try to apply this to my work. I’m like
a dog chasing cars: I see something cool
and want to learn it!”
Video game concept

artist Remko Troost
likes what he sees…
“Mathias has
some gorgeous
brushwork and
storytelling going
on here. His strokes imply
plenty of detail, and yet
he’s able to maintain a
lovely painterly feel.”
1 RUINS “This painting was inspired by

traditional artists Stepan Kolesnikoff
and Mark Boedges. Ruins and knights
are not the most original of ideas, but
I wanted to give it my own twist with
mark making and textures. I tried to
illustrate the scene as if it were an oil
painting, complete with visible textures
and opaque layers of paint.”
10 January 2016 Email your submissions to [email protected]

AJ Frena 1
LOCATION: US
WEB: www.aj-frena.com
MEDIA: Acrylic, watercolour, Photoshop
AJ’s main focus is on

imagery that features
animals and various forms
of wildlife. “Utilising both
traditional and digital
media, I combine realism with the
abstract and fine art with elements
of pop culture,” the artist says.
Born and raised in North Texas, AJ
studied at the School of Visual Arts in
New York City before moving to
Pittsburgh, PA, where he lives with a
lucky black cat and a lazy border collie.
It’s thumbs up from

Dinotopia artist and
author James Gurney
“Super stuff, AJ!
I love the unlikely
heroes climbing on
the heap of faded
rubble. You rang my bell
with the faded paint, the
muted colours, the rich
details and the sly pop-
culture references in all
of your works.”
1 PLEASE STAND BY – FALLOUT 4

“This is a tribute to Fallout for New
York Comic Con, celebrating the release
of the new game. It’s one of my favourite
game series and so it was exciting to get
the chance to bring this piece to life.”
2 AVENGERS “A tribute to the release

of Avengers: Age of Ultron, in
partnership with Marvel for Hero
Complex Gallery. This was my first
officially licensed piece. At the time
I had done scientific illustration almost
exclusively, so this was uncharted
territory for me. Fortunately, it ended up
being a success and opened up new
opportunities for me.”
3 NEAR THE CAMPHOR TREE “This is

my tribute to Hayao Miyazaki’s 1988
film My Neighbor Totoro. I used acrylic
and Photoshop to paint the scene.”
4 WIZARD OF OZ “When I was asked

to do this piece for New York Comic
Con, I knew that I wanted to tackle the
books instead of the film. Dorothy is
based on the likeness of a kid that I
watched grow up, who I’ve persuaded
into wanting to be an artist. Hearing that
she recognised herself immediately in
the image and got all excited about it
still makes me smile.”

2 3
© 2015 Marvel

Tatiana Vetrova
LOCATION: Russia
1
WEB: www.tatianavetrova.com
MEDIA: Photoshop, ZBrush
Tatiana started studying

digital art in 2008, and by
2010 she was creating
concepts and artwork for
the video game industry.
“For me, art isn’t just a job – I really
love it,” she says. “Mostly I work
digitally, but sometimes I like to draw
traditional sketches, using pencils,
markers and ink. Most of all I love to
draw dark fantasy art, villains and
creepy devilish beasts.”
Tatiana’s a self-confessed video game
nerd and a huge fan of films. Her
greatest influence is Gerald Brom: “He
has inspired me through all my life. And
chocolate. I love chocolate. Best thing in
this world, after art of course!”
Titianna has put a

pleasing expression
on Jeff Simpson’s face
“Tatiana’s stuff
feels epic. It’s
good to see real
expressions too.
An action pose and a cool
sword are great, but unless
there’s an actual person
(or character with person-
like thoughts) it can be
stiff and boring to me.”
1 RAIN “It’s no secret, I love the splash

screens for League of Legends, and
one day I decided to paint something
similar. Rendering all the details on the
3
shield was a challenge.”
2 SAILOR DEADPOOL “This was my

entry for the Comicon Challenge
2015 at GameArtisans.com. I had so
much fun while doing this, and it seems
other people like the work. It gives them
a good laugh, too.”
3 DEVIL IN HER EYES “This lady

represents, for me, the key traits
of feminine beauty: she’s strong,
dangerous and attractive. I later realised
that the image would have been better
without the owl, but I hate to go back
and repaint finished work.”
4 RED “This is a perfect example of

what I love to paint. Grumpy devil
guy with horns and glowing eyes? Oh
yes! Here I tried out a new painting
technique and one new brush, and I’m
more than happy with the result.”
14 January 2016
4

Patrick Brown
LOCATION: Tasmania
1
WEB: www.patrickbrownart.com
MEDIA: Photoshop, Clip Studio Paint
Taking inspiration from

games, movies and even
television, Patrick’s
favourite artists include
Humberto Ramos and
Ryan Ottley. “I’m best known for my fan
art,” he says, “I find it gives me a great
reason to draw. With every picture that
I produce, I learn more.
Patrick’s made a name for himself
with his action-packed comic style fan
art, scoring cover features in PlayStation
magazines and working for games
companies such as Naughty Dog, IO
Interactive and even Sony. His work also
caught the attention of Marvel Comics,
enabling him to quit his job as a graphic
designer to become a full-time artist.
1 MARVEL VILLAINS “I came up with

the idea of having all the villains from
the Marvel movies of the past 10 years,
all hanging out at a certain bar together,
Stan’s bar to be exact.”
2 GUARDIANS OF THE GALAXY “This

piece is my lifesaver. Since I released
it in August last year, it caught the
attention of director James Gunn who
made the Guardians of the Galaxy
blockbuster film, and also it brought me
my Marvel career that I’ve been working
at for the past eight months.”
3 ALIENS “As a big fan of the Alien

movies I felt the urge to do a piece
dedicated to Aliens, showing Ripley in
her bravest moment. I had a blast doing
this, and learnt a few good tricks with
lighting along the way.”

3
Loopydave raises a
toast to Patrick’s
kinetic, colourful art
“Not only does
Patrick have a
knack for dynamic
figures and layout
but he helps tell his story
with engaging facial
expressions as well. Pieces
like his Marvel Villains
image are full of those
little extras that bring you
back for another look.”

1
Christian Alzmann
sees a traditional
influence in Sean’s art
“Sean hints at hard
and soft edges to
tell the bulk of his
story, adding just
the right amount of details
where needed. There’s
nothing more satisfying
than a traditional style of
painting executed well by
a contemporary digital
artist and Sean fits the bill.”

3 Sean Sevestre
LOCATION: Scotland
WEB: www.seansevestre.com
MEDIA: Photoshop
Sean was born in France,

but now lives in Scotland
where he works on games
and films for clients such as
Wizards of the Coast.
“I went to university to study product
design, but very quickly realised that
I wanted to do art instead. So I left after
five weeks and have been doing all I can
to improve as an artist since,” he says.
Sean tells us that he’s focused on
improving every day and becoming
more thoughtful and knowledgeable on
painting and drawing, as he continues to
push his artistic skills.
1 TRIO “Painting a large, vista-type

environment is something I hadn’t
done for quite a while at the time of this
image. I was interested to revisit the
subject and see how far I could take it.”
2 ESCORT “This began with some

blobs of murky greens and reds;
I knew I wanted that colour palette.
Once the general blob palette and
atmosphere were in place it was just a
process of carving it into the finish.”
3 RIVER “This was just one big

experiment on water. I tried a lot of
new things and learned how and why
water looks the way it does.”
4 HORSES “This started quite

differently from where it ended up.
Originally the horse troop was a much
smaller part of the painting and the
focus was on a bunch of lilies floating in
the water. Eventually, I decided that the
balance wasn’t working and changed
the focus completely.”
SUBMIT YOUR
ART TO FXPOSÉ
Send up to five pieces of your
work, along with their titles, an
explanation of your techniques, a
photo of yourself and contact
details. Images should be sent as
300DPI JPEG files.
Email: [email protected]
(maximum 1MB per image)
Post: (CD or DVD):

FXPosé
ImagineFX
Quay House
The Ambury
Bath, BA1 2BW, UK
All artwork is submitted on the

basis of a non-exclusive
worldwide licence to publish, both
in print and electronically.

ARTIST NEWS, SOFTWARE EVENTS
In the last ten years, “rendering capacity

has increased, but is the content better?”
says Robh Ruppel, who paints his art both
digitally and traditionally.
© TSR/Hasbro, Inc.
20 January 2016
THE NAME’S BACK TO A NEW KIND
BOND... SCHOOL OF HELL
... comic book Bond. The values of hard work Austrian visual
Secret agent 007 will and discipline, plus a production studio
appear in comics for desk from high school, Salon Alpin has
the first time in 20 are clear in concept updated the circles of
years. We discuss the artist’s Long Pham’s Dante’s Inferno, in an
challenges with artist super-organised studio, atmospheric cinema
Jason Masters. in Montpellier, France. spot for a newspaper.
Page 27 Page 28 Page 30
Daniel Dociu helped

define the look of
Guild Wars 2, and
featured in our epic
landscapes issue 69.
10 years on…
The rise of
digital art
© DC Comics
Artist Adam Hughes’s cover for the All grown up Many advancements have been made, but is digital art
Cat Woman comic – he drew her
stealing ImagineFX’s logo on issue 67. any better than a decade ago? Garrick Webster finds out…
Ten years have passed since the first issue Flicking through the early issues and
of ImagineFX rolled off the presses. comparing them to recent ones, it’s easy
Despite the predictions of some media to make some subjective comparisons.
gurus, we are very much still in print! And Is the artwork that we showcase better?
the reason the magazine continues to Yes, it is. We’re certainly able to show more
flourish seems pretty simple: sci-fi and epic pieces. There’s generally more depth
fantasy art is a thriving area with a and much subtler lighting in many of the
fantastic community to support it. Our images. Often the anatomy of characters
readers are wonderful people. and creatures is better handled, and fewer
Back patting and mutual admiration elements in the images have an obviously
aside, now is also a great time to look at digital feel to them. While software today is
One of the most popular images on what’s changed in the world of art since that better for integrating disparate elements,
ArtStation since its launch – Rise of the first issue, which had a fantasy maiden on artists are more adept at giving everything
Horde Sarnuk Bloodsoul, by KD Stanton.
the cover by Korean artist Kyoung-Min Cho. a more natural feel.
January 2016 21
ImagineNation News
Another digital art
innovator, Stephane
Martinière’s art has
featured in the mag many
times over the years,
most recently in issue
119’s interview with the
French artist.
INDUSTRY INSIGHT
CATHY FENNER
A co-founder of widely respected art annual Spectrum, Cathy has
seen digital creativity come into its own in fantasy art…
When did you realise What are the best and worst things
digital art tools would to have happened thanks to artists
have a big impact? sharing work digitally?
Almost from the The best, perhaps, is the growth of the
beginning. We went to audience for all manner of fantastic
the national launch of the Mac art and the growing opportunities to
in 1984 and bought machines with interact and network with their clients,
a gigantic 8MB of RAM! It was the fans, and peers. The worst is a general
introduction of Photoshop and Painter devaluing of artistic skill and art in
that were the game changers: anything general: the internet has fomented a
became possible at that point. The culture of something-for-nothing. Far
addition of quality desktop scanners too many want art, entertainment,
opened further opportunities. information, whatever, for free without
having to compensate the creator,
Did you ever see it as a face-off much less respect their copyrights.
between digital and traditional?
As commercial artists we just saw it as When you founded Spectrum in
another tool in our workshop. Anyone 1993, what did you expect?
who dismisses digital art or We had no way of knowing what to
diminishes the abilities of those who expect. Spectrum could have easily
create that way is foolish. The been a one-and-done. But the art
computer creates nothing: it takes the community got behind it and, 23 years
skill and intellect of an artist to create. later, Spectrum has the largest
circulation of virtually any art annual
– all thanks to the artists, art directors,
and readers.
How much have women artists

been able to advance over the
previous 10 years?
There have always been women
illustrators and gallery painters, but
their accomplishments have often
been overshadowed by their male
peers for various reasons. As more
women pursued careers in the arts it’s
not surprising the number of women
fantasy artists has increased. Successful
art relies on imagination, skill, intellect
and focus. Whether it’s created by a
man or woman doesn’t really matter,
The latest edition of Spectrum, with cover art as artists like Cynthia Shepherd and
by French artist Bastien Lecouffe Deharme. Karla Ortiz among others prove.
www.spectrumfantasticart.com
Serge Birault’s distinctive pin-up artworks, such as Corpus Delicti (above), made
him a digital art super star on sites like cgsociety.org throughout the 2000s.
22 January 2016
Artist news, software & events
Depth, detail, dramatic
lighting… Xiaodi Jin’s On
the Way, is another of the
top 10 popular images
on ArtStation.
Blizzard’s Laurel D
Austin’s first featured in
ImagineFX in the FXpose
section, in 2011.
© Applibot Studio
Android Jones, who

revealed his thoughts
on art as the“ultimate
truth” in issue 70.
German artist Jana Schirmer has long fairy and give it a Japanese mecha twist Jana Schirmer’s Forest Exposé books, as well as the sites CGTalk
Spirit, from Legends of
been an ImagineFX reader and was a to come up with a very interesting-looking the Cryptids, displays
and CGSociety. Back in 2006, the latter was
member of our forums back hybrid. While image references were the artist’s skill with a go-to community for illustrators, concept
light that was used on
in the early days. She’s noticed available online back in 2006, today much September’s cover.
artists, and 3D and visual effects creators.
that sci-fi artists today are more are available for artists to pull down These days, artists have different needs and
better informed than 10 or 15 and use as inspiration. ArtStation is his latest brainchild. It has a
years ago. “Sci-fi art seems The online aspect of an bread and butter purpose that goes beyond
more inspired by actual engineering and artist’s life has bloomed in industry news and celebrating artists’ work.
function, while back then sci-fi leaned other ways, too. Leonard Teo
towards fantasy. With advances in was involved in setting up GLOBAL SHOWCASE
technology and our knowledge comes Ballistic Publishing and its “Artists in the media and entertainment
a more function-oriented art style.” industries find it extremely difficult to market
She notes that there’s been a move away
from a Lord of the Rings interpretation
Advances in technology themselves to find work and make money,”
says Leo. “ArtStation solves this by providing
of fantasy, to something broader with a
global mix of influences. An illustrator in the
and knowledge bring a more a platform to showcase artwork, create a
portfolio website, be found by studios,
Philippines might well take a Celtic-inspired function-oriented art style recruiters or clients, and eventually
January 2016 23
ImagineNation News
King of the Elves in
animated 3D brings
joy to Aaron Blaise.
ARTIST INSIGHT
AARON BL
AA LAISE
Hand-drawn animation is one casualty of the move to digital over
the past decade, says artist and educator Aaron Blaise
Based in Florida, Aaron Sea, which earned a well-deserved

Blaise has worked on all Oscar nomination,” he says.
kinds of animation On the other hand, he’s happy
projects for Disney and working digitally because
other big studios. For experimentation is relatively easy and
him, there’s something sad about how you don’t have to worry about making
hand-drawn cel animation is now a mistake. For instance, he helped Look out for our interview
a fading memory, particularly for develop a Disney film called King of with award-winning Julie
Dillon in an upcoming issue.
companies that pioneered the the Elves, seen below.
technique and supported it, such “The ink and watercolour images are
as Disney and DreamWorks. pre-digital days. While I like them for
“We’ve seen the virtual extinction of what they are, they’re a far cry from
hand-drawn, feature-length animated what the film would actually look
films. I’m so happy that some small like,” says Aaron. “The digital images
European animation houses are still are from my post-digital days. These
out there creating them by hand. A images much more closely resemble
great example is last year’s Song of the how I pictured the particular film.”
Aaron Blaise loves the

ink and watercolour One of Robh Ruppel’s many concept images for the TV series TRON Uprising.
illustrations he created “I am so proud to have contributed to its awesomeness,” he said.
for King of the Elves,
and the digital stills of
the characters.
www.creatureartteacher.com
Among the 10 most popular images posted on ArtStation so far is video-game
concept artist Andre Mealha’s Paint Trade image.
24 January 2016
Another ArtStation top image - Marek Okon’s
digital creation I’ve Got You (from the Illustration
Unchained Gumroad tutorial series).
make money. ArtStation is successful

because there really is a need for this.”
Then there’s the proliferation of online
learning. Artists aren’t just finding inspiration
online, they’re able to tune into a huge array
of tutorials and in-depth software guides.
Each one they complete can be another
step towards becoming a commissioned
artist, provided the material they’re following
meets pro standards.
The mish-mash of styles and influences,
and the spread of knowledge online, have
had some unforeseen repercussions. The
readiness of artists to borrow from several
cultures at once can result in a lack of
© 2015 Bungie, Inc.

meaning, as everything blurs together. In
professional arenas, phrases like ‘concept Hawaii-born Kekai
art’, which is a distinct practice, have Kotaki’s work for the
video game Destiny.
morphed in meaning.
Leonard explains: “We’ve seen the
dramatic birth and explosion of concept art,
which is kind of a misused term. Most of the More isn’t always better, although that’s a hard sell in today’s world.
Roger Deakins is one of the best working
concept art we see is actually illustration.
Most artists, when they say they want to
although that’s a hard sell cinematographers because his images are
concise and beautiful, and that has less to do
be a concept artist, mean that they want to in today’s world with the camera he’s using.”
design their own things. We’re also seeing What about the next decade? Perhaps the
a large blur now happening between application. “Some of the next phase of fantasy and sci-fi artwork will
concept art and production art. There is, in stuff is unbelievably good,” be measured by viewer experiences. “The
theory, a distinction between the two fields.” says Robh. “But I think there’s future of this genre will be the
a missing piece in a lot of increased immersion into
MORE ISN’T BETTER the work. Strong design, virtual worlds,” says artist and
Robh Ruppel – alongside the likes of Craig readable design doesn’t just happen, it animator Aaron Blaise. “That’s
Mullins and Rick Berry – has been a pioneer needs to be developed. There’s a piece of exciting. To be the creator of a
in the move to digital. While software like the education pipeline missing. world that you can place a viewer literally
Painter and Photoshop are globally available, “Rendering capacity has increased a into is crazy! What we’re seeing already is
and more or less affordable, there is room thousand fold, but is the content better?” astounding. To project another 10 years
for improvement when it comes to their asks Robh. “More isn’t always better, down the road… who knows?”
January 2016 25
© Dynamite (colourist Guy Major)

Illustrator Jason
Masters searched
long and hard for
old Bond comics,
to inform his work.
The new Bond

strips have clear
noir sensibilities.
Gone are Bond’s chauvinistic
A view to a thrill
cheesecake days and
insipid colours.
Shaken not stirred Artist Jason Masters reveals the challenges of reinventing
Ian Fleming’s James Bond for a comic book audience in the modern age
Dynamite comics’ James Bond 007: buy a Bond comic. I wanted to make a comic first time the Bond from the original books
VARGR marks the first Bond comic series that has an old-school feel about it, but with is appearing in a comic.”
to be released in over two decades. some more modern storytelling sensibilities.” There were strict guidelines from the Ian
Penning the series is writer Warren Ellis, Warren and Jason have injected new life Fleming Estate, but once he got the Bond
who hand-picked artist Jason Masters to into the franchise, with a Bond whose vibe look right, he was trusted to draw more
bring the quintessentially English secret isn’t far from Daniel Craig’s interpretation. (with regular checks from the estate).
agent to life for the modern age. Yet he harkens back to retro noir styles, Warren wrote very detailed scripts.
“The initial joy was quickly with the operative oozing the hard-boiled “It’s fun bringing that sort of nuance to the
followed by the terror of edginess of Humphrey Bogart and a limited page,” says Jason. “Making sure he smokes
knowing the in-built audience palette heavy on shadows. It’s created the correct cigarettes, wears the right shoes,
will have a huge set of entirely digitally: this is no chauvinistic has only the top button of his suit done. It’s
expectations,” says Jason, cheesecake work composed of insipid world building and it hopefully makes the
“especially those inherited from the movie colours and smarmy remarks. Jason looked reading experience more immersive.”
The new Bond has
franchise. I spent a lot of time trying to figure at elusive, older Bond strips. “I really wanted Find out more about VARGR by visiting
elements of Humphrey
out what I’d want to read if I were going to him to look like his own character. This is the Bogart about him. Dynamite Comics at www.dynamite.com.
January 2016 27
ImagineNation News
Here’s my trusty Smudgeguard Art textbooks, art books and
glove. It’s hard for me to use a other things – always handy
tablet without it, and I can’t for inspiration and when
recommend it enough you’re stuck.
Long Pham
Martial arts The values of hard work
and discipline run throughout this
concept artist’s organised studio space
I spend my day at my small
desk, which has everything
I need to work. The desk
itself I grabbed from a
friend back in high school.
I love being at my desk. It’s in a corner of
my house in Montpellier, France, away from
the windows to avoid any glare from the
strong sun of the south. I cleaned up the
place a tiny bit for this article – there’s usually
a few extra coffee mugs in view!
Working from home is the best approach
for me. I haven’t looked into shared studio
spaces yet but I know friends who love it, so
that may be something to think about in the
future. I really enjoy not having to commute
to an office, though. This is a small statue of
Guan Yu that was given
I use two computer monitors so I have a to me by an old friend.
lot of desktop space to play with. I also have It’s a symbol of
discipline, loyalty and
a small part of my library up on a shelf that’s respect that’s very
within easy reach, with inspirational artefacts strong, especially in the
martial arts and more
and art textbooks. broadly in Asia.
On an average day I just use my drawing
tablet – an Intuos 5 medium that replaced
my old Cintiq – and a small keypad for
shortcuts. I feel that the Intuos is easier to
work with than the cumbersome Cintiq. It’s
also easier to move if I have to travel. Having
Under my desk is my
said this, I find 3D work is often more filing drawer where
I keep pen sketches,
comfortable with the mouse. Other than the
written art lessons,
tablet I don’t use anything special, just a inspirational bits and
pieces, contracts and
computer that was built on a budget, yet has
references. I’m rather
decent processing power. I love mixing lazy and realised that
being more organised
workflows and experimenting with 3D,
is faster and less tiring
traditional media and Photoshop. in the end!
I do my work only during the day,
especially in the morning. I find that it’s a
great way for me to stay organised and
focused when deadlines are upon me. It can
be especially challenging to work from
home with so many distractions around you,
so a solid schedule is a great help for me.
Long is a freelance concept artist and
I have good vision, but recently got glasses to help with fatigue from using
illustrator. You can see more of his work at the computer all day. If you don’t wear glasses but feel tired or experience
www.longpham.net. regular headaches, it’s best to see an optician to check your eyesight.
28 January 2016
After a long day of work in the My old training sword that I keep to Even if I do mostly digital stuff, having a
entertainment industry, there’s be reminded of the values of hard sketchbook ready with a few decent pens is
nothing like relaxing with a work and discipline from kung fu. great. It’s always comfortable to use and offers
decent video game. Also, it just looks cool! a nice break from the computer screens.
I’m working on my own project: a small collection of illustrations I keep a good camera around and constantly take pictures, either
supplemented by my good friend Flo’s graphic design. I can’t for references and textures or general photography. It’s also a good
say much about it right now, so stay tuned! way to practise composition and lighting.
January 2016 29
ImagineNation News
Hatboy
by Vaughn Pinpin
Hell for the 21st century

Burning up Visual production studio Salon Alpin has updated the circles
of Dante’s Inferno in an atmospheric cinema spot for a newspaper
Founded in 2011, Austrian visual contemporary trappings, from smartphone
production studio Salon Alpin creates jails to factory farms. Luckily for Philipp, the
a range of work that focuses on good ol’ creative side was “heavenly”, as he worked
fashioned storytelling. For closely with advertising agency Jung von
Philipp Comarella, the Matt/Donau to develop a script that
studio’s co-founder, satisfied time and budgetary limitations.
illustrating a modern, As a small company, Salon Alpin uses
eight-level journey through regular hardware to create their images.
Hell meant delivering a clear style that “Frame-by-frame animation was blocked in
carried with it simple statements. Photoshop, then brought into After Effects
The distinctive new cinema spot for for additional composition,” Philipp explains.
Austrian newspaper Falter is filled with “All particles are recorded live action
Finishing an illustrated footage. We basically filmed real dust blown

scene in Photoshop
sped up production. into the air by our vacuum cleaner!”
The spot was created in two months, and
only introduced colour to accompany the
paper’s strap line of ‘Get me out of here’.
With the brief specifying greyscale, the
colour scheme was expanded after a long
dispute. “It was the right call to keep it as
dark as possible, because it emphasises the
timeless relevance of society’s problems,”
says Philipp. “However, we added colour
Philipp said he felt later for the print ads.”
inspired by the work
Learn more about Salon Alpin and watch
of Sergio Toppi and
Mike Mignola. Falter Inferno at www.salonalpin.net.
30 January 2016
The revolution
has been televised
Horsepower Out of this year’s Trojan Horse was a Unicorn art festival
comes THU TV, so all can enjoy the event’s unique user experience
Trojan Horse was a Unicorn over the past three years. “It’s got better
offers an intimate feel to a each year while keeping the same spirit,” he
global tribe of artists. And says. “It’s mainly got bigger with more
having finished its third year, awesome speakers, and each year I come
Louie Tucci hosted the six-day event and will
THU organiser Andre Luis back full of energy and inspiration.”
present some of the content on THU TV.
hopes that THU TV will bring the event, THU TV also enables users to see an
along with exclusive content, to everyone. intimate side of their favourite artists, with
For a lot of people THU TV will be the first the chance to interact personally with art explaining that, “THU isn’t just an event any
time they get to see what happens at the icons being one of THU’s main appeals. “I more.” With the future of THU still undecided,
Portugal-based digital arts festival, as the think learning about other artists’ the permanent online channel looks like the
event’s popularity meant that THU 2015 sold experiences and how they got to where they best way to see how its changed how artists
80 per cent of its tickets in just are now is extremely valuable,” relate to digital arts events.
nine hours. Artist and THU says attendee Anna Fehr. ImagineFX readers can claim 33 per cent
Anna picked up tricks
speaker Marc Simonetti has at THU that built on Organiser Andre Luis off the price of THU TV’s amazing content.
what she already knew
been fortunate enough to suggests that THU TV is a new Simply head to https://trojan-unicorn.com
and improved her
attend and watch it evolve creative workflow. direction for the conference, and use the code IFX_33THUTV2015.
Marc felt that the festival

gave him the chance to learn
from the best and receive
constructive feedback.
Anna says that getting

out of the studio and
creating experiences had
an impact on her art.
Marc says that THU

makes you feel part
of a strong and EXCLUSIVE
friendly community. IMAGINEFX
THU TV
OFFER!
THU’s got better each

year, and I come back full
of energy and inspiration
January 2016 31
ImagineNation
Your art news that’s

YOUR FEEDBACK & OPINIONS grabbed our attention
Contact Acting Editor, Beren Neale,
on [email protected] or write Kevin Dove
to ImagineFX, Future Plc, @Tymebandit
Quay House, The Ambury,
Bath, BA1 1UA, UK ”Here’s an old Rick
Baker-inspired illustration
Follow us on twitter: that’s been revamped.”
www.twitter.com/imaginefx
Tell us your thoughts on:
www.facebook.com/imaginefx The Art of Film: Fantasy (Volume 2) is a special edition
that features artists who worked on classic fantasy films.
More comic goodness animation art, and featuring Disney’s

I absolutely loved the indie comics 12 rules of animation, is on sale from
issue with Tank Girl on the cover 10 December. As far as other titles and
[issue 128], and just wondered if themes are concerned, we have to play that
you were going to continue to close to our chest, as getting the right
inject more comic goodness into content that would be relevant to the
your issues? I really want to get ImagineFX, and broader, audience, is a
serious about making sequential tricky business. I really like the idea about
art – perhaps some tips on how to illustration software for beginners – so
create your own storyboard, or much so that I’ve gone back in time and
how comic artists find/grab planted single page Core Skills series
attention from writers to looking at exactly that, on Painter, Paint
collaborate with! Anyway, keep Tool SAI, Procreate and many more, in Stjepan Lukac
Brett Parsons’ bright, bold
up the good work. take on Tank Girl on issue each issue of the mag. You’re welcome! @StjepanLukac
Kath Earle, via email 128’s cover heralded a new
direction for ImagineFX:
the world of indie comics. No Sith, Sherlock ”Dinosamurai fun
Beren replies Great to hear you liked our Love this month’s magazine, great work as times on train ride home.
Tank Girl issue, Kath, and all the comic art usual. I have to correct you on the Star Wars Inspired by Brynn
goodness inside (including 21st Century reference in your editorial though. Kylo is Metheney’s Dino
Tank Girl artist Brett Parsons’ workshop. I no Sith! Merely a dark Jedi affiliated to
love that guy’s style!) It’s always fun putting sub-sect cult known as The Knights Of
Astronauts”
together issues that focus on comics, so Ren... apparently. The Sith are long dead
much so that we’re aiming to release two after the events from Return of the Jedi, so
comic art-specific issues a year – previously I applaud this focus on new factions in the
it’s been just the one. Star Wars universe. Who wants a simple old
Furthermore, by testing out ‘indie’ comics repeat of the original trilogy?
as the main ‘hit’ on the cover – as opposed Anyway, here’s to the soon-to-be-annual
to the usual supes of DC/Marvel – we’ve Christmas-time treat from Lucasfilm/
hopefully opened up the range that we can Disney that is the rejuvenated Star Wars
pool from. So yeah, plenty more to come! franchise! Right, I’m off to try and win that
Sphero BB-8!
Keep it special Matt Squibbs, via email Claudia Dluginska
I’ve been enjoying the latest special editions
from ImagineFX, especially The Art of Film: Beren replies Yo Matt! Thanks for your
@_Claudai_
Fantasy (Volume 2), and the Learn To Paint letter – we always appreciate the eagle eyes
”My self-portrait”
& Draw special. They’ve really inspired me of our beloved readers. However, I must
to get back into art and illustration after a correct your eager observation. I actually
few years of inactivity! I was wondering if wrote of, “the possible Sith badass Kylo
you have any more specials in the pipeline? Ren.” I know, this could be construed as
It would be great to know what they might pedantic, but I specifically whacked that
be focusing on as well. Failing that, an issue qualifier in there because we knew so little
that explored illustration software for SO, YOU MISSED about the film at the time. So much so, that
beginners would also be really useful. OUR AMAZING I still wouldn’t be surprised if Kylo Ren
David Brewers, via email
ART OF STAR turned out to be a cruelly shunned Ewok,
WARS ISSUE?
despised by his vertically challenged
Visit http://ifxm.
Beren replies Hi David, we’ve got a bunch ag/ifxstore to get brethren who felt betrayed by his towering
of specials, or ‘bookazines’ as we call stature, destined to wear a mask of metal to Just finished something you want us to shout
hold of issue 129, about? Send it our way on Twitter
them... don’t ask, planned for the future. other past editions cover his guilty hairy cheeks forever more… (@imaginefx), or find us on Facebook!
I can say that a special one looking at and special issues! err, or something.
32 January 2016
Worldwide subscription offers
US readers: subscribe
for a year and save!
10th anniversary offer! Save up to 60 per cent.
For UK and Rest of the World deals, turn to page 40
PRINT DIGITAL PRINT & DIGITAL
Save up to Save up to
Save up to
55% 30% 60%
E
VA L U
B E ST
13 issues a year delivered Read ImagineFX on your Get the latest print edition
direct to your door with an tablet or phone instantly, with exclusive cover art, plus
exclusive text-free cover! via iOS or Android. the full digital experience.
FROM ONLY $95 FROM ONLY $54 FROM ONLY $114
Save up to 55 per cent! Price Save up to 30 per cent! Save up to 60 per cent!
based on a one-year subscription, Price based on a one-year Price based on a one-year
and includes shipping. subscription. subscription.
Subscribe to today!
VISIT WWW.MYFAVOURITEMAGAZINES.CO.UK/IFXX1N
Terms & conditions Prices and savings quoted are compared to buying full-priced print and digital issues. You’ll receive 13 issues in a year. If you’re dissatisfied in any way you can write to us at Future Publishing Ltd, 3 Queensbridge,
The Lakes, Northampton, NN4 7BF, United Kingdom to cancel your subscription at any time and we will refund you for all un-mailed issues. Prices correct at point of print and subject to change. For full terms and conditions
please visit http://myfavm.ag/magterms. Offer ends 15 January 2016.
January 2016 33
ImagineNation Artist Q&A
STRUGGLING WITH A PAINTING TECHNIQUE OR GET YOUR

TOPIC? EMAIL [email protected] TODAY! RESOURCES
See page 6 now!
Question
Can you help me convey the weight
and motion of a giant stomping beast?
Floppy Thompson, UK
Bobby Chiu
Bobby lives in Toronto and
Answer
works in the film industry, Bobby replies
painting fictional creatures A grizzly bear can sprint
and characters. He founded
up to 60kph, which is
Imaginism Studios, and
teaches art at Schoolism.com. surprising because
www.imaginismstudios.com grizzlies are huge, and
great size and great speed are usually
Tran Nguyen incompatible concepts. For this reason,
Tran Nguyen is a US-based
artist with an interest in conveying the weight of a giant beast
therapeutic imagery. Her crashing through the jungle can be
paintings are created with a difficult: we tend to think of giants as
delicate quality using
coloured pencil and acrylics. lumbering, not running with speed. In
www.mynameistran.com fact, even when a gigantic beast is being
depicted as charging at something, it often
Charlie Bowater looks like it’s running in slow motion.
Charlie’s a principal artist Again, this is because our brains don’t
working at Atomhawk Design
studios by day, and a naturally associate ‘big’ with ‘fast’, so
freewheeling illustrator and there’s a natural dissonance there. With a
doodler of anything and giant beast, powerful and destructive is
everything else.
www.charliebowater.co.uk
easy, but a fear response in the viewer
comes from adding speed.
Loopydave When I was asked to do this, my first
Australian artist Loopydave, thought was the “must go faster” scene
aka Dave Dustan, started out
from Jurassic Park. A T-rex is scary enough,
as a graphic designer before
switching disciplines and but what makes that scene truly intense
becoming a freelance artist. was that the T-rex was chasing the jeep and
So far, so good, he says. it was gaining on it.
www.loopydave.com
For this question, the key to showing
Robh Ruppel speed is in how the weight and energy of
Robh is a production designer the beast affects its environment as it
in games and films. He’s crashes recklessly through it.
worked on the Uncharted
series and TRON Uprising, as
well as with DreamWorks,
Disney and Paramount.
www.robhruppel.com
Artist’s secret
BECOME A MONSTER and act
Get into your creature’s pose
out its movement as much as you
nt
Need our advice? can. Even if you have a differe
you can still feel whe re the
Email [email protected] anatomy,
s will help
with your art questions and weight is in your pose. Thi Normally, the bigger something is, the
slower we expect it to be, and vice versa.
ght
you capture the movement, wei So the challenge here is to overcome this
we’ll provide all the answers! energy of your crea tur e. assumption in a believable way.
and
34 January 2016
Your questions answered...
Step-by-step: Question
Something big is What advice do you have for adding details
coming this way! to an image, and when to leave it out?
Jet Carter, UK
After I create a running pose for my

1 creature, I add falling leaves, splintered
branches and splashing water to show the
impact the creature has as it charges
through the forest. Because I want this
image to feel menacing, I paint it face-on,
with the beast coming at the viewer. It’s the
best perspective, and feels right.
For non-essential areas,

let the spontaneity of the paint
2
To give the effect of motion I add a Answer find itself. Consider leaving sections
simple Radial Blur to a copy of the Tran replies like the pink petals unrefined and flat.
image. I then apply a mask to the blurred Selective detailing will direct the
version and paint out the areas that I want viewer’s eye to the vital parts of the
to keep in focus. The resulting blur vs composition and help establish flow
focus contrast helps to make the beast in the narrative. With the use of
look like it’s charging, and gives the viewer value, I can emphasise the figure by laying deep
the feeling of retreating. darks against the brightest whites, like the
contrast between the black of her pupil and the
lightness of her iris. For secondary components
such as the wispy foliage, I keep it less rendered,
with very little value change.
I like to keep some of the unrefined brush
strokes as they are, to create a hazy feel (like that
of the blur effect), which also creates depth
Push your lights and darks in the areas that you want to
without detracting from her face. I know most emphasise, such as the figure’s piercing eyes.
of us have a compulsive urge to refine every
aspect of a painting, but keeping this under
control will allow for more atmospheric depth.
It’s also acceptable to use negative space to
break up areas of heavy detail. I keep the larger
3
I add a little target fleeing for a better
comparison. We can understand that
leaf shapes flat as a graphic element. Again,
contrast is key. The small fish shapes also serve a
Artist’s secret
a small creature is able to move quickly. By similar purpose, as well as adding movement to LOOSEY GOOSEY brush strokes
showing that the prey is in danger of being the composition. It’s most important to have Start your painting with very loose your wrist.
h the full mot ion of
caught, I establish that the beast is just as balance in your details: keep the focal point and paint wit
es and textures.
fast, which alleviates some of the mental rendered with a wide range of values, while This will allow for dynamic shap also the entire
Make use of not only the tip, but
dissonance I mentioned and gives my ensuring that its surroundings remain more
beast some motivation. expressive and obscure. belly of your brush.
January 2016 35
Question
How can I direct the viewer’s gaze and strengthen the overall composition?
Pepper Sandals, Australia
Answer
Charlie replies
There’s so many methods
relating to composition, I like
to keep it simple. I don’t want
Offsetting your subject at an angle (like
to be overlaying Fibonacci’s the character in this piece) adds more
Ratio over every one of my paintings! dynamism to the image. This motion can As humans we instinctively
A Rule of Thirds approach can help you then be used to add flow to the piece. look for faces in an image, so
check where you want the area of focus to keep in mind the viewer will be
be. You can draw in a simple box grid at drawn to another pair of eyes.
the sketch stage. Having the focus of your Contrast areas of detail (like the main
painting lying close to one of the cross- character) with simpler areas (the
sections can be more interesting than just
background) to give your image balance.
drawing the viewer into the image centre.
You can draw the eye to more detailed
Build on the focus of your painting by
areas, without bombarding the viewer.
adding supporting elements. The focus in
my example is the character’s face, but I
also want to lead the viewer around the
rest of the image. The lantern is another
area of interest, which again sits closely to
one of the cross-sections.
Finally, framing can guide the viewer
further around the image. I’ve used
magical swirls to enforce the path that
the character is taking, and to hint at
what may be lying ahead of her.
Utilise colour, especially in

terms of lighting. Notice
how the warm hues on the
character’s skin seem, and the
warm light of the lantern are
contrasted by the cool, cold
lighting of her surroundings.
Here’s a simple grid showing the Rule of Thirds,

how different elements can lie on the cross-
sections, and how you can frame the image.
Artist’s secret
THE EYES HAVE IT racter’s gaz e
Utilising the direction of a cha around a
din g a view er
is a great way of gui to a prop
can lead the view er
painting. You looking
rac ter
or direction by have the cha direction
e our eyes in the
that way. We mov
we see someone else looking.
36 January 2016
The wide-open mouth is
key here, along with tension
in the body to emphasise
the power and force of the
beast’s deafening roar.
Question
Please help me show a creature that’s roaring
Bingo Little, US
Answer
Bobby replies
Many actions and emotions squishing into a ball. These are the basic Think about the sound down from the palette as far as it can go
that the creature is
can be thought of as either principles that I keep in mind when making. Even though until the muscles and skin covering it
energy expending or energy approaching a mighty roar. nobody will hear it prevent it from opening any further.
from looking at a
conserving. For example, A big part of successfully showing the picture, this detail will These opposing forces – the mandible
yelling, cheering and anger expend emotion in a roar is effectively exploiting flesh out your story, trying to open and the cheek muscles and
which will inform the
energy, while sleeping, hiding and lines of tension. What’s moving when the subtleties that will give skin preventing it from doing so – are
sadness conserve energy. Energy- subject is roaring, where are these parts your image life. what cause the stretch. Naturally, the
Subtleties create a
expending actions tend to stretch one located, and what anatomy restricts them sense of believability. greater the opposition of these two forces,
out: reaching, pulling, stretching out. In from moving any further? For example, the tauter the stretch. Look for these lines
contrast, energy-conserving actions tend on a roaring or yelling person, the of tension and stretch them out to straight
to compress one in: huddling, curling, mandible hinges at the top and pivots lines to exaggerate a good roar.
Step-by-step: Did you hear that?
I emphasise the lines of tension As the mandible pulls away from the Think about motivation and emotion,
1 around the mouth area to 2 palette and the mouth stretches 3 and try to show that in every part of
exaggerate the force of the roar. There’s open, the flesh and skin above and below the body. I have my creature’s shoulders
no better way to communicate stretching the mouth should wrinkle and bunch up. up and arms back, elbows up to
than with straight lines, which clearly say, You can see that the front of the muzzle is communicate force going forward. The
“Any tighter and this thing will snap.” accordioning in multiple directions. mouth is open as wide as it can go.
January 2016 37
Question
How should I treat shadows on a character’s body?
Bolton Hole, England
Answer Drink Bere and learn a

Loopydave replies little bit about painting
shadows on skin with
There are various factors that Michelangelo and co!
will affect how shadows appear
on a person’s body. These
include the colour and strength
of the light casting the shadow, the nature
of the ambient light, where on the skin the
shadows fall, and proximity of the
character’s skin to other coloured objects.
What this means is there are no simple
rules for creating shadows, but here are
some basic guidelines.
First, avoid applying flat colours to your
shadows, because flat colours equals a flat
image. And expanding on this, as well as
tonal variety, try to use more than one
colour in your shadows.
Unless an object is actually black, try to
avoid painting with black because it will
deaden the area that it’s used on. As a
general rule of thumb, I like to use cooler,
less-saturated colours in my shadows, and
warmer colours for my highlights. An
exception, for example, would be a hand
holding a red can – as in my example. In
this case, I would use the red reflection in
the adjacent shadows.
Finally, a shadow’s softness or sharpness
is dictated by the type of lighting and
object’s shape. Yet because sharper shadows
help to make an image pop more, I like to
work my lighting so I can have a few feature
contrast and/or hard edge shadows on
show, usually around the neck, under the
nose or from an arm.
Step-by-step: Set your lighting, paint your shadows
Along with your preliminary sketches, In this case I’m using a primary Although I usually paint my shadows
1
work out your lighting source or 2 lighting source and a back or rim light 3 as I go along, in Photoshop it can be
sources before you start to paint. This step for dramatic effect. When using more than helpful to create a test layer above your
is pretty important: not only does the one light source, it can be simpler to work body’s paint layer, set it to Overlay or
lighting dictate the type and direction of out the shadows, shapes and highlights Multiply, and test paint (usually with a mid-
your shadows, but it’ll also set the mood one light source at a time, preferably tone olive brush) shadow shapes and
for your piece. starting with your primarily light source. appearance until you’re happy with them.
38 January 2016
Question
What’s the best way to indicate depth in a scene?
Ed Pheromone, US
In an alleyway, even with soft,
natural light, I pick a dominant
direction for the light and
keep the other planes lower in
value regardless of the
textures or local colour.
Answer
Robh replies To add depth, always
This is one of the look for the 1-2-3 side
reading. Make the
fundamental challenges in planes read with
art: overcoming the flatness different values, even
if the changes are
of the paper or the screen by small ones.
indicating as much dimension as
possible. There are conventions for this, This holds true if you’re looking into a
taught to artists and photographers space as well. You want to show depth by
alike, that are possibly getting having the 1-2-3 side read on an interior. If
overlooked nowadays with the you render all planes with the same value
increasing need to teach specific
software rather than concepts. Yet the
and same falloff, even though this can
occur in the real world, it looks bad. It
Artist’s secret
principles of readability remain. flattens out the space; it makes the space KEEP IT SIMPLE, STUPIDple
Applying perspective in your basic confusing and ambiguous. This, more often Always think in terms of sim
ng your
design is just the start. Getting a shape than not, is not what you want to do. So, readability. Imagine you’re givi
will ma ke
to look three-dimensional can be done the secret is to pick a dominant direction design to a sculptor who
ren der. If you r art
in tonal values with the 1-2-3 side read: for the light and subordinate the other exactly what you
each plane is assigned (or lit with) a planes to the dominant one. That way the bigu ous or inaccu rat e, tha t’s
is am
will
value to show off its difference in space. image retains depth and readability on the what you’ll get back. The viewer way.
r ima ge in the sam e
If you light them all the same, the scene flat surface. Exaggerate dimension, interpret you
remains flat and lacks depth. eliminate flatness.
January 2016 39
Subscribe and save!
UK and worldwide
subscription deals!
10th anniversary offer! Subscribe for a year and save up
to 67 per cent. For US readers, turn to page 33
PRINT DIGITAL PRINT & DIGITAL
Save up to Save up to Save up to
49% 37% 67%
E
VA L U
B E ST
Every issue comes with a text-free Get instant digital access and read Get the latest print edition of
cover. You’ll get 13 issues a year ImagineFX on your tablet or ImagineFX with exclusive cover
delivered to your door phone, via iOS or Android. art, plus the full digital experience.
UK FROM £40 UK FROM £41 UK FROM £48

EUROPE FROM ¤72 EUROPE FROM ¤54 EUROPE FROM ¤91
REST OF THE WORLD FROM $101 REST OF THE WORLD FROM $54 REST OF THE WORLD FROM $120
Prices based on a one-year subscription. Prices based on a one-year subscription. Prices based on a one-year subscription.
Subscribe to today!
VISIT WWW.MYFAVOURITEMAGAZINES.CO.UK/IFXX1N
Terms & conditions Prices and savings quoted are compared to buying full-priced print and digital issues. You’ll receive 13 issues in a year. If you’re dissatisfied in any way you can write to us at Future Publishing Ltd, 3 Queensbridge,
The Lakes, Northampton, NN4 7BF, United Kingdom to cancel your subscription at any time and we will refund you for all un-mailed issues. Prices correct at point of print and subject to change. For full terms and conditions
please visit http://myfavm.ag/magterms. Offer ends 15 January 2016.
40 January 2016
Need our help?
If you have a question for
our experts, email us at
[email protected]
Question
My artwork lacks any spark – what advice can you give me?
Girty Felt, England
Answer This fantasy portrait of an imaginary

Robh replies nightmarish creature is done in oil,
which is how I learned to paint. I carry
The key is graphic design. the same process into my digital work.
Painting still comes down to
making a compelling image,
which exists on a flat surface of
some kind. It needs to hold up as a design.
The shape, including the figure–ground
relationship, is the first thing to tackle. Is it
an interesting design? Have you used the
negative and positive spaces to their
utmost? This applies to all styles of art –
look at Jamie Hewlett, for example. He’s
a masterful designer of shape and negative
shape. Who’s going to argue with his iconic
Tank Girl or Gorillaz?
Once I have something sketched out,
I look at its silhouette. Sometimes I even
design a page of silhouettes first and pick
the most interesting one. If it doesn’t work
at this stage, it most likely won’t get any
better, no matter how much you add detail
and render it to death. Particularly when a
subject is invented (not referenced), I work
better with a plan. Happy accidents are
great, but certainly when painting in oil,
you can’t rely on them.
To minimise disaster I do a quick
drawing to work out the major forms. I then
paint in the traditional French Academy
way of laying in flat colour and getting the
form to turn by carefully modulating the
values. Once the optical effect of turning
form is right, I can lightly brush the tones
together, barely fusing the edges. This way
the strength of the form remains without
the overly soft, ambiguous form you see so
much of. The best painters control the form
by controlling the value!
Step-by-step: Develop your shapes

Good painting grows from good If it’s good enough for Michelangelo, Good form has integrity. You don’t
1 graphic design. If it’s dull at this stage 2 Rockwell, Leyendecker and the rest, 3 stumble on this, you make it happen.
then it won’t get better. If it’s exciting and it’s good enough for me. Painting isn’t You control your values, you control your
interesting as a design, you may have a performance art. It’s study and analysis. hue shifts. Squint and assess whether the
shot. It’s easier to adjust proportion and It’s discovery. I look for solidity, simple but form is solid. If you had to hand it over to
silhouette when it’s accurate light and a sculptor, would
just a black blob. shadow, and design they do it justice?
You can move things those half-tones. If Have you explained
around, check you can get that the form turns
negative and down, you may have accurately? Hard
positive reads, and a chance at a great and soft transitions
design with both painting. Don’t skimp are indicated with
factors in mind. on these steps! flat tones.
NEXT MONTH: ADVICE FOR COMIC PANEL PLACEMENT | PAINT WAR BANNERS | DEPICT A RANGE
OF FACE TYPES | SHOW A CHEERING CROWD | WORK AGAINST CONVENTIONS | AND MORE!
January 2016 41
STRIKING AT
THE BEAST
Warriors attack Craig
Mullins’ huge winged
dragon in this promotional
image done for Dragon’s
Dogma by Capcom.
42 January 2016
Craig
Mullins
He’s been a digital art innovator since the year dot, and
GARRICK WEBSTER discovers that the secret to Craig
Mullins’ success is ignoring the mainstream
January 2016 43
BOSS DEMON
Another promo painting for
the 2012 Capcom game,
Dragon’s Dogma.
ften when we interview an TOUGH IN THE I think Craig’s greatest strength is his
artist, the first thing they tell us COLONIES
is that they were drawing at an
early age. You always imagine a
Concept art by Craig for
Aliens: Colonial Marines
by Gearbox Software.
honesty, his pursuit of his own vision,
toddler prodigy drawing The Last Supper in
crayon, one foot off the ground in the
no matter what the mainstream trend
living room corner. Craig Mullins may well grades in maths or science, you can’t even into the office behind me and asks what’s
have been a talented youngster, but his get an A in art!’” so funny and I’m like, ‘It’s so funny, this
stories refreshingly different. You’ll also be amazed that Craig’s young thing’s ripping Titanic a new one.’ It was
For instance, it’ll give many struggling career wasn’t cut off in 1997 once you’ve Cameron. I saw it was him and pretended
young artists out there a little more hope to heard his James Cameron anecdote. Titanic I didn’t recognise him.”
learn that Craig Mullins – today one of the had just come out and Craig was waiting to We might not be talking about him now
most lauded concept artists in film and meet with Rob Legato, who was an effects if the Titanic director had turned nasty, but
video games – was nowhere near the top supervisor on the film. He sat reading a Craig went on to do matte painting and
of his art class. brutal review of Titanic in Premiere. concept art for films such as The Matrix
“I got a D in high school art – that’s “So I’m looking forward to seeing Titanic Revolutions and Final Fantasy: The Spirits
pretty hard to do,” he explains. “My dad and I’m sitting there reading this and Within, as well as the BioShock, Halo and
was very upset. He said, ‘You can’t get good laughing, ‘cos it’s so funny. Someone comes Assassin’s Creed games.
44 January 2016
CRAIG MULLINS
ARRRR!
Entitled Glowy Pirate,
this is one of Craig’s
personal pieces.
THE GLOWY
PIRATE
We asked fellow concept artist Iain McCaig
what his favourite Craig Mullins image is…
Craig Mullins might prefer working on his own, but he’s got
lots of friends in the industry and has influenced many more.
Iain McCaig first met Craig Mullins when they worked
together on Hook at ILM. Craig went through a pirate phase
some years later in his personal art, and the Glowy Pirate
reminded Ian of the time they worked together.
“This image is quintessential Mullins: light transcendent,
and detail only where you really need it. As usual, it’s Golden
Age of Illustration-classical, but so new you’d swear the
digital paint was still wet,” says Iain. “I think Craig’s greatest
strength is his honesty, his relentless pursuit of his own
vision, no matter what the mainstream trend.”
As for the future, although Craig’s talked about winding
down and doing more teaching, he’s also doing a great deal
of drawing with a view to painting traditionally again after all
BEWARE THE DERVISH these years. “As far as Craig’s work goes, as gobsmacking as
A promotional image painted it has been, I suspect the best is yet to come,” says Iain.
by Craig for Bungie’s Halo 2.
PROFILE
Craig Mullins
Location: Colorado, US
Craig has been working for film
studios and games companies
since the early 1990s. After making
his name at ILM, he struck out as a
freelancer and moved to Hawaii. He’s since
relocated to Denver, where he continues to THE MUSKET LINE
draw, draw and draw. The redcoats assemble in Age of
www.goodbrush.com Empires 3, by Ensemble Studios.
January 2016 45
GALLEON DISASTER
Sailors end up in the soup,
as Craig paints a progress
image for Age of Empires 3.
After high school, Craig attended

Pitzer College in Claremont, California to Working alone
take classical art training before going to
the Art Center in Pasadena – one of
meant I could
America’s most prestigious applied art digest those first
institutions. There, he discovered that
reducing distractions improved his artwork. three semesters…
After the first few semesters, his tutors were
telling him he had no talent and that he mind, but he feels the company saw the
was wasting their time and his money. He area as rather low brow. Nevertheless, the
needed to turn things around, so he shut Scrubby Zoom function introduced in CS5
himself away and put in some long shifts of was his suggestion. Hold your cursor over
hard work all on his own. the point you want to zoom into, hold both
“I digested everything I’d been taught to mouse buttons and move left to zoom in
that point. There were very contradictory and right to zoom out. It’s dead quick if
ways of drawing a figure I couldn’t make you’re using a stylus instead of a mouse.
sense of, but by working on it alone without Working digitally meant Craig could
all the pressure of doing the class work amend a piece faster than a painter,
meant I could digest those first three although there were plenty of limitations
semesters, which are by far the most and lots of crashes in the mid-90s. He
important as they’re the basis of everything. realised that thanks to this new thing called
I came back after 12 weeks and I was the internet, he might not have to work
getting A-plusses in all these different on-site anymore. He started demonstrating
classes I was failing before,” he says. email to the people he worked for, but it
took a while to convince them to get AOL
A TESTER FOR PHOTOSHOP accounts and look at his work when he sent
After graduating, he found work in it in. All the while, Craig grew frustrated
Hollywood creating concept art for movies with driving from Malibu to Los Angeles to
in the mid-90s. He discovered digital tools work with art teams.
and while working with ILM became an Eventually, he took the bold steps of
early beta tester for Photoshop. Originally going freelance, and moving to Hawaii.
embracing it in order to work with colour Similar to how he eliminated distractions
balancing, he practised what he calls ‘photo when he was at the Art Center, moving
bashing’. Using pieces of photos – figures, away from the studios enabled him to get
A TIME TO KILL backgrounds, whatever – he’d comp
together concept pieces.
away from creative group-think and
develop more as an artist.
Craig has helped give the
Assassins Creed franchise Occasionally, he’d send feedback on “Doing it in isolation has been useful
its unique look and feel.
improving Photoshop with concept art in because I got to a place that I wouldn’t
46 January 2016
CRAIG MULLINS
INTRICATE DETAILS
The complexity of Age of Empires 3
was captured in Craig’s images
promoting the game.
IN A SMALL TOWN
Concept art for The Bureau:
XCOM Declassified, by
Australian publisher 2K Games.
January 2016 47
IROQUOIS PARTY
Something’s about
to happen in this
tension-filled artwork
from Craig.
OUT SHOPPING
Concept art Craig did for
Incinerator Studios, on
an unpublished game.
have had I continued to work at ILM,” employers were like, ‘Wow that guy’s so
he says. “I went off and developed on my good he can move to Hawaii, let’s get
own and the influences on my work are ourselves some of that.’”
esoteric and a little bit geeky. If I was
working in a place the force of the MOVING ON UP
personalities I was working with may have After 15 years in Hawaii, Craig and his
imprinted themselves too much, whereas family went to Philadelphia for a year
the influences that I ended up being before moving to Denver in July. He’s about
infected by were more my choice. I had the 8,000 feet above sea level, which is a good
whole world to choose from – great artists metaphor for his career, seeing as so many
and musicians from the past – as opposed of today’s concept artists look up to him
to people I’m working with.” One of his favourite projects to work on
Being far away in Hawaii didn’t put was Darren Aronofsky’s 2014 film Noah.
production designers off working with The concept work he did for it is fantastic in
him. In fact, it added to the kudos. “I think both scale and detail, and he basked in the
that because I moved to Hawaii, more level of trust he received from the
Through his brushstrokes, Craig

CADAVER leaves a lot up to the viewer to imagine
Here’s an example of
Craig’s personal work.
and start creating their own story
48 January 2016
CRAIG MULLINS
IROQUOIS
PARTY
Remko Troost salutes Craig’s
strong storytelling skills…
Concept artist Remko Troost counts
Craig Mullins as an influence, and his
favourite Mullins paintings involve Native
Americans – particularly this image of a
group of Iroquois, with one brave
standing forward and looking with
concern at something in the brush.
“I love everything that’s history-
related, especially this period,” Remko
explains. “I’m also interested in myths
and legends from different cultures.
I have a lot of respect for Native
American people and the relationship
they had with the Earth and nature.”
It’s the tension in the image that
makes it stand out, he says. Something
is about to happen, but the viewer
doesn’t know what and while there isn’t
a lot of action in the image, the lighting
makes it feel dynamic and alive.
“Through the brushstrokes, Craig
leaves a lot up to the viewer to imagine
and somehow start creating their own
story,” says Remko. “The colours and
lighting add a lot to the believability –
there’s so much going on in his images
each time. It’s easy to get lost in them
and start dreaming up stories.”
production designer. Craig would draw it,

and the crew would build it. Being an
atheist, though, he had reservations about
the film’s message. Other favourite projects,
he says, were the game Age of Empires and
the all-CGI feature Final Fantasy.
However, it’s the personal work he did
between 2000 and 2005 that he believes
catches the eye of other artists. It changed
his style, he says, and it underlines his
belief in cutting out distractions and
focusing on being better at what you do. “I
was staying up all night doing this stuff and
I just had to do it. It was a compulsion, even
FINE BALANCE
Artwork for a limited
though I should’ve been working on real edition print for
Assassin’s Creed 2.
work. I just had to go paint a pirate at night
and it was gonna be so cool,” he says.
Today, Craig is doing something similar
again. The computer’s been put to one side
and he’s drawing like a demon, filling up
sketchbooks and thinking about how he’ll
tackle painting some of them. Printouts of
digital work just don’t have the same energy
as paintings when hung in a gallery.
Teaching is also a new avenue he’s
exploring, and he’s been on the circuit
giving talks throughout 2015. Watch for an
upcoming tutorial on Schoolism.com.
What’s his next goal as an artist? “Relax,”
says Craig. “I’ve been beating myself into
dust for a long time. I don’t have many
more mountains to climb, I hope. To a MORE
certain extent, would you ask the same MULLINS!
question of a plumber? You’ve reached the Turn to page 68 to
vista of fixing pipes. I sort of look at myself read our exclu
sive
as a worker in that way. I don’t think there’s workshop with
anything inherently special about being Craig Mullins. INTO THE GRID
an artist. Artists who wait for inspiration Background artwork for the
Disney TV version of TRON.
need to just get at it.”
January 2016 49
GHOULCALLER GISA
“The challenge for this
painting was to capture
her demented smile.
I painted her face many
times before I finally
found a toothy grin that
captured her insanity!”
50 January 2016
The Art of
KARLA
ORTIZ
Magic, all-nighters and
feverish film art: Beren Neale
enters Karla’s non-stop world
arla is talking about her childhood memories

of Puerto Rico, and the day that she became
an artist. Whenever her father was “feeling
lazy”, he’d take his daughter down to the
local bakery on the Caribbean island and
treat her. On one idle afternoon’s walk, Karla
noticed a new store filled with the wonders
of witches and warriors, announcing itself to the neighbourhood
with a large painting that stopped her in her tracks.
“They had this giant Magic: The Gathering poster of Brom’s
Desolation Angel in the window – this badass chick with crazy
wings. It just looked so amazing,” says Karla, “and I remember my
dad walking ahead, and I walked into the store. My dad didn’t
worry about it. He was like, ‘Of course she’s in there, of course!’”
The 13 year old got her first taste of illustration and was hooked.
Today, Karla’s as in-demand as Brom. It’s hard to pin her down
for an interview, not because she’s cagey about her craft – Karla’s
generous to a fault. It’s just there are only so many hours in the day.
Scheduled chats at art events are postponed by a flurry of fans
asking for advice, or her working on whatever epic piece she’s
January 2016 51
USING REFERENCE
“I use references a lot in my work, as
they give me the knowledge I need in
order to mimic reality. But I never copy
my references – that would severely limit
my artistic choices. References should
only be used as inspiration and
information only!”
got going. Skype interviews are delayed

last minute with short, frantic notes:
“Would it be possible to do this on Friday!?
It’s 5am here and I’m pulling an all nighter
on a Marvel film. I’ll be dead in an hour!!”
ART MARVEL
When I finally speak to Karla in her San
Francisco studio, which she shares with
Massive Black luminaries Wesley Burt
and Kemp Remillard, she’s exhausted,
rundown and feeling like crap. Having
just returned from talking at Bobby Chiu’s
Schoolism in Denver, Colorado, the artist
is burnt out. Still recovering from a fever,
it’s back to balancing film art at Marvel
with her fine art painting and ever-
increasing workshops. The thinking
behind this insane schedule is simple: “I
work well with deadlines. If I don’t have a
deadline I don’t do anything. So I reckon if
I say yes to all these things, at least I’m
getting stuff done.”
There’s order to this chaos. “Marvel’s my
main job, working on titles like Doctor
Strange, then on the side I do my own
gallery work, and somewhere in the middle
I work for Magic, or book covers. Now with
all the workshops I’m doing, and all the
travelling, it’s like, holy shit man! It’s non-
stop.” As I write, Karla has a workshop
planned in Bali, then she’s going to LA in that won’t be seen by the public until BALI WORKSHOP I was taken
February, followed by a talk in Seattle, then next year, or the year after. So I’m being “This was painted live
at a demo in Bali. It was
off to London and Berlin in April and
March. “Oh, I might be in Shanghai next
contacted for these workshops for stuff I’ve
done already, not for the films. When the
surreal to paint live for
so many people. It really
to this crazy
year at some point too.”
The pace was already picking up four
films hit, then it’ll be really crazy!”
made me feel love for this
visual language of ours.
It’s truly universal and
rainforest and
years ago, working at Kabam Studios. She GODS AND MONSTERS attracts so many
wonderful people from
told awesome
bagged her first Magic gig and the resulting
painting Teysa: Envoy of Ghosts (see right)
Creativity meant many things for Karla
growing up. Her dad was a musician,
all parts of the world.”
stories about
became her own Desolation Angel. Yet her
fans only know a slither of her work:
her mum was a fashion designer, and her
grandmother was a writer and painter
gods hidden
personal, book and card art. “My Marvel with an envious collection of classically in mountains
work and everything I did for ILM before illustrated books. “I’d draw partly because
my mum was drawing all the time. My dad
ENTENDER was always playing music, so it was really
“I was running out normal for the family to have their own
of time and needed
to be efficient with
quiet time to do their own creative thing.”
my marks. With Local Spanish and African folklore, and
more time, I might
have rendered out
the freshness of it.”
Puerto Rican myths and legends filled the
artist’s mind. “I was taken to this crazy
VITAL STATISTICS
“I was kind of a solitary kid”
rainforest, El Yunque, and my parents What’s When was your
would tell me these awesome stories from your age? big break?
the Indian tribes and how their gods would I just turned In 2012, I took
30 last week! on Jason Chan’s
be hidden in the mountain and all that Name your five book cover job
really cool stuff. I guess it was also because favourite artists. and created
I was kind of a solitary kid. My parents Hmmm... Anders The Order
Zorn, Sargent, of Deacons.
would move to places where there were lots Jean-Léon What does the
of neighbourhood children, but they would Gérôme, Iain future hold?
fail miserably! I was always more McCaig and More movie art, more fine
Craig Mullins! art, and more workshops!
comfortable drawing and painting,
so they always had supplies for me.”
52 January 2016
The Art of
KARLA ORTIZ
TEYSA, ENVOY
OF GHOSTS
“An illustration for
Magic: The Gathering,
Dragon’s Maze. Teysa
is the Orzhov Guild’s
champion. And she’s
judging you…”
© Wizards of the Coast
LILIANA, DEFIANT
NECROMANCER
TEYSA, ENVOY
“I wanted to capture a
moment where we see
OF GHOSTS
How focusing on joy helped Karla overcome
Liliana as an almost godly
figure to the undead that her the pressure of her first piece of art for Magic
necromancy powers control.”
“This piece was my debut for Magic: The Gathering. I
remember being so frightened that it took me two weeks
just to get a working sketch.
“There was a short brief detailing a smart, scheming,
magnetic and ruthless woman in her 30s. She needed to be
sat in a room with scrolls and hidden spirits that surround
her. I looked at films for inspiration, including Black Narcissus
and The Lord of the Rings.
“The whole painting was very difficult as there was the
pressure of it being my first Magic card constantly on my
mind. However, I realised that I needed to focus on just the
joy of painting, and not the outside pressures. I learned
a lot from this painting!”
January 2016 53
2 Creating values
“Once the lines felt right , I
immediately jumped in to render. I began
OMENS
Karla explains how spending time on
by rendering the area with the lightest
and darkest spot. This would help key the
values of the entire drawing. In the case
of this image, the hands were the first thing
the foundations pays off in the end I rendered as they had the lightest and
darkest spots in the entire drawing.”
3 Rendering
“Once I finished the face and
1 An obsession with lines hands (my focal point), it was time to
“The drawing took a long time. It was complicated, and render the rest of the image. I jumped
had a lot of very specific shapes that needed to be correct! I around a lot and rendered folds, or the
was also obsessed with getting the likeness of the model. It took background, or birds. It didn’t take long
me about four consecutive hours to get the lines just right.” till the image was done!”
4 The final
image
“This is the final image, called
Omens. It’s about a person
who encounters themselves
in the middle of a choice. The
hooded crows around him
represent a true omen. Is it
a good omen? Is it a bad
omen? Only our protagonist
will know. This image was
shown at the Moleskine
Project IV at Spoke Art, SF.”
54 January 2016
The Art of
A POLISHED SKETCH
“I love making polished sketches that
reflect how the final art will look. By
tackling composition, perspective,
colour and values early I avoid
confusion and headaches later!
And I can visualise taking
the painting to final.”
SERF AND HOUND

“This was for the Moleskine group shows. I was anxious because the
roster of artists was amazing and I hadn’t touched a sketchbook in ages.”
THE SORCERER OF THE WILDEEPS

“This was a cover for Kai Ashante Wilson’s
The Sorcerer of the Wildeeps (Tor). I had
recently come back from Europe and was
obsessed with classic marble sculptures.”
Then there were games. To this day, The Monthly Fuck It All, where everyone LILIANA, inspired and excited, because I could see
breaking open a video game instruction just drinks. There’s no painting at that one.” HERETICAL HEALER my skill pushing somewhere new. It felt like
book brings back floods of fond memories Karla stresses that she’s pushed by, and “A sister piece to Liliana, this is a new place for me to explore, and it
Defiant Necromancer. It’s
to Karla. “It’s like one of my favourite smells loves, her concept art, but her personal art Liliana before her jump changed where I want to go in the next five
in the world. I don’t know why. Maybe it’s is where she’s seen recent growth. “Early into darker worlds. She’s to 10 years. I want to spend 50 per cent
surrounded by omens and
the glue or something,” she laughs. 2015 I did a drawing of this guy I’m dating, premonitions of her not- of my time on concept art, and the other
Zelda and Super Mario were always on, Joshua (see left), and during the creation so-innocent future.” 50 per cent on my fine art work that allows
and when Final Fantasy VII came out, Karla something clicked. I felt really, really me to explore my thoughts, my skills and
started drawing human figures. “When gives me a personal space.”
I was a kid I was so in love with Sonic the
Hedgehog that I made a 120-page comic I was so in love with Sonic Karla has a talk called Do It All, where
she identifies herself not as a concept artist
book about Sonic going to Africa, because
I was also into The Lion King. My mother
the Hedgehog that I made a or an illustrator, but as an artist, period.
“I think there’s value in all kinds of things,
has the comic and she threatens me (I don’t 120-page Sonic comic book it all goes hand in hand, it’s all to do with
think she means it as a threat, I think she balance. God, I sound like such a hippy!”
means it as a compliment) to release it Perhaps, but she’s echoing the bigger
online. And I’m like, ‘Mum, no! This isn’t picture philosophy of another art hero of
something that would please me. This hers, and now a good friend, Iain McCaig.
would suck.’” Discovering his Star Wars concepts at 16
was a thunderbolt for Karla. “I’d never
JUST DO IT – ALL! seen drawing like that before, and it
In September this year, when French film- changed my perception of where I needed
maker and artist Loïc Zimmermann to go. Brom taught me about illustration
screened A Solitary Mann, his documentary and painting, while it was Iain who taught
on painter Jeremy Mann, the crowd saw a me about drawing.”
Karla cameo at a painting party. Bedecked Skip forward a few years of working
in their finest threads, it was just another feverishly at her craft, and Karla’s making
day for the San Fran art contingent. “I’ve
always kept myself active in the San
ORDER OF THE DEACONS good with those early influences. But as the
endless workshops attest, it’s her time to
Book cover for Philippa Ballantine’s The
Francisco gallery scene, and Jeremy is Order of the Deacons, Science Fiction Book make her own impression on a new
Club, art directed by Matthew Kalamidas.
one of my dearest friends. I also host generation of artists.
January 2016 55
PROFILE
Boris Vallejo
and Julie Bell
COUNTRY: US
Boris emigrated from Peru

to the US and carved out
a stellar career in fantasy
art. In 1994 he married
bodybuilder and model
Julie, herself a successful painter. They
now model for each other, frequently
paint together or even get competitive:
“Sometimes I look over my shoulder to
see what she’s doing,” Boris quips.
www.borisjulie.com
a rt m a st er s give us MOUNTAIN
-an d -wi fe fantasy sk et ch bo oks ENCOUNTER
a n d
The husb mpse into their respec tiv e “Private commissions can be
very enjoyable. This was one of those,”
a gli Boris says, giving nothing

else away…
56 January 2016
Sketchbook Boris Vallejo and Julie Bell
NORN
FATES
“On the right, working in
ballpoint pen,” Julie says, “I
was establishing my thumbnails
for basic composition. On
the left, I’m thinking more
about how those figures
will support my
composition’s
statement.”
MOTHER
OF APOLLO
“I had a photo of the model that I
was very inspired by,” Julie reveals.
“Sometimes this is the best starting
place for me. Then I just do very
loose sketches that help me figure
out the story that’s happening
in the painting.”
WILD
“Sometimes a photo is the best WESTERN
“A simple, very
starting place, then I just do rough sketch
can tell the story
sketches to figure out a story” very effectively,”

says Boris.
January 2016 57
SIREN
“I almost never work
my sketches in colour,”
says Boris. “Often, however,
I use duotone. I always start
with pencil on tracing paper.
From there, I scan the
drawing and add some
touches in the
computer.”
58 January 2016
FLAMINGO GARDEN
“Flamingos have so many possibilities in terms of shape and
direction of energy flow!” Julie says. “It was important to make
a decision that would create the framework for
the composition.”
“I love sketching winged

dragons. Their wings always
add to the composition”
WINGED
FURY
“I love sketching winged MYTHIC
dragons,” says Boris.
“Their wings always add
MAIDENS
“One of my favourite
to the composition.”
subjects is women in
nature,” says Boris.
SCARLET
AND FUSCHIA
“My goal in this painting,” Julie reveals,
“is to create a feeling of peacefulness and
luxury. I wanted to have movement in the
composition, but keeping the figure in
a fairly still position grounds the
whole image.”
January 2016 59
“Sometimes a model can
inspire the concept, other
times the concept dictates
what model you use”
TAVERN
SCENE
“A sense of humour
can be very refreshing
at times,” laughs
Boris.
60 January 2016
RHIANNON
“In making studies for my painting
Rhiannon I wanted to have both a feeling
of magical floating and a more earthly
groundedness. Lots of swirly lines,”
explains Julie.
CONQUEROR
“Sometimes a model can inspire the
concept very strongly,” Boris explains; “other
times the concept dictates what model you
should use for the finished painting.”
COMING
OUT
“Sometimes I just like to
let loose and allow the
pencil to help me
discover characters I
didn’t know were
hidden in the page,”
Julie says.
Want to share your sketches? Email us with a selection of your artwork, to [email protected]
NEXT MONTH’S SKETCHBOOK: OLGA ANDRIYENKO
January 2016 61
GET YOUR
RESOURCES
See page 6 now!
Workshops assets
are available…
Download each workshop’s WIPS, final image and
brushes by turning to page 6. And if you see the video
workshop badge, you can watch the artist in action, too.
Advice from the world’s best artists

64
This issue:
64 Be inspired by
classic Frazetta
Ross Tran modernises classic
fantasy imagery, with his
modern artistic voice.
68 Paint a scene
of awe and beauty
Craig Mullins paints a huge
interior basilica, using 3D
techniques and Photoshop.
74 Use light for a
Chiaroscuro feel
Mélanie Delon shows how
to work the light in a scene.
78 Help the story
to shine through
Eric Deschamps illustrates an
epic scene, searching for the
essence of adventure.
84 Capture the
74 78 84 spirit of a book
Discover how Todd
Lockwood crafts a cover.
88 Create lighting
setups for a film
Shelly Wan creates a range
of lighting scenarios.
92 Depict an epic
environment for a film
Raphael Lacoste shows
how to handle light and
atmospheric depth.
98 Know yourself,
know your tools
Thomas Scholes helps you
stay motivated and creative.
January 2016 63
Workshops
Photoshop
BE INSPIRED BY
CLASSIC FRAZETTA
Ross Tran shows how to work up a strong fantasy image efficiently and
with concise tools and methods, while still maintaining your artistic voice
his cover was a great challenge have a problem where either they start an options: two leaning more on what the
Ross Tran
T for me to embark on. My task
was to take an old-school
classic vibe and modernise
image and jump into it too quickly with a
messy workflow, or get so tied up by the
process analytically that their voice
client wants and one that’s more my own.
Doing this will help communicate that
you’re a team player and that you take
LOCATION: US it for today’s audience with my artistic doesn’t show through the piece. direction, as well as showing you’re not
interpretation. One of the main Versatility and communication are afraid to jump outside your comfort zone
California-
based Ross is inspirations I leaned towards was Frank some of your best assets. Being able to to express your artistic opinion.
an artist who Frazetta’s art. It was tricky to take his communicate to the client about what I hope this process will help guide you
works on essence, yet still keep my voice. they want, what you want, and how best through the steps on how to approach
films, games
and entertainment
I’m going to be showing you how to to represent their product or project, yet things in an organic and structured way,
properties. He’s currently create a great dynamic pin-up in a smart still keep the integrity of what you want to yet still keeping the fun and energy.
busy developing his own and editable format, while keeping your say with your creativity are great skills. Ultimately, I’m really happy with the
franchises and also
presents a popular
voice. Many artists and designers today What I like to do is provide at least three process and outcome of this cover!
YouTube show.
www.rossdraws.com
GET YOUR
RESOURCES
See page 6 now!
Exaggerate
I love exaggerating.
If something is soft,
make it even softer. If
something is hard, make
it even sharper. For this
one, I made the panther
extremely dark. Even
when I started shading it,
I darkened the values at
the end. Our brains love
contrast. It provides
Graphic shapes Shading and lighting
stimulation for us. I also
exaggerated the 1 I like to start simple. It’s good to establish something clear 2 I want to establish my lighting quickly. I like to make
darkness of the panther
and impactful. With a strong foundation, the rest of the process concise decisions early, to serve as a foundation when I need to
against the white of the
background. Contrast should be easier. After a couple of variations of the comp, we find answers to problems later. I quickly lay some tonal shadows
and stimulation will help land on a barbarian-esque lady and a feline. I want the shapes with an airbush. I put down basic shadows of the anatomy and
make a piece pop and be
and colours to be really bold and it’s a good general rule to have try to establish a good value read. With the shape on its own
more memorable.
things on separate layers when working for a client! layer, I lock the layer and have more freedom to experiment.
64 January 2016
In depth Inspired by a classic
January 2016 65
Workshops
Refining and designing Background implementation

3 I decide that black hair is too classic looking. I remember I want to use my own voice 4 If I work on the character too much it might not fit its
and create a modern piece. I love having a sort of white/purple hair. I think hasn’t been done surroundings, so I start on the background. Mint Cyan and
much before and it’s fresh and exciting. As I put it down on the canvas, the results are clear Salmon Pink are some of my go-to colours that I find appealing.
and I’m relieved. I commit to that decision and start to refine and design. It’s good to have I want to be loose, so I use an airbrush to find a nice, abstract
your own inspiration up next to you. Your experiences and things you’re inspired by translates composition for the background. I want the most contrast on the
into the pieces you make, so it’s good have some things to draw from. focal point, so I light the bright white light behind her head.
Curves
Ctrl+M (PC)
)
Cmd+M (Mac
e
e th is of ten. I sometim
I us
values
exaggerate
sh
to help establi
e.
a fresh imag
Background commitment Designing and refining

5 It’s great to work loosely, but I need to commit or the stage 6 Now I have my elements in order – the background,
will go on forever. I try to design all background shapes thinking composition, girl and general shapes – I start to design my
of the overall impact I’m going for. I want an essence of a characters. I pull from what I know – I work the main
moon or sun behind her, cutting through the composition placements like her costume and features. I want her to be soft
dynamically, fading off into interesting pinks. It’s good to always and dramatic, so I give her a heavy cat eye to enhance her
keep in mind your intentions. Here, striking is my key word. attitude. I begin to commit to the white/purple hair.
RESOURCES
PHOTOSHOP
CUSTOM BRUSH:
DEBRIS BRUSH
I love this brush for

adding detail on top
and extra complexity
to rough up paintings.
Polishing elements
BLENDING OIL BRUSH
7 I start to polish, making things clearer and identifiable.
I know it’s a panther so I look up some reference and start to
I like using this brush for polish away. The client wanted a knife of some sort, so I
my basic painting. It has implement that. I start to light her a little better so it pops off the
nice bristles that
page. I’m beginning to see the vision come to life and start to get
simulate a real life brush.
excited. So I bring in the elements I love most: tattoos!
66 January 2016
In depth Inspired by a classic
Everything is
intentional
I love this rule. I think
Flip canvas about the old Master
Edit>Keyboa illustrators and how they
rd shortcuts
(PC & Mac) paint. Every decision and
This helps to shape reinforces and
get a fresh
eye on thing supports another. That’s
s. Set up a
shortcut for why all the shape on the
flipping
the canvas he girl’s face has a general
re.
direction. It all points to
the centre, which help
gives her attitude. I also
positioned the circle
Critique and foxes
8 I send my version to the client and receive feedback. I switch the side of the paw, because I thought it was the other paw. I think
shape of my background
to contain the heads of
my subjects. It’s the flow
it’s important early on to establish which way left and right are. Because ‘the left paw’ can mean the panther’s left paw or the paw on
of my focal points.
the left side. I make the eyes smaller, which gives it more attitude, and change the knife. I start to implement the fixes.
Effects and layering

9 Everything’s in order now: the pose, the shapes, the 10 Applying Color Dodge
Once I’ve got the feline’s pupils finished, I get to the stage that is the proverbial cherry
subject and the colours. It’s time to add effects and layer some on the top for all my images! At the near end of my process, around 80-90 per cent in, I like to
roughness to it. I love the roughness of canvas, so I introduce Color Dodge my paintings. It stimulates a technique close to light. So I brush over my
textured brush strokes throughout. I also add debris, dust and paintings with an airbrush on Color Dodge mode and it instantly pops my painting. I have to
breakage, to give that extra layer of impact. I start to refine and be careful not to overdo it. Too much of anything is a bad thing. This is an instant satisfactory
polish things alongside of it. Everything starts to come together. step, so please enjoy!
January 2016 67
Maya & Photoshop
PAINT A SCENE OF
AWE AND BEAUTY
Craig Mullins paints a huge interior basilica using simple 3D techniques
and Photoshop, and populates it with characters from his back catalogue
elcome to my take on a concentric ellipses in the main dome are working, to see if new knowledge has any
Craig Mullins
W Renaissance basilica, a bit
like St Peters’ with some
steampunk influence thrown
subtle and have to be done precisely (but
not tight!) to look correct. I didn’t use 3D
to establish values, but that’s up to you.
light to shed on things. Paint a self-
portrait every year and keep them. In 20
years you might see some improvement.
LOCATION: US in. To do something like this you should I’ve painted the girl in the dress and the Ha, just kidding, let’s hope you do!
be up on your basic linear perspective. boy several times now. I think they imply One thing you might see is several
Craig is seen
as a pioneer of I’m using simple 3D to get the some of the a larger world that I’ve been adding to years of non-improvement followed by a
digital art. His ellipses correct, because the lens is very over the years. It’s interesting to see how breakthrough year. Improvement in art is
work has short (wide angle) and things can distort much I’ve learned over time. Sometimes like that sometimes: just grinding it out
graced book
covers and game cards, in strange ways. In addition, the it’s encouraging to redo a subject or way of hoping for a lightning bolt.
and he’s created
concepts for such games
and films as Halo,
Assassin’s Creed:
Brotherhood, Tangled
and The Matrix:
Revolutions.
www.goodbrush.com
GET YOUR
RESOURCES
See page 6 now!
MORE
!
MULLINSto e 42
Turn to pag
ur exclusive
read o
ith
interview w
s.
Craig Mullin
Save money
with Blender
Maya is a very expensive
professional program,
Simple sketch Applying 3D to the sketch
and worth every penny.
Blender is open source, 1 The first comp sent for approval is a monochrome, low- 2 I want to stay true to the unusual perspective. I’m using a
current, widely supported
contrast sketch. I know that the contrast will become higher and very wide-angle lens, so the distortion is difficult to do by eye. But
and has countless active
users. If you’re not the colours more varied, but sometimes a simple sketch is all you the 3D is simple: I take a sphere and four cylinders, select all the
a full-time pro or need to get the go-ahead. I want to have the feeling of a space vertices below the midpoint and drag them down. I model the
working in a studio, give
that’s filled with light, and the easiest way to show this is to steps out of duplicated boxes. There’s a cheat in the perspective.
Blender a try!
exaggerate the light and colour bounce of all that sunlight. Can you find it? I’ve done it for composition reasons.
68
69
Which brush?
I have trouble
remembering what brush
does what, so sometimes
my process is a little
backwards. I choose
a brush that I think is
appropriate to do
Control the contrast Treat values with care
what I want, but I usually
get it wrong. So I have 3 Now I glaze over my cool colours with transparent warm 4 I continue to work mostly down in value, and take note of
a brush active that’s
doing something I didn’t
ones. The entire architectural portion has a narrow value range, areas that are of a darker local value (meaning that they’re just
anticipate, and so I try to or low contrast, consisting of middle to high values. A lot of dark objects to begin with). How dark these objects are in your
figure out – based on getting a painting to read properly involves controlling your painting depends on how far away they are, the density of the
what it is doing – either
where I could use it, or
contrast. Some of the textures are quite ‘active’ at this stage and atmosphere, how many particulates there are floating about, and
how I could use it in I’d have a similar problem if I were to make a dark mark. so on. It’s a matter of sneaking up on these values moving
unexpected ways. One of the keys to atmospheric perspective is precise control around the image, because all your values are so interdependent.
It can slow things down
over contrast, the trick being to achieve variety in colour and If you look at the final image and how dark that fountain is
a bit, but it can also open
up ideas and ways of value, but in a very narrow range. As I glaze (and scumble) over and tried to paint it that way at first, then you would have the
working that you never the image, I “quiet down” some areas, making the colour and ‘hole in space’ problem. So I would recommend gradually
might have come
value range more narrow. Make a selection on your image and hit glazing down all the areas you think might be dark, so that they
across otherwise.
Cmd+L. The histogram tells you how much contrast an area has. support each other and make sense overall.
Do it right first time Practical considerations

5 Here the darks continue and some of the shapes are becoming more defined. It’s a 6 Having said this, the time and lack of flexibility often
dialogue between the artist and the painting. The fountain has more contrast than it needs, makes cool stuff like this impractical when creating
but I need those extra values to get those figures to read. I can always glaze back over the commercial art. What if the client doesn’t like the sunbeam?
top of them to lower the contrast. The time that it takes to paint it into the image is considerable.
This is an interesting point, though. Best practice would be to paint things to their proper Another concern is that, as I explained in the previous step,
value at once, with no wash or glaze later. A lot of digital art abuses this, though. An example I don’t know what my final values are going to be. It’s difficult
would be if I wanted a shaft of sunlight coming through one of the windows: should I paint to repaint that sunbeam at a different key several times.
all the information that’s behind the sunbeam at a higher key, or paint it with no sunbeam I usually take the middle road: paint it as close to the final
and blat some light yellow at the end? Given that we’ve all done the latter, try to paint that value as you can, and then you can be delicate with an
sunbeam into the painting itself. It takes a lot of work, but the results could be worth it. atmospheric layer at the end.
70
A fresh approach to
7 the structure
Here I’m concerned with two issues. First,
the image has too little variation in
material, like it’s a toy made out of plastic.
Big complex structures like this have a
million different materials, and
suggesting them all means contrast, and
that destroys the feeling of scale. The
second problem is the design doesn’t feel
steampunk enough. It looks too much
like St Peter’s, which is the main
inspiration for the space.
So to solve both problems, I stop
worrying about glazing values from light
to dark slowly, and start throwing in darks
with abandon. The rationale is that there
are many exposed structural elements
made out of iron. I put all these darks on a
separate layer and paint them in quickly
(but not so quickly that the crudeness
might affect my evaluation of them) to get
an idea. In the end, I do keep some of
them, as you will see as we move along.
71
Study HDR imagery
8 So now I’ve backed off a lot of the
structural pig iron, because it seems to
have the space-punch problem. What
I do instead is paint the foreground a little
darker. The idea is that the tunnel the
viewer’s standing in has very little light
coming into it.
This is a convention that I wanted to
avoid, but time made it the best course.
Imagine that you really were standing
here, in that space: you wouldn’t see this
foreground as dark. If you took a HDR
(high dynamic range) photograph you
could expose the foreground just fine.
Would the image become flat? Perhaps,
but I think it would have an interesting
look. Instead of showing volume through
light and dark masses, it’s shown through
precise high-frequency detail. The dark
foreground is a well-known painting
convention. If you have the time, look at
HDR imagery and analyse how it works:
it’s a different way to think about things.
You now have one more possibility in
your toolbox on how to show form.
72
Use standard
brushes
Contradicting my earlier
Pro Secret, I feel that
there’s too much
emphasis on brushes.
I used the stock
Photoshop brushes for
the first 10 years of my
career, mostly because
Photoshop didn’t have
custom brushes. A lot of
people have even said to
me they liked my work
better when I just used
the Round brushes.
I use the stock brushes
all the time, and when
I’m having trouble or
trying to learn, I use the
simplest brushes I can.
There are so many
Don’t just push lights and darks variables in painting, so
9 The basic space is reading okay, so it’s time to start adding detail and figuring out what some of the architecture will be. I also
do everything you can
to simplify what could be
set the bottom of my value range. Once you have that ‘floor’ you can reckon up in there. The opposite end of the value range is easy; causing you trouble.
the windows in the dome are always the top end. I figure that the paintings up on the walls would probably be the darkest dark. Custom brushes poorly
used can make your
The local value is black and is receiving not much light, which means it will be dark. You can almost make an equation out of it.
work much more
Local value x incident light x distance = value. As the distance goes up, value goes up too, depending on how much haze there is. difficult. Fancy edges
In addition, notice that I’ve decrease the value range of the figures in the fountain. Some of the light values are very overstated. and textures won’t hide a
lack of understanding in
This is an easy trap to fall into if something isn’t reading: just push the lights and darks. Slow down, make better shapes and better
the art basics.
drawings, and you’ll improve as an artist.
Don’t trust your eyes

11 Sometimes it’s important to really measure the scale of things. The girl in the black
Polishing the scene dress was gigantic: I didn’t see this right away, and wasn’t even sure that it was true. But
10 At this stage in the painting process I’m just adding detail measuring things in perspective is always a good thing to do. This is especially true if there’s
and defining materials throughout the scene. I’m mostly doing any type of wide-angle distortion or other unusual perspective, because your eye isn’t as
this by dropping down in value. reliable in such cases where the eye doesn’t have as much experience.
73
Workshops
Photoshop
USE LIGHT FOR A
CHIAROSCURO FEEL explains how to work a mysterious light, from two
sources, into a scene while painting an intense male character
ight is a crucial element in a me to develop the image, gives it a strong going to affect his face, while the
Mélanie Delon
L portrait painting, because it
brings life, shape and volume
to a character. Light and
foundation, and saves time later on.
For this image I want the light to look
magical but also mysterious and very
secondary one will be warmer, more
diffuse and will come from behind.
I always try to work the light with
LOCATION: France colours are connected, of course, and contrasted, giving the scene a Chiaroscuro complementary colours: this brings
I need to work with them to achieve the feel. Because it’s a portrait, I decide to balance to the final illustration.
Mélanie’s a
freelance right result. The light can also tell make the character’s face the focal point I start painting by working with big
illustrator who different stories about the same character. and play with his eye colour. I want to colours and light blocks, and keep the file
specialises in If I need to paint a complex lighting give him a dangerous, unhealthy size as small as possible. This helps me to
fantasy. She
divides her time between
scheme I always take reference shots. countenance. To strengthen this effect I’ll develop a quick composition that’s easy to
working for different I consider what lighting I’m after during have two light sources. The primary correct or change if necessary. Okay, let’s
publishing houses and the very first stage of the concept. It helps source will be cold and bright, and is see how my portrait takes shape!
developing her own
personal works.
www.melaniedelon.com
GET YOUR
RESOURCES
See page 6 now!
ed
Group select
layers
)
Cmd+G (Mac
Ctrl+G (PC)
oup layers
I use this to gr
that I do n’t want
to merge.
Find the concept Apply the first colours

1 The first thing I do is to quickly find the concept and 2 After scanning in my sketch, I choose my colour scheme.
composition. I want to create a male fantasy character, with a I want it to be very desaturated at first with few hints of colours;
touch of punk, surrounded by birds. So I start with a rough just enough to see the different elements. I like to keep
pencil line art and a messy colour test for the character’s design. I everything simple at the beginning. The light here isn’t defined
like to be sure of the colour scheme before I start the painting because I’m still looking for the character. I use a soft Round
proper. I also decide that the main light will come from the top. brush because there’s no need for details yet.
74 January 2016
In depth Control light
January 2016 75
Workshops
Make use of a
special halo
I like to add a halo shape
when I want to depict a
special light. I’ve used it
in the background of this
portrait. It can be
created from a basic
round shape with blurred
outlines or with a basic
Round brush set to Wet
Edges. I apply the shape
on a separate layer and
adjust the layer
properties until I find
Reworking the composition Define facial features
something that looks
interesting on the canvas. 3 It may be a portrait, but I think I need to add some space 4 With the same soft brush, but with Shape Dynamic sets to
around him. So I decide to crop the illustration and expand his 0 per cent, I start to define his facial features. I’m adding some
environment. Empty space is important in a composition – my reds around his eyelids and a very light mauve to create some
character needs to breathe! I increase the main light on his face dark rings under his eyes. I like to use these two colours as a skin
slightly and then place the warm light behind him as a diagonal base because they add a realistic touch to any complexion.
shape, just to add more dynamism to the composition.
RESOURCES Defining the silhouette Tell a story with the eyes

5 I want my figure to be massive with the focus on his face. 6 Now I work on his eyes. I choose a pale blue that will
So I choose to wrap him into a huge, dark green cape. To increase contrast with the red skin base. I want him to look ill, with
the dynamism of the composition, I ensure the cape follows the almost translucent eyes. I use both my custom Texture and
same diagonal as the second light. This add a subtle sense of Detail brushes for the eyelids, and paint small dots of light on
PHOTOSHOP movement. I light his arm slightly by adding a pale green with the eyeballs. His skin must also reflect his story, and adding
CUSTOM BRUSHES: my soft brush. I want contrast while avoiding strong shadows. some scars around his mouth is a cool, mysterious detail!
DETAIL
I use this one for tiny,

precise details. It’s
extremely useful when
I need to add definition
to any kind of element.
SOFT
This is my basic brush,

and I use it to sketch,
blend colours, add light
and even create texture.
TEXTURE
Develop the dark cape A hand with a dagger

7 I gradually bring more volume and shape to the fabric 8 At this point I think the composition looks a bit empty,
It’s the brush that’s
between the other two.
using my soft brush. I gently increase the light intensity and and so I decide to introduce a hand holding a dagger. I choose
It’s perfect to bring in colour saturation. The light here is very diffuse and soft, and not to add too much detail to this new element and keep it in the
more texture without too I want to suggest folding fabric folds with an Old Masters look. shadows for now. The lower part of the character is too dark, and
much definition, and has
I keep my brush strokes visible: this adds texture to the fabric. the dagger will help me to break up this darkness, as well as give
a lovely brush stroke.
the composition extra dynamism.
76 January 2016
In depth Control light
Colouring the skin

9 Now that the face is starting to come together, I decide to 10 We need more contrast!
I bear in mind that the main light comes from above. As such, the forehead, nose and
push the colours and choose a more vibrant colour scheme. I add cheekbones all catch the light, so I have to apply more contrast on these specific facial
some orange to the inner part of the eyes and increase the light features. To do this I simply use the Brightness/Contrast adjustment tool and play around
and shadows to increase their intensity. I choose a pale violet with it until I’m happy with the outcome.
and paint some veins on his forehead. Little details like these
help to achieve a realistic look.
Completing the composition

11 I finish off the last few elements such as the golden halo 12 Adjust the colours
Photoshop’s Color Balance tool is ideal for giving an
Eyedropper
tool
I (Mac & PC)
and the hand. The dagger needs to stand out a bit more, illustration those finishing touches. It’s good for quickly The wheel fea
ture is
extremely us
otherwise it’ll be lost in the shadows. I add a huge bright glow of unifying the whole painting, especially when the light is really eful when
I need to choo
light and refine the shape of the blade with the Detail brush. strong. I choose to apply a more subtle blue to my composition, se and
compare dif
ferent
I also add some magical dots of light all around the character. because my background light is mainly orange. hues.
This helps to emphasise the darkest parts of the composition.
Compose a
tone base
When starting a painting
I tend to use mid- to
dark-tone colours as a
base. I find it’s easier to
add and work the light,
than to start with a very
light and bright base. It
13 Boosting the intensity

It’s now time to add the last touches of light to his face. 14 Adding the final details
The painting is almost finished. All I have to do is to add
enables me to control
the shadows from the
beginning. I always
I work it as a whole with a big Soft brush, like a glow. I pick a some extra glow on the halo, to make it a bit more magical. Then
colour them and never
very light pale blue and apply it all over his face. Then I set the I slightly blur some parts of the silhouette to blend everything use pure black. Black
layer mode to Screen mode with a very low Opacity setting. together. I use the Blur tool on a very low Opacity for this, usually makes any colour
look ‘dirty’ if it’s used
I keep in mind that this light comes from the top and so I extend because it gives me more control than the Blur filter.
for shadows.
this glow all over his hair, too.
January 2016 77
Workshops
78 January 2016
In depth Telling a story
Photoshop
HELP THE STORY
TO SHINE THROUGH
Eric Deschamps illustrates an epic scene from his story Spirit Season,
searching for the essence of adventure as he designs the composition
y aim with this workshop is to intense as a full-blown fight scene, but it One advantage of working digitally is
Eric
M work towards conveying one
of the driving forces of the
Spirit Season storyline:
did need to provide plenty of motion to
the composition. Aside from the action
what else adds a sense of adventure to a
also something that can hold an artist
back. This is the ability to make changes
at any point. A digital artist can always hit
Deschamps adventure. Specifically, I want to relate story? How about an object or element Undo and can endlessly work on top of
LOCATION: US the girl’s feeling of awe as she travels that’s out of the ordinary, which can hint an image. The same can’t be said for
swiftly over a vast landscape. at a story or past history. I will shoot for traditional media. The drawback is that it
Eric is an
illustrator for Before you start, make sure you have a that as I move forward. can lead to too much trial and error,
young adult purpose to your piece of art. I decided It’s also smart to set one personal side draining the life and spontaneity out of
novels and
early on before any pencil touched paper goal for each piece you do. For this piece the art. I fought with this a lot in the past
Magic: The
Gathering. He has a love that I wanted to showcase action and of art my goal is to capture a specific and it still creeps in at times. Plan ahead
for bold colour and zig- adventure. The action didn’t need to be as ethnicity for the main character, Aurelia. with plenty of thumbnails and sketches!
zagging compositions!
http://ifxm.ag/eric-d
GET YOUR
RESOURCES
See page 6 now!
Put aside the

keyboard
I try to use the keyboard
as seldom as possible.
Using keyboard
shortcuts is an easy way
to develop repetitive
strain injuries in my wrist
and I’m not convinced
that they’re any more
efficient than mapping
shortcuts to my tablet.
Option/alt is on my pen
Sketching the action Visualising the environment
for colour picking. Brush
size is the slider on the 1 I want Aurelia hitching a ride on the back of a creature 2 I’m not sure what the background environment will be, so
underside of my Cintiq.
Step Backwards, Flip
with her pal Rohu clinging on tight. Once my rough sketch of I experiment a bit more in Photoshop before I move back to my
Canvas, Merge layers, the adventurous trio is complete, I scan in the page. I then look sketchbook. I ditch the idea of the trio emerging from an
Zoom in and Zoom out for any adjustments that can be made in Photoshop to improve elliptical void. The edge of the canvas will crop the creature
are mapped to the
the drawing. For example, I stretch out the creature’s legs to rather than a void. Even though it’ll be cropped, I draw the
Cintiq’s ExpressKeys.
increase the sense of motion and action. creature in its entirety so that I get it right.
January 2016 79
Workshops
Hinting at a larger story Drawing Through

3 The girl and her friends provide the action for the piece, 4 The interaction between Aurelia and the clinging Rohu is
Rotate Screen
R (PC & Mac) but I want some mystery to hint at an underlying story. The tough to draw. I won’t be able to pose a primate for reference, so I
d
screen to fin
Rotate your landscape will serve that purpose. The rolling hills are carved up improvise and find plenty of internet reference. I draw over the
st orien tation when
the be
th curves. as if some enormous entity has sawed through them. I bring the top of my pencils – blue for Rohu and red for Aurelia – making
drawing smoo
reset closest hill even closer to the foreground. It now angles down the sure I draw her arms and legs through the big creature. I want
Press Esc to
the view. composition, adding to the angular motion of the big creature. Rohu to look scared, while Aurelia hasn’t a care in the world.
RESOURCES
Time for more reference Refining the face

PHOTOSHOP 5 I notice the perspective on Aurelia. We should be looking 6 The biggest challenge will be Aurelia’s face. I want her to
CUSTOM BRUSHES: up at her from below, instead of at eye level. Lifting her head to have facial features and skin tones most often seen in Central
THIN TEXTURE (INK)
see more of the underside of her chin and nose is an America. I don’t have these features and am also not a 14-year-
improvement. It may help with the friend’s arm across her neck, old girl! Up on my second monitor I have a slew of portraits of
which is also bothering me. We should also see the underside of people from Nicaragua and Honduras. I study nose, lip and
This brush was used for
the majority of the
her dress. So I go outside to shoot a few quick references. cheek bone shapes, as well as skin tones and even hairlines.
painting. It’s my go-to
brush at the moment.
PLASTIC WRAP –
STANDARD
I have this brush set to

the Smudge tool. It gives
a bit of streaky texture
when blending.
NATURAL BRUSH
SPONGE W/ ROTATION
Used to lay in the general

form of the foliage.
Exploring the colour options Refining the colour
F FUN BRUSH EDIT 7 With Aurelia and Rohu less of a mystery for me, it’s time 8 I start adding in blues and carving out clouds. I’m not
to try out some colour schemes. I first settle on a purple and blue interested in a typical blue sky and green hills scenario, though.
scheme. This will only work if the scene takes place at night, An autumn foliage scene would give me more options. I use
I used this brush to finish which won’t show off the landscape. I also want the viewer to see yellow foliage interspersed with evergreen and patches of red
the finer details of the the planet in the sky, the way we would see the moon in the foliage. I tend to use saturated colours so I spend time trying to
tree foliage.
daytime, only much bigger. limit the number of colours in the image for counterbalance.
80 January 2016
In depth Telling a story
Pen rotation
I don’t use the standard
Cintiq or Intuos pen. I use
a Wacom Art Pen that
detects Rotation. Most of
my brushes are set to
Rotation. Click Window>
Brush>Shape Dynamics.
Under Angle Jitter select
Rotation in the drop-
down menu. With this
pen I can use a brush
shape that’s oblong,
making thick or thin lines
without the guesswork.
Astronomical research
9 The story’s set on a habitable moon with its parent planet 10 Clouds should help the composition
The clouds aren’t working with the composition. I don’t
As I rotate the pen in my
fingers, I can see the
brush rotate on screen.
large in the sky. I research how The Earth looks from The Moon like how they make a nest for the planet. I use the Transform tool
and how The Moon looks from The Earth in the daytime. The to warp them into a more angular shape, adding to the overall
darkest areas of the planet disappear, blending with the blue sky. sense of motion in the piece. Now the clouds cut into the planet
It’s difficult to resist adding lots of detail and heavier darks to the rather than resting underneath. The right edge of the planet fades
low-contrast planet. The subtle rim glow brings it to life for me. into the sky, which helps it feel less solid.
Full Screen
F (PC & Mac)
Toggle betw
een full,
standard an
d maximised
screen to se
e your art
without tool
menus
on show.
Subtle details help the concept

11 The cuts in the hillside reveal the bedrock. I describe the 12 Atmospheric perspective
The foreground hill is the darkest with the most contrast.
texture of the bedrock vertically. It’s more interesting to show Each successive hill going further into the distance is lighter in
layers of sediments instead. The lines of sediment don’t need to value with less contrast. Atmospheric perspective gives the
be exactly horizontal or vertical either. Angling the texture of the viewer a sense of depth. Using repetitive shapes like the hills here
bedrock not only adds visual interest, it also gives the viewer a is a device that works well to enforce a sense of space. The
peak into the history of an active landscape. widening slices in the hills also help reinforce this feeling.
Use Creative
Cloud Libraries
Use the Libraries window
in Photoshop to store
commonly used
elements (under
13 An overworked face!
Aurelia’s face bothers me. The perceptive still doesn’t feel 14 Making the final pass
With the face problem solved, I move on to putting the
Window>Libraries). I
store my favourite
texture overlay layers
correct. We should see less of her left cheek with more overlap finishing touches to the artwork. At this stage I often save the
and my signature in
from the nose. This face has gotten overworked. My time is best image to Dropbox so that I can look at it on my iPad or phone. there. Hold down Option
spent starting over. I should have done so earlier on! I take a It’s helpful for me to see the artwork on a smaller format and a or Alt when dragging
them onto your image to
solid colour and cover her face. I realise that I need better different resolution screen. I also make sure I take a break, in
avoid a parented image.
reference and so, with that new reference in hand, I start anew. order to come back to it with fresh eyes.
January 2016 81
Cutting edge
of mangaLearn from the techniques that the
pros use, and go for the manga win!
All this… and more!

Ilya Kuvshinov Crush Visual Laura Sava Zezhou Chen
The Russina artist Be a fly on the wall Keeping warm in Follow the freelance
living in Japan and find out what Iceland, Laura tells Chinese artist as he
paints a beautiful it takes to work at us all her tips for creates a striking
Katniss Everdeen this top 2D and 3D making amazing portrait with subtle
pin-up painting. concept art studio. manga art. lighting and colour.
ISSUE 131 ON SALE IN THE UK Friday 31 December

82 January 2016
Riot Games’ Alvin
Lee
takes on Jinx from
League of Legend
s!
© Riot Games
January 2016 83
Workshops
Painter & Photoshop

CAPTURE THE
SPIRIT OF A BOOK
Discover Todd Lockwood’s process for illustrating the cover of a book of
short stories, from developing a strong concept to polishing the final art
he truth is, I have no set way of As I begin the task, the thumbnail is important. By keeping these two
Todd
T working. What I do can be at
odds with what I teach. The
final image is always in the
only in my head. I’ve broken rule number
one. However, I know that I want a formal
composition, with the figure facing the
prominent elements close together,
I enhance that narrative.
I want this piece to look like it was
Lockwood forefront of my mind however, and the viewer and the book – which should done in watercolours, so I stick primarily
LOCATION: US image always begins with the narrative. look like a magic tome – hovering with Painter’s Digital Water set of brushes.
In this case the client has a solid idea of magically front and centre. With such a They require a little more planning to take
Todd lives on
the wet side what he wants to see. The book’s title is straightforward approach, it’ll be more best advantage of their special qualities.
of Washington Unbound, from Grim Oak Press, a about the energy and the details. The By adjusting certain settings, and then
State with his
collection of short stories with no overall magician will attract the eye first, so working methodically, they capture the
wife Rita and
his cat Paikea, in the theme. The simple idea is that a wizard I intend to put as much emphasis on the essence of wet-into-wet and the softness
wondrous shadows of causes the pages of a book to become book as I can. The star of this painting is of watercolour paper.
majestic mountains and literally unbound. the thing that’s happening, so the tome is Parameters set, I begin…
giant trees.
http://ifxm.ag/todd-l
GET YOUR
RESOURCES
See page 6 now!
Star spotting
Know before you start
your thumbnails, who or
what the star of the
painting is. This is the
single most important
thing or idea. Then give
it the spotlight in your
Beginning sketch Proof of concept
composition. If you’re
not certain who or what 1 With my thumbnail in my head, I start sketching. I begin 2 In relatively little time, I decide that I don’t want the
your star is, then try
with the energy: loose swirling lines that more or less describe character to be a male wizard but rather a female sorceress,
describing your painting
in a short sentence, with the paths of the pages or the flow of the character and his which gives a softer impression. I don’t want this piece to look
subject, verb and setting. garments. Then I lay elements in along those lines. violent, but contemplative. Achieving the right mood and
The first thing you name
light will be as important as the movement in the scene.
is probably your star.
Composition is going to be key.
84 January 2016
Spirit of a book
January 2016 85
Workshops
Flatten layers
(Mac)
Shift+Cmd+E
ift+C trl+E (PC)
Sh
ental layer
If an experim
at you
gives you wh
nt , then fla tten it
wa
.
and move on
Reference is important The drawing begins

3 I photograph my assistant Stacie Pitt for the sorceress, 4 With my proof of concept sketch and my Stacie
under appropriate lighting. Then I gather what I call ‘swipe’ from Frankenstein on their own layers, ghosted back to serve as
all over the internet to get a feel for flying paper, swirling fabric guidelines, I begin my drawing. The client is after a specific
and old, cabalistic texts. I arrange the best on my left monitor, look, so I use images from the internet to alter Stacie’s features
take a screen snap, then stack those snaps for quick visibility. to my needs. Sorry, Stacie!
Depicting flow and movement Painted into a corner

5 Satisfied with the figure and the placement of the tome, I begin the most exacting part 6 The painting looks flat and lifeless to me. I realise that I’ve
of this painting: working out the flow and movement of all the flying pages. I keep my tones lost my movement as I worked on my paper shapes. To resolve
light, because I want to preserve the texture of the digital paper for the next stages. this, I create some new lines of movement to build on. They’ll
become the prominent edges of sheets, the centre lines of
moving masses, or the flow of fabric.
Refining elements of the image The colour underpainting

7 I work out the flow and movement, designing the composition to highlight the star. 8 Using a combination of Color Balance, the Gradation
I want the most contrast to be within the focal point: contrast not just of value, but also of and/or Bucket tool set in Color mode (in Photoshop), I apply
texture, light, colour, motion, detail, focus, angle… indeed, anything that separates it from warm tones to the centre of the painting and cooler tones to the
the rest of the painting and makes it stand forward. I concentrate on making sure that borders, then pick out some specific areas for spot colours, such
I maintain the overall texture of watercolour paper. as cool flesh shadows and pink nose or lips with a brush that’s
also set in Color Mode.
86 January 2016
In depth Spirit of a book
Washing in tone
9 I was inspired by the art of Eric Fortune to build this
piece slowly and carefully, using washes of colour in Digital
Water that preserve the paper texture and exploit the strengths
of this particularly wonderful brush set in Painter to create wet
margins and soft transitions.
Mixer tool
Cmd+2 (Mac
)
Ctrl+2 (PC)
Use the Mixe
r palette in
Painter to sto
re colours
you’ll use th
roughout
your painting
.
10 Introducing details
I begin with the details of the tome, using artwork that 11 Tackle the contents of each page
Now I start decorating the many flying pages. At first I use
Stacie created for the interior of Unbound (you can see her art copyright-free images from ancient books, employing Puppet
at www.staciepitt.com). Her lock medallion is the perfect Warp in Photoshop. It works, but it’s tedious and awkward. I give
centrepiece for the front cover. I warp it into the proper up on it after a few pages – I scarcely had enough swipe for every
perspective in Photoshop and drop it down where I can paint page in any case. Keep it simple
over it, then create corner guards and a hasp in a similar style.
in Painter
My palette of Painter
tools is very simple. It’s
limited to selections
from three or four brush
sets and a range of
custom paper textures.
With them I can create
an endless variety
of expression. They
emulate glazes (Digital
Water), opaque oils
(Smeary Oils being my
favourites), various
blending tools (the
Blender Brushes), and a
handful of others that
give different effects.
Some interact with the
paper textures and
others don’t, so try
mixing them up and
switching paper textures
12 Going old school

If digital paint can be ‘old school’, that is! I decide to paint 13 Into the final stages
I balance my values, shading the sorceress down so that
for effect. Many of
Painter’s blending tools
interact with the paper
the pages by hand. The challenge is to find simple ways to greek the pages leaving the book are the brightest thing, fine tune my
textures, making it
in the text and images without getting bogged down in minutia. shadow edges and add warmth to the transitions between light simple to keep a
The Digital Water serves me well, using a combination of the and shadow. And that’s my artwork finished. consistent overall
surface (that of
Round Water Blender and the Spatter brush.
watercolour paper).
January 2016 87
Workshops
88 January 2016
In depth Lighting setups
Photoshop
CREATE MULTIPLE
LIGHTING SETUPS
Wan sets up a scene and then creates a range of lighting scenarios
for it, to give the film’s art director options and to guide the shading team
s a sketch/colour artist for evolving, the sequences/shots, characters layers in my work assignments to best
Shelly Wan
A Pixar, my job involves
creating colour and textural
design for sets and characters,
and sets I work on are often changed, and
my paintings must change to match on
the fly. On top of this, my paintings need
prepare for such changes, and take you
through my steps for making changes
when required. The goal of this workshop
LOCATION: US and lighting designs for sequences or to serve as reference for the shading team, is to show you how designing for a movie
particular shots. Unlike in illustration so I would need at least two versions of (sequential images) is different from
Shelly is a
sketch/colour works, my focus is not on producing a the same painting: one to show the designing a single, standalone image:
artist at Pixar. finished painting that’s pleasing to the textures and local colours, and another your image must take into consideration
She formerly eyes, but on generating images that to show the lighting. the big picture – the whole movie – and
worked
at Rockstar Games,
support the story and the director’s In this workshop, I’ll show you how you need to be able to adjust the image to
Imagi Animation and vision. Because the story is constantly I structure my layers and adjustment feed the needs of different departments.
Disney Imagineering.
http://ifxm.ag/s-wan
GET YOUR
RESOURCES
See page 6 now!
Always try
to simplify!
If you ever study a piece
by Sargent or another
traditional master
painter, you’ll notice
that their values are
organised in a very
simple way. The middle
greys are often grouped
into the dark, or grouped
into the light. To check
your own paintings,
Rough drawing Shape blocking
place a Hue/Saturation
layer on top and turn the 1 I’ll use one character and a simple set with a flat-on angle, 2 Using the Lasso tool, I select the different elements from
saturation down to 0 to
check the values. The
so deep space (perspective) is eliminated up to a point, because back to front (such as the drape, chair back, seat and chair arms),
more you can group and I know the different lightings I’ll later create will seem more and place them individually on different layers. This way, when a
collapse the values, the dynamic and different in contrast with this initial flat look. Ever small change is required such as a colour change on the walls or
stronger a statement
your piece will make.
since I took a trip to Tibet, I’ve yearned to create images that value change on the chair, it could be adjusted quickly, without
celebrate the brilliant colours I saw, so that’s what I’ll depict. affecting other elements of the painting.
January 2016 89
Workshops
ion
Quick select
layer (Mac)
Cmd-click on
layer (PC)
Ctrl-click on
ment on that
Select the ele
for painting
layer. Handy
ape on
within that sh
another layer.
Colour/material rough-in Shadow adjustment layer

3 I often start by working all the layers up roughly, to adjust 4 I add a Hue/Saturation layer, pull down the Lightness
the colours and values as needed to create a harmonious image. and push up the Saturation. Because I want to create an overcast
I regularly use the option to lock transparent pixels on the lighting scenario to best show off the texture, the shadow in this
different layers, so I can paint only within each of the elements. lighting condition tends to be warmer than the light. I’ve tried to
For the marble floor and throne, I’m drawing inspiration from model out the form shadow and a soft cast shadow based on
Sir Lawrence Alma-Tadema’s paintings. diffused light coming from the upper-right of the screen.
RESOURCES
Add variations and modelling Composition changes

5 While adding shadow to the forms, I decide to make 6 Now when I take a step back and examine the image,
the sleeve of the dress a semi-transparent material. The key to I notice that it has many vertical and horizontal lines, and is
PHOTOSHOP
indicating this effect is that the material is entirely visible only appearing too stiff and formal for my taste. So I add a free-
CUSTOM BRUSHES: where it’s bunched up; in other areas it has just a slight influence flowing red shawl that stretches diagonally to the edges of the
DICE
over the colours underneath. Following the forms underneath painting, to bring more dynamic energy into the composition.
the dress, I also indicate the wrinkles and folds on the bottom.
Dice is similar to a bristle

brush, which I use to
create a looser, more
painterly approach.
RKONDO
Very textural under light

pressure, building up
to more opaque when
pressed harder. For more
pastel-like, rougher uses.
SCHMID_1
This is the brush that I

Indicate materials in the image More refining of the scene
use the most, because
it feels very versatile 7 I now work on each element as much as possible at this 8 There’s some awkwardness with her left arm (screen
and creates the most
point, to illustrate its materials or patterns. I focus particularly right), so I adjust it. I also finish the bottom of the drape, and the
nuanced stroke. It also
has texture when you on the different types of materials and with them, different slight translucency of the shawl. Now the white light painting is
paint with light pressure, reflectiveness and translucency. I also pay attention to the tonal done, and this would be a good painting now to show to the
and quickly builds up to values within each element. I’ve taken off the shadow layer here director. If okayed, it would be handed off to the set department,
semi-opaque.
to show you the close-to-final textures. to serve as a shading target for all the materials on the set.
90 January 2016
In depth Lighting setups
Create a dark interior lighting pass

9 Next I provide a different lighting pass on top of the 10 Notice the colour of light transition areas
Next I create another layer on top of the Multiply layer, set the new layer to Linear
existing white light painting. Again, the goal isn’t to create a final Dodge mode and fill it with dark orange. I created a layer mask for it as well, to erase the light
image, but a possible lighting scenario for this set. I thought a and reveal the dark interior, and both the form shadow and the shadows cast. Pay attention to
dark interior would be a good start to contrast with the white the transition between the light and shadow, because it’s often a more vibrant colour.
light version, so I add a Multiply layer with dark blue. I also
create a layer mask on the layer, to erase out a path for the light.
Blending Mod
Shift+ - and + es
(PC & Mac)
Select the Mo
ve Tool (V)
then tap Shift
-minus or
Shift-plus to
step through
layer blend mo
des to
try them out.
Adjust the shadow areas

11 The warm light I created is so strong, in reality it would 12 Establish a dusk lighting pass
For this setup, I first adjust the shadow layer so the light is
affect the objects in the shadow as well. So in this step I paint from the lower-right. Following the surfaces, I darken half of the
directly on the layer mask of the light layer, to bring in the warm face and extend a larger shadow area behind the throne on the
influence on the bottom surfaces of the forms. I also copy out left. Note how sharp the shadow is under the screen-right hand
the shadow layer, and manually adjust the shadow shape so that compared to the shadow on the drape, because the hand is closer
it corresponds better to the new lighting. to the light source and the throne it casts shadows on.
Questions to
ask yourself
Whenever I paint, I
always ask myself these
three questions: “What
colour/temperature is
the light? Where’s the
highest contrast within
the image? What’s
the area of the most
saturation?” These
questions help me put
down mental guidelines
on where the areas of
most contrast are. And
the simple rule of ‘warm
light equals cool shadow,
13 Bring in a dark red colour

Next I create an Overlay layer with a dark red colour. 14 Take into account light from above
To soften the look of the piece, I decide to add a bluish
cool light equals warm
shadow’ helps, so
whenever I’m in any
I experiment with the layer mode and the colour to achieve the top-down sky light above and in front of the figure. It influences
doubt of a colour’s
dusk light hue that I feel complements the colours in the image. the top surfaces in the image. It affects surfaces in the shadow as temperature, I would
I erase the red from the shadows. Following the bone structure, well, and is more noticeable on top than in the bottom. This is know if it’s cooler or
warmer by looking at
I refine the light shape and the shadow shape on the face. It helps also an adjustment layer set to Soft Light, masked by painting on
the area it falls in.
to imagine that I’m turning on a physical light on the scene. its layer mask. The colour could be adjusted to fit the painting.
January 2016 91
Workshops
Photoshop
DEPICT AN EPIC
ENVIRONMENT
FOR A FILM
Raphael Lacoste shows how to handle light
and atmospheric depth, when thinking big
92 January 2016
In depth Epic environment
January 2016 93
Workshops
his workshop will take you colour palette. I always start with a simple seen in museums. I prefer to use my
Raphael
T through my process for
painting a grand, fantasy
structure set within an epic
sketch, developing it gradually into a
detailed illustration.
It would be a mistake to underestimate
personal photo database as much as
possible to avoid copyright issues, but if
you’re only looking for mood reference,
Lacoste landscape. You’ll see how to handle light, the usefulness of the sketches we use to you can have a lot more flexibility. Films
LOCATION: Canada
atmospheric perspective and depth, to decide on a composition. There’s little are also a great source for inspiration,
Raphael was create a interesting, moody scene. point working up a detailed image if it especially when it comes to the lighting
art director My goal is to produce a memorable lacks a memorable composition and has a and mood of a piece.
on the first image of an immersive setting – an epic dull palette. Such problems would have The final image should be an invitation
Assassin’s
Creed game moment taken from a big-budget film. been highlighted at the sketch stage. to go on a voyage – a journey into a grand
and Prince of Persia while This workshop will appeal to those with a So here’s my checklist. I like to make fantasy setting! Applying details will help
at Ubisoft Montreal, but particular interest in environment design, sure I have an interesting topic, and a to ground this epic scene, but this isn’t
then left to create art and
concepts for films such
keen to also develop their composition great balance of shapes, proportions and the most important thing to get right
as Terminator Salvation skills. With this in mind I think it’s contrasts in the volumes. I track down in the painting process. Remember,
and Jupiter Ascending. important to play around with interesting references to inspire me: this composition is key. I hope that you’ll have
He’s now at back at
Ubisoft, as brand art
contrasting shapes, apply the Golden could be photos I’ve taken, collections of fun and enjoy this workshop. Okay,
director on the Assassin’s Ratio and then choose an interesting images online or even masterpieces I’ve enough talk, let’s get going!
Creed franchise.
http://ifxm.ag/rlacoste
GET YOUR
RESOURCES
See page 6 now!
Group layers
)
Cmd+G (Mac
Ctrl+G (PC)
I need more
Useful when
and fewer
organisation
in
visible layers
my stack.
Sketch on paper
PHOTOSHOP
1 I think it’s better to sketch on paper, rather than digitally.
I find that my gestures become more direct and spontaneous,
STANDARD BRUSHES
and the physical connection between my pen or pencil and
paper fires up my imagination. My aim at this early stage is to
quickly generate a range of interesting compositions. I’ll draw
some sketches and try out various compositions, with either a
Uniball pen or Faber Castell pencil in my sketchbook.
I take the time to explore a range of options, from landscape
to portrait. I want to develop some elements of composition for
I only use standard
the foreground, but always at the back of my mind is the need
Photoshop brushes. One to present an interesting topic, achieve balance in the volumes
has sharp edges for and generate a detailed composition. I want to illustrate an
defining shapes, while
another has its Pen
immense castle with a medieval village at its base. I don’t want
Pressure reduced. I also the fortress to look too realistic, so I exaggerate the scale and the
use the Airbrush for sense of classic fantasy in the composition, and place very small
quickly creating haze
houses at the bottom, and huge towers, arches and buttresses
and atmospheric effects.
throughout the castle’s structure.
94 January 2016
Values and mood sketch Gather references for mood, colour and detail
2 I do a more elaborate sketch in Photoshop, using greys, 3 When painting an environment with elements such as recognisable architecture, it’s
blacks and whites to develop the mood and atmospheric depth. important to use references – and the best inspiration is to go travelling! Being able to choose
Using a brush set to 0 per cent Opacity helps me focus on the right images to help you to create your own design is an important skill. It’s a big part of
positive and negative spaces, pushing strong contrasts and the the job. In fact, when I was working for film as a matte painter, finding the right photos and
composition. I also use the Selection tool to cut out shapes, references was 60 per cent of the work. When you have the right elements to compose with,
before filling them with a flat value of grey. the work goes much more quickly and efficiently.
Light direction
When I draw, I keep
defining the masses and
then add light to my
surfaces. This is a great
way to create volume
and light direction
quickly without spending
too much time on details.
I can also generate
interesting shapes in this
manner, using a standard
Blocking in the composition
4 I put the initial drawing on the top of everything in Multiply mode, so I can follow the original concept closely. I try to keep
brush. Then I’ll collapse
my layers and do a
Dodge pass on the
the layers I did in grey values and I group my textures and references inside these. I don’t paint every detail from scratch. This stage of
highlights with a soft
an illustration is one of exploration, but you must know where you’re going! This is why a sketch is so important. The other materials brush, to add
are just there to help efficiency and realistic rendering. I was lucky to do a fantastic trip to the Isle of Skye in Scotland, thanks to Ian some atmosphere to
overexposured areas
McQue. I took many photos, which I’ve used here. I keep the composition from the sketch, but gradually replace the drawing with
and local shadows.
elements from my photos, while keeping a homogeneous colour palette. I also try to maintain consistency with the light direction.
Colour palette and mood Refining silhouettes and shapes

5 References are important for building a credible palette 6 Now I refine the composition in the separate layers. This is also where I try to give the
and atmosphere. When I bring references next to my painting, image a distinctive mood and style. Some details are important in the silhouette because they
I try to choose one main direction for the colour palette and the contrast with the sky or the brighter background. The great thing about working with layers
values in the light and shade. For instance, in this painting, the is that you can colour balance them separately and fake atmospheric depth, as well as lose
colours of stone in the light and grass in the sun are important details in the distance (to create mysterious shapes). I create layers of mist between layers of
and have to be consistent throughout the painting. architecture and backlight the silhouettes of the buildings.
January 2016 95
Workshops
Adding details for scale reference Breaking the lines

7 I like the overall mood and composition, but it’s not there quite yet. I find that a good 8 Refining the shape makes everything look more painterly
scale reference is important, to help the viewer’s immersion in the scene. In conventional and is fun. It’s time to get rid of the photographic texture as much
architectural design, details such as windows and doors are useful for giving the viewer a as possible, and refine and stylise the volumes. I add more
sense of scale, but in this more fantastical setting I need to define the scale in the foreground erosion, break the shapes, break the lines! Some elements were
further. So I spend more time adding organic details such as grass, rocks and trees, that will great for helping to set up the composition, and I like the
add some life and a proportion to the overall setting. silhouette to be simple, but it’s also important to continue
I want to add some mystery to the picture as well: some huge trees in the mist are a great making the setting look less rigid and stiff, to refine lines to make
addition in among the mountains in the background. I also spend time adding highlights, them look more natural and organic. I also add colour variation:
some details in the rooftops and houses, reworking the perspective, and focusing on adding I choose more saturated values in the colour palette, but keep the
colour variations and local saturation – all to try and generate a richer mood overall. luminance and add some variation in the local colour.
New layer
Shift+Cmd+N
Assess what progress has been made (Mac)
9 This is the moment to take a little step back. When I’ve spent a long time on a single image, taking a break, flipping the image
Shift+Ctrl+N
This is usefu
(PC)
l for adding
a new layer wh
horizontally and vertically is useful: you get to see the image with different eyes. In addition, before finishing a painting, it’s good to en you
want to work
show it to your house mate , girlfriend or boyfriend, or even to your kids. This is the time when you can still modify important on a
separate one.
elements of your picture, before going too far in the polish! Remember that polish is good, but first you need to have a good base.
96 January 2016
10 Time to commit myself

Painting with layers is good and bad. Yes, you can work
separately, change local elements without compromising the
others and there’s great flexibility. But it’s also more rigid! It’s
the moment to either collapse your stack, reduce the number of
layers and paint over everything (brave, but interesting!). Or you Add storytelling elements
can continue to work with separate layers, but blend them with 11 Usually I add some characters to my scenes to enhance the sense of scale, but also to
several tricks. What I recommend is picking values and colours give a sense of storytelling. I find in this case that the fortress itself is enough and I also want
from the background and painting them over with a soft to consider it as the main character of the scene. I add some life, with the birds along the huge
Airbrush, at a very low Opacity. This will affect local colour and towers and buttresses. I also want to have a feeling of calm, grandiose landscape with an epic,
simulate a fog that brings colours together. mysterious architecture as a central point of interest.
13 Re-cropping and filtering

Almost done! It’s time to play around with filters a bit and
try to crop my image, and again take another step back from the
Lighting polish screen. Maybe the image works better if it’s cropped? Sometimes,
12 To ensure that the light comes from the same direction, when the focal point feels a little lost, it helps to recentre it. And it
I accentuate some light on a few key spots: the edges of the can be interesting to test different options with the Rule of Thirds.
Set up custom
shortcuts
arches, on the top of the mountain on the left, and on the side Often we tend to put too much in the composition. We also I set up a shortcut (F1)
of the castle. These touches will reinforce the direction of the might have made the corners too busy! It’s time to get rid of these for the horizontal flip, as I
often flip my image to
light source in the setting. mistakes and crop in on the interesting parts of your image. get fresh eyes on it. It’s
I also want to have a stronger focal point in the scene, so I use Filters can be applied to introduce some texture and blend the good when you have a
the Dodge tool to darken some areas and lighten others. This colours more. I like to simplify the details with a subtle use of the lot of layers to work with.
The less you have in your
stage is key to the whole painting process. I can really polish the Smart Blur filter. There’s also a way to use textures such as Stucco
stack (F7), the easier it is
lighting in various areas with this tool, and create vignettes in in Overlay mode on a separate layer at a very low Opacity, to add to find elements. I
the corners to direct attention away from them. I use the Dodge complexity to the blending of the colours. And this is the finished usually group layers by
topics or depth planes
Tool in Highlight mode, at 10 per cent. Using the Alt key enables image! I hope you like it and have fun creating your own stuff!
(foreground and so on).
me to switch between the darkening and brightening tool. Remember: composition first, details after.
January 2016 97
Workshops
Artist insight
KNOW YOURSELF -
KNOW YOUR TOOLS shares his tools and process to help you stay motivated
and creative, while also becoming potentially even more productive
s I’m sure every student and In May 2015, I set out to complete and had been left unresolved and shelved at
Thomas
A professional will agree, it’s
rare to spend time exploring
your own interests. The truth
publish an image a day. My goal wasn’t
to produce a large quantity of work in a
short time, but to create work I was happy
some point over the past several years.
This workshop features a sample of my
art from that month, the Photoshop tools
Scholes is that work often demands immediate with each day. The daily quota kept me I employed and the processes I used and
LOCATION: US results and there’s no time for mistakes. from unrealistically over-investing in discovered. I’m hoping that in sharing this
The shame here is that mistakes often anything, but also prevented me falling information I’ll encourage you not to be
Thomas is a
freelance contain the keys to continued success. If victim to my insecurities and holding off more like me as an artist, but to be more
concept artist we can’t afford to make mistakes, we can’t until I deemed a piece completely worthy like yourself as an artist. Please feel free to
from Seattle,
progress. The idealist in me could nearly to display. Some images were done in the use these tools in your own way and put
specialising
in environments and commit fully to artistic research and time available each day, others were your own twists on these ideas, and then
pre-production experimentation, but the pragmatist in iterated upon and improved slowly over share them willingly. You’ll learn as much
development. me takes the lesson as this: fail more, fail the days and weeks of the month, and a from the diversity of others as you will
www.artofscholes.com
faster but fail at the lowest cost possible. few contained ideas and elements that from your own nature.
GET YOUR
RESOURCES
See page 6 now!
C
A
C
B
C
B
A
1
The catalysts for this image are just three simple recycled parts reused
multiple times to craft the idea and structure of an interior. Once the space
was resolved I salvaged a doorway from another dead-end sketch that
was also built from modular parts. The skills involved in a modular process
are familiar to anyone who has played with toy blocks or LEGO, in that
your options are few and restrictions many, but this limited palette has its
A B C own charm and creative advantage: simple shapes and simple places are
the perfect primer to help spark simple stories.
98 January 2016
Artist insight Know your tools
2 ORGANISE YOUR MODULAR APPROACH

Taking the modular concept a step further, it’s a great idea
to have your building blocks and elements separated,
organised and ready to use when you need them. It’s okay
to group them haphazardly, as you won’t always – and, if
creatively minded, shouldn’t always – know what you’re
looking for. The idea here is simply to save time and have
your tools on hand so you don’t interrupt your momentum.
Even a moment’s fumbling is enough to ruin the flow.
3 KNOW THE CLONE SOURCE PANEL

The Clone Stamp has long been a favourite
tool in my process. Now’s not the time to go
into the details of how I use it, but take note of
the Clone Source panel, which unlocks some
of its best and – even though it was introduced
back in Photoshop CS3 – often overlooked
features. Most usefully, it grants you dynamic
and immediate control over the magnification 4 BRIDGE MECHANICS done. Once this energy has been
of your cloned source, from 0 to 400 per cent, I keep just one bulk folder for the used up I tend to switch to work
as well as horizontal and vertical mirroring and vast majority of my personal work that’s still in the middle stages and
rotation. With the and studies. This means that when has larger issues to be resolved. As
magnification set in the I browse the contents with Adobe I begin to work at solutions for
range of between 300 Bridge, it’s easy to find something these issues it seems my motivation
and 400 per cent, I that piques my interest or strikes to paint floods back. Finally, once
prefer painting with this me as useful. Over time I’ve found I’ve expended that additional
tool rather than the it works best to take that initial energy, the painting is usually near
paintbrush, because it energy you bring to a session and completion, ready to be polished
can easily introduce use it on the hardest work you can another day, and I’m eager to start
much more texture and tolerate, which for me is usually the something new, knowing I can keep
variety to your strokes finish and polish stages, where painting with the energy gained
and still remain a there’s little left to solve but still from brand new ideas, discoveries
manageable workhorse. mileage to go before the job is and problems to be solved.
January 2016 99
Workshops
5 EXPLORE, THEN RE-EXPLORE

Work that feels like work is never my goal, but if work starts
to feel like play then I know I’m on the right track. What
greater gift can we give to ourselves than to discover as we
create? Why not follow an image’s natural potential rather
than what we expect of it? When expectations are involved,
it creates the immediate possibility of a wrong answer, and
there’s so much more to learn if we’re just open to seeing it.
Notice something interesting or exciting in your image?
Follow it. Have an idea that’s intriguing but a departure?
Copy your image into a new document and follow it! You
won’t have to worry about messing up and you might like
the results more, or at the very least have something fresh
you can bring back to the original image.
You won’t always have the time to explore, but it’s often
the best thing to do when you’re stuck, deadline or not.
Often my own explorations can only be taken up to a point,
and the best get saved out for another try, for another day
or to use as a catalyst. The trick is to try and try again. But
don’t polish dirt: keep digging and sifting until you find gold.
If work feels like

play, I’m on the right
track. Explore your
image, not what you
expect of it
6 TO THE BORDER
Sometimes the only way to truly
understand an element or principle
is to see how far you can take it.
Explore it right up to the border of
your understanding – and hopefully
a little bit further still – and then
come back to civilisation to store
your findings. In this image I wanted
to see just how much of an existing
asset could I recycle and just how
little I could paint but still enjoy the
process and the results.
With that in mind I’ve borrowed
the foreground structure from a
painting done in 2011 (the small inset
image), fully expecting a healthy
challenge involved in crafting the
existing perspective, lighting and
palette towards a new idea. Why
not try this for an hour? What have
I got to lose? I have hundreds of
dead-end sketches, what’s one
more? Doesn’t a tree benefit from
each branch, no matter how many
or how few leaves it contains?
100 January 2016

The crudely desaturated image
Open the Customize Proof Condition window...
7 VALUE CHECK more accurate value analysis with

I’m sure you’ve heard it from a Photoshop’s Proof Colors function
dozen different artists: value is (Ctrl+Y). If you’ve tried it, chances
king, check your values! Let’s use are that your image just shifted into
the image from tip 5 (opposite) to the default CMYK colour space –
talk about value and how to check and if you’re like me, you may have Switch Device to Simulate to Working Gray
it accurately in Photoshop. The accidentally activated this shortcut
most common methods I see use in the past instead of Ctrl+T
desaturation to translate a colour’s (Transform) and understandably
value, but unfortunately this ignores been annoyed at the result.
the inherent value differences But you can turn what was an
between the hues, and will give annoying slip into a new, if possibly
you poor results. unexpected, ally: go to View>Proof
A greyscale version of the image Setup>Custom, set Device to
is what we really need, but instead Simulate to Working Gray and click
of the cumbersome process of OK. The keyboard shortcut Ctrl+Y
converting it to greyscale there’s will now give you a useful, more
an elegant method of achieving a accurate Value Check preview.
The more accurate greyscale proof
January 2016 101

Workshops
10 IN ALL THINGS, VARIETY!

Let’s use one of my favourite Photoshop tools, Threshold, to
take a closer look at what my simple lighting changes did for
the image in tip 8 (left). This tool enables you to reduce an
image to black and white, and adjust the position of the
midpoint. Image A below is far too chaotic and textured; it’s
hard to direct the audience with so much unordered variety.
The lighting pass in Image B has camouflaged some of the
noise and directed our attention through the use of value
and shape contrast towards the character’s face.
This legibility of light and dark is as important to an image
as it is to human vision. Our eyes are much more concerned
with the quantity of light they receive (value) rather than
the dominant wavelength of the visible spectrum (hue) and
purity thereof (saturation). This preference towards value,
I presume, exists because it provides the greatest amount of
information to identify and discern objects and their spatial
relationships, and thus enables us to navigate and interact
with our world. Make this light and shadow pattern legible
and the shapes interesting, and you almost can’t fail to
make an interesting image.
8 LIGHTING ROUND the time invested is minimal and it’s

Some sketches may have just one no great loss if it fails, but it’s a near
or two elements worth exploring, instant gain if there’s any success.
and aren’t worth the investment to I was pleased that I was able to
take to final. Yet rather than toss get back and explore the idea and
these away I try to extract the concept through this process, but
interesting elements whenever wasn’t entirely happy with the static
possible and combine them with composition. Rather than write this
previous and more stable results. off as another dead end, I was
In this example I’ve introduced a curious to how I could solve this
more successful final painting on issue with the lowest cost and
a Lighten layer over my sketch and wanted to see what I could still do
have Color Balanced the original to introduce some dynamism by
painting to suit the mood of the way of simple graphic lighting.
concept. Not all explorations like With the use of a few gradients,
this pay off and invariably it takes a layer modes and some polish, I do
good mixture of educated guesses feel that the composition was made
and a bit of luck, but at this point a bit more successful. A
9 PIGMENT TO PIXEL
Although I love the Clone
Stamp, there are plenty of
tasks that only a paintbrush
can perform. I recommend
using Color Dynamics to
introduce a healthy variety
to brush strokes by utilising
the Hue, Saturation and
Brightness Jitter sliders. Go
easiest on the Brightness B
setting: too much and it’ll
be impossible to control.
Keep in mind we want just
enough variety to create
interest, not distractions!
Most of all, make sure you
untick the Apply Per Tip
box at the top so that each
Brush Stroke rather than
each Brush Tip is altered.
102 January 2016

RINSE, REPEAT
AND RENOVATE
Thomas explains how he applies his open, modular
approach and mindset to creating an artwork
11 CHANGING HATS
The props in this scene could have been recreated and
re-rendered from scratch, but having them on hand
means I can work differently, think differently and find
different solutions. I can become a set dresser or scene
decorator and let the paintbrush rest. What’s more, in
reusing props I’m often able to pick them back up where
I left off and enjoy the opportunity to take them either
further or in a new direction. Even those I’ve left
untouched this time give me the benefit of additional time
and energy to spend elsewhere in the image.
Some sketches may have just one

Building your set
or two elements worth exploring, but 1 Let’s combine everything we’ve learned and see just how
don’t discard them – extract them complex a scene we can create with these tools. I’ve combined several
paintings for the background and am using assets from several others
for entire structures. It’s multiplicative rather than additive, paintings as
and you can use them elsewhere medium rather than painting. Pay special attention to how much and how
many times I’ve used the painting we’ve already discussed.
Casting the characters that fit

2 I use a similar process for my characters and generally work on
batches of them isolated from the backgrounds. I’ll usually wait until I
have a good understanding of an environment before I’ll ‘cast’ the right
character, and I’m always looking for a natural fit. I’m happy to rework and
add elements and lighting but I don’t like to force it. If it doesn’t work, I’ll
try to find a better fit later on for that character and will see who else
could belong in the painting. It’s been rather enjoyable to experience the
narrative of the same character travelling through different scenes, and
I’ve found that some of the best stories and moods have been created in
this dynamic way rather than through a process of outright decisions.
12 GET MESSY abstract potential built up, I aimed

Even the most out-of-control mess towards crafting a more tangible
may have potential if you spend space. Some quick edits and
some time with it. This image is lighting created a scene that,
Editing for graphic legibility
layering at least half a dozen although I’ve not yet used it alone, 3 I’ve long thought of my role in the final stages of an image less as
images selected at near random has been a crucial catalyst for an artist or director and more as an editor, making sure that what I see
and was done as pure exploration; many paintings, both personal and and enjoy will be experienced by the audience. I do this by removing as
many distractions and spatial errors or illusions as my skills and patience
if an element helped create visual professional, one of which you saw will allow. This legibility is, in my mind, as much about realism and
interest, abstract or otherwise, it in tip 5. Don’t be afraid to relax, rendering as it is abstraction and graphic design.
stayed. Once there was enough control less and play more.
January 2016 103

The number one
destination for digital art
news, views and how-tos.
Get Creative
Bloq direct to
your inbox with
our weekly
digital art
newsletter
Graphic design Web design 3D Digital art
www.creativebloq.com
Artist’s
Choice Award
Art resources with a five-star
rating receives the ImagineFX
Artist’s Choice award!
The latest digital art resources are put

to the test by the ImagineFX team…
PRODUCT
7
ON TEST S
SOFTWARE TRAINING
106 Photoshop 111 The First Sketch:
Elements 14 Quickstart to
Adobe’s stripped-back version of its World Creation
popular software has a few new Concept artist Brian Yam
features, but embraces social offers a beginner-friendly
networking in a big way. We find guide to his craft that’s
out if this was a good or bad move. deeper than it seems.
109 ArtRage 2.0.2 BOOKS

Discover why the veteran iPad 112 Further
painting app can still pack a punch. reading
The Art of Dave
HARDWARE Seeley; Digital
109 Jot Dash Painting Techniques:
Adonit makes good the merits of a Volume 7; The Art
truly pen-like stylus. We help you of Rocksteady’s
decide whether it’s worth a purchase. Batman.
RATINGS EXPLAINED Magnificent Great Good Poor Atrocious
January 2016 105

Reviews
Though it’s known as

the little brother of
Photoshop, Elements
has plenty going for it.
Photoshop Elements 14
ELEMENTAL POWERS Adobe’s stripped-back version of its popular software embraces
social networking, but will this move suit the budget-conscious digital art community?
Price £79 (£65 to upgrade) Company Adobe Web www.adobe.com
ou might be tempted usual, the best features from the latest Most digital artists create a broad selection, then fine-tune
would prefer to have
Y to dismiss Photoshop
Elements out of hand.
It’s the Fisher Price version
edition of CC have trickled down into
this version of the software.
One of CC’s most amazing recent
the ability to add haze
than remove it.
it to tackle more detailed areas with the
stroke of a brush. It makes selecting
intricate and ill-defined characters a
of Photoshop CC. The PG-13 cut. It’s additions was its Haze tools. Not only breeze, and it’s particularly useful if
the kind of software your uncle uses. can these remove atmospheric recomposing someone else’s art.
Boot it up and it brims with social artefacts from murky photos, but they Elements lacks Photoshop’s more
media features: Facebook photo can also add haze. Elements’ version, advanced features. There’s no
compilations, YouTube montages, however, is simply for removing haze, Magnetic lasso, no 3D functions and
Twitter sharing. And there’s a quick which means you can’t add mysterious
edit feature so your uncle can fog to your background layers. It’s still
perform vital adjustments, such as a clever addition, but photo editors will At £79 it’s good value for
removing those dreaded red eyes.
Yet tucked away beneath this veneer
use it more than digital artists.
More useful is a Smart Selection tool.
money, but you can pick up
of consumer-friendly features and
enormous icons there’s a semblance of
We often wake up in a cold sweat
thanks to the nightmares of cutting out
a year-long subscription to
the full-blown Photoshop CC. And, as fine wisps of hair. In Elements you can Photoshop CC for £105
106 January 2016
Art tools Software
IN FOCUS
THREE
ELEMENTARY
T
ALT
L ERNAT
A IVES
£80 gets you a lot of art program
for not a lot of cash
As you might expect, Elements lacks some of Photoshop’s more advanced features, such
as the Magnetic lasso, 3D functions and vector tools for example.
Paint Shop Pro X8

Ultimate
Web www.paintshoppro.com
Price £80
Sitting on the fence between
Elements’ ease of use and CC’s
plentiful features mean Corel’s
latest doesn’t deliver the best of
both. But extra creative software
makes it worth the price.
All the essentials are

included: blur filters,
a selection of brushes
and transform tools,
to get you started.
Adobe puts all PhotoPlus X8

Elements’ most
eye-catching features Web www.serif.com
up front, so you can Price £80
quickly improve your
photos with some PhotoPlus plays second fiddle to
impressive effects. Paint Shop Pro, but it has some
cool tricks up its sleeve. It now
includes Surface Blur, as well as
a defringe feature for intricate
selections. Sound familiar?
Features
QShake removal
Q Haze removal
Q Guided edits
Q Improved selection
no vector tools. You will find all the organiser. Yes, it’s an annual cost, but Q Facial recognition
essentials here, though: blur filters, think of what you could achieve with and search
Q Custom photo looks
a selection of brushes and transform Photoshop CC in a year! Q Photomerge
tools will get you started with painting There’s an exception, though – and compose/group shots/
panorama
digitally, and it’s tablet compatible so that’s if you’re an absolute beginner. Q Object move
you can draw and paint just as you The guided tutorials included in Q Auto crops
Q Social media sharing
Manga Studio 5
would in the real world. Photoshop Elements are so hands-on
Web http://my.smithmicro.com
The elephant in the room here is the that they practically glue your fingers System
Requirements Price £32
price. At £79 it’s good value for money to your stylus. They cover everything
PC: Windows 7 or What started as a specialist
as standalone software, but thanks to from colour tweaks to recomposition, later; 1.6GHz processor
sequential art program is fast
Adobe’s weird pricing structure you and they’re a great way to learn the or faster; 2GB RAM;
5GB hard drive space becoming a decent digital image
can pick up a year-long subscription to basics and gently ramp up to the Mac: OS X 10.9 or
studio unto itself, and even
Photoshop CC for £105. For that extra advanced features. We recommend later, 64-bit Intel
processor, 2GB RAM, comes with Clip Studio Paint Pro.
£25 you get the full Photoshop this approach for anyone who’s 5GB hard drive space
And you get all this for less than
experience, with all the plug-ins and yet to reach Photoshop first base,
Rating half the price of Elements.
brushes you can chuck at it, as well as followed by enrolment in CC once you
Adobe’s Lightroom professional file get to grips with it.
January 2016 107

FREE DISC! VIDEOS + CUSTOM BRUSHES + PROJECT FILES + FINAL ARTWORK
MASTER DISNEY’S
12 RULES OF
ANIMATION
Discover and apply the core
skills for perfect animation!
HOW TO...
SKETCH CHARACTERS
ESTABLISH LIGHTING
CONTROL COLOUR
e
PLUS! Disc art of DESIGN SCENERY
over th
THE concepto Train
GOOD How t agon 2
DINOSAUR Your Dr
The making of Pixar’s
latest monster hit! IFZ30 2015
PRINTED
IN THE UK
£9.99
148 PAGES OF
£9.99
IN THE UK
PRINTED
IFZ30 2015
Your Dr
ON
How to aTgraon 2 SALE
ART & ADVICE

WORKSHOP con p in NOW!
ANiMATiON
ARTiST DISC
VIDEO EXAMPLES
CUSTOM BRUSHES
LAYERED PSDs
FINAL ARTWORK
Use the resource

files and art
CREATE SETS FOR
ANIMATED FILMS
Study the layered files to
follow the training
GET STARTED
Watch the video
examples
LEARN DISNEY’S 12
RULES OF ANIMATION
Watch the video to discover
how the classic 12 rules
should be used
flip over
for more
FREE DISC
PACKED WITH
IN ANIMATION
VIDEO, TUTORIALS
AND ART!
ORDER YOUR COPY TODAY!
www.bit.ly/animation-artist
Art tools Hardware & software
ArtRage 2.0.2 is optimised for the iPad Pro and
Jot Dash
Apple Pencil, both expensive artistic luxuries.
TIP OFF Adonit makes a fine point about the merits

of a truly pen-like stylus, with an impressive 1.9mm tip
Price £40 Company Adonit Web www.adonit.net
e’ve seen lots of Jots from
W Adonit, but the Dash has

to be the thinnest
electronic stylus from the
company yet. The tip is just 1.9mm,
while the clip-and-carry body has an
8mm diameter. Compare that to the
12mm of LynkTec’s Rechargeable
iPad Apex stylus. The result is a balanced,
pen-like feel that’s comfortable, light
and extremely precise to use.
ArtRage 2.0.2 How is this achieved? Bluetooth is
nice if the apps you use support it, but
PAINT FIGHT The the fact is that many writing and
veteran iPad painting sketching apps don’t. Adonit has
app still packs a punch therefore dropped the Bluetooth
technology found in its earlier styluses,
Price £3.99 in favour of a more simplified feature
Company Ambient Design set that works with any app or device
Web www.artrage.com you care to throw at it. A click is all it takes for you to begin using the
The drawback is that there’s no palm universally compatible stylus.
RATING
rejection or pressure sensitivity, and no
extra button support. But if you’re just week of evenings testing the device
ArtRage was one of the first using the Dash to sketch a quick scene with the Evernote, Paper and Notability
painting apps for the iPad, so it’s or mock up a storyboard, its lack of apps. Mounting the pen in the neat
enjoyed some refinement. Its oil Bluetooth is no big loss. It even works little magnetic USB charging dock
and watercolour painting tools are as a navigational tool for swiping brought the pen back to full charge
the most natural-feeling you’ll through screens to find your preferred in under half an hour.
find, and the app includes a range sketching app. If you’re looking for a simple,
of brushes, pencils, markers, an A quick click on the top of the Dash convenient, long-lasting stylus that you
airbrush and more. turns it on, generating an electric field can pick up and start writing and
The brushes in particular are that simulates the conductivity of a sketching with just like a traditional pen
very customisable, enabling you to human finger. It’s powered by a straight away, then the Dash is ideal.
adjust size, pressure, paint load and rechargeable battery and Adonit But painting folks seeking different
The Jot Dash is
bleed. You can also change the quotes 14 hours’ charging time – the strokes should look at Bluetooth available in black
canvas to wet or dry. Blended layer power LED stayed lit throughout a alternatives, such as the Jot Touch. and silver.
modes and a History tool are
included, reference images can be
imported and you’re able to save
creations in different file formats
for export. Those familiar with the
desktop ArtRage will note that
Effects and Utility tools are missing.
Features
But there’s plenty to keep things Q1.9mm fine tip
interesting – including the ability to Q 14 hours’ battery life
Q 45 minutes
record strokes for later playback. charge time
Q iOS & Android
compatibility
Q Single-click activation
Q Carrying clip
Q Charging dock
Q Aluminium body
Q 8.5mm diameter
Q 141mm length
System
Requirements
Works with Android
and iOS devices
Rating
ArtRage’s longevity and popularity are By dropping Bluetooth, Adonit has crafted a light
testament to its solid range of art tools. and refined note-taking and sketching tool.
January 2016 109

Celebrate Star Wars through the eyes
of the world’s finest artists
A
I N T E RR T &
VIEW
G re g H S
Christ i l d eb
ian W randt
Ra l p h aggon
M c Q er
Steph u
e n H a a r ri e
Ro g e r y fo r
Kastel d
Iain M
c C a ig
HARDBACK SPECIAL
ON SALE NOW !
For print and digital: www.bit.ly/Art-of-Film
Hardback edition: www.bit.ly/artoffilm-hardback
Inspiration Training
The early stages of the Brian uses examples drawn from across his
video present some career to show how he implements the
basic compositional principles he discusses on a daily basis.
ideas in a direct way
that beginners will
certainly appreciate.
As Brian draws these

thumbnails, he talks
about how balancing
big shapes against
small ones injects
energy into the scene.
The First Sketch: Quickstart

to World Creation
ADDED VALUES Film and video game concept artist Brian Yam offers
a beginner-friendly guide to his craft that’s deeper than it seems
Publisher Game School Online Price £1.96 Format Video stream Web www.gameschoolonline.com
his short and sweet video of Thirds and paths of movement with
T comes from Game School

Online as it branches out
from its popular podcast
some annotated examples. This will be
familiar ground to most, but thankfully
his tour of thumbnails has more meat
ARTIST PROFILE
BRIAN
into video tutorials. The First Sketch
is offered through Vimeo’s On
to it, as he shows how various choices
of viewpoint affect the information the
YAM
Demand service: you can watch a image conveys. You’ll also discover
trailer, then pay the small fee to keep how you can establish visual rhythm After graduating from UC Santa
the video. Unfortunately, there’s no within your thumbnail. Cruz with a degree in biology,
download option, so while the video The heart of the video awaits in the Brian worked in science for two
stream is of a high quality, you’re second half, however, where Brian years before deciding to pursue a
dependent on Game School Online takes one thumbnail and works it up career in art dedicated in the
keeping the video online. into a value study. It’s a pocket-sized entertainment field. In 1999, he
At less than £2 for this tutorial, Topics covered
masterclass in manipulating light and enrolled at Art Center College of
though, it’s hardly a high-stakes QThe Rule of Thirds shadow to direct the viewer around a Design, studying illustration to
Q Paths of movement
gamble; and despite its brevity, Brian Q Conveying depth
scene, touching on ideas like grouping ignite what’s become his career.
Yam’s video offers plenty of food for Q Selecting your value ranges to keep the depth you After graduating in 2002, Brian
perspective
thought, especially if you’re relatively Q Low shots, high
achieved in your thumbnail. By this found work developing concepts for
new to creating art. Brian shows you shots stage, you’re even prepared to forgive games and film studios such as
Q Visual rhythm
how to progress from blank page (or Q Lighting the focal
the audio track’s occasional scrapes as Insomniac Games
screen) to completing your first value point Brian knocks his microphone and the and Naughty Dog.
Q Grouping values
sketch, and how to solve your biggest constant background music. He’s currently a
creative challenges along the way. Length There are few artists whose work concept artist at
38 minutes
Brian starts in quite simplistic wouldn’t benefit from embracing the ImageMovers Digital.
fashion, rattling through some principles Brian presents here: it’s
www.drawingmantis.com
compositional basics such as the Rule quietly brilliant.
January 2016 111

Reviews
The Art of Dave Seeley

MIX ’N’ MATCH Epic is a word that gets bandied about a lot, but
in the case of this collection of Dave’s work, it’s fully justified
Editor Chris Prince Publisher Titan Books Price £30 Web www.titanbooks.com Available Now
ou know when a book is we assumed it was simply studio-
Y about to take you on an

epic journey when you
realise you’ve just been
based photographic reference Dave
had taken. Turns out it went a little
deeper than that…
staring at pages four and five for the Growing up in what sounds like a
past 10 minutes. The image under very creative environment, Dave was
close inspection is Dave Seeley’s 2011 already fostering a healthy obsession
The Unincorporated Future for Tor with imagery, hoarding clippings from
Books, and is a great introduction to magazines, pinned to walls or stored in
this illustrator’s passion for detail. files. After walking away from a
Back in January 2009 we successful career in architecture to
interviewed Dave, being the obsessed- pursue more soul-food work within Dave’s The Unincorporated Future is detailed
with-process types that we are. We illustration, Dave’s first commercial art enough to take up 10 minutes of anyone’s time.
were intrigued by his work: pieces of gig came via painting buddy Rick
grand space opera and unadulterated Berry for the trading-card game time Dave had been collaging photos
machismo-fuelled art, each one a Heresy: Kingdom Come. together in software and outputting
stunning example of high-definition How would this influence his painting the results, then painting on top of
photorealistic imagery. approach? In the book the artist them using traditional media to
His approach sucked us into the explains that although the work that Frankenstein his illustrations. When a
narrative, while dynamic compositions followed kept the wolf from the door, potential client saw an example of this
grabbed and yanked us into fantastic the trading-card size restriction just and subsequently hired him, the
worlds and action-packed scenarios. Snapshots of Dave’s wasn’t scratching his detail itch. The process die was cast.
work process behind
We guessed that a camera was the cover for Combat-K:
desire to work larger found him Throughout the book we see how
involved somewhere along the line, but War Machine. gravitating to book jackets. Around this effective this approach has been. It’s a
refreshing reminder that how you get
to the final image is fairly insignificant
compared to the outcome. More
notable though is how, in more recent
work, the brush is coming to the fore,
the marks are more prominent, and
lost and found edges are replacing the
hard focus of earlier pieces. Yet it all still
feels, well… epic.
RATING
112 January 2016

Inspiration Books
Digital Painting Techniques: Volume 7

SO MUCH VOLUME Another year, another selection of workshop
greatest hits from the previously PDF-only 2D Artist magazine
Editor Simon Morse Publisher 3D Total Publishing Price £30 Web www.3dtotal.com Available Now
s we leaf through another
A great edition of Digital

Painting Techniques we
can’t help experiencing a
little déjà vu - in a good way!
Featuring many tutorials repurposed
from 2D Artist magazine, which is 3D
Total Publishing’s PDF-only mag,
there’s a rich aray of workshops here,
from creature design to vehicles and
breathtakingly beaitiful pin-ups, like
Caroline Gariba’s cover image.
The quality of the work is superb,
and the range of artists, styles and genres will appeal to all fans of digital Potentially theming future volumes
art. The tutorials assume a level of may get round this, but clearly there’s a
software proficiency, but aren’t demand and interest for everything
inaccessible. Some tutorials, like René and the kitchen sink approach to
Chio’s hazy light stylized female, tutorial-based books. If you get this
feature welcomed annotations and book, you will at least get some great
boxes of tips that give it a nice pace - tips on understanding volume, the
not all just columns of text. importance of sketching, and a heap of
Andrei Peruvkhin’s If there’s a critisism to level here, it’s cool digital shortcuts and tricks.
Filipino witch is just one
of over 30 workshops
that there’s so much covered, that one
presented in the book. may not know where to start. RATING
The Art of Rocksteady’s Batman

HOLY CONCEPT! This is an impressive, detailed tome that shines the
Bat Signal over the work of this creative London-based developer
Author Daniel Wallace Publisher Abrams Books Price £25 Web www.abramsbooks.com Available Now
eveloping a game for an
D intellectual property like

DC’s Batman is a blessing
and a curse. You’re blessed
with characters and lore that your
audience are already familiar with,
there’s a wealth of costumes and
gadgets to choose from, and every
nook ’n’ cranny of their world has
been previously detailed.
Too much choice can be a curse,
though – or at least a huge challenge.
How do you decide which direction to
pursue in order to appeal to both gamers, comic-book and movie fans include ImagineFX regular Kan Muftic
alike, while injecting your own having fun painting Gotham’s protector.
ingredients into the toxic vat? You often hear about settings within
Rocksteady’s answer was to give its narratives becoming characters in their
concept art team free rein to explore own right. This is evident in the open-
Gotham’s dark avenues, to reveal their world games of the Arkham series, so it
unique Arkhamverse. only seems fitting that there’s a definite
Over the course of 320 pages we leaning towards environment art
Kan Muftic’s paints the discover an array of weapon and gracing these pages.
Dark Knight watching
over the dangerous
vehicle concepts, and an abundance of
streets of Gotham. character development: highlights RATING
January 2016 113

FREE! SOFTWARE WORT
10GB OF RESOURCES! VIDEO TUTORIALS + ZBRUSH MODELS + FILES
10
INSPIRING
CG ARTISTS
TIPS
TO CREATE
BETTER VR
PROJECTS
MAKE
THIS
MODEL
THE 2016
VR REVOLUTION
Expert guides for real-time animation and rendering
RENDER A
HOME FIT FREE!
TO LIVE IN ENVIRONMENT
MODEL SET
Chaos Labs’
VR workflow
LEARN 80
UNREAL WORTH $
ENGINE 4
Pro tips to get
started in VR
ISSUE 203
ON SALE
NOW!
Newsstand for iOS: www.bit.ly/3dworld-app
Print: www.myfavouritemagazines.co.uk/3dwsubs
INSPIRATION AND ADVICE FROM THE WORLD’S BEST TRADITIONAL ARTISTS
This issue:
116 Embrace oils

Rebecca Guay’s romantic secrets.
118 Give your art rhythm

Allen Williams shares his tips.
124 Paint an illusion

HOW TO... Syd Mead goes into detail.
PULL VIEWERS
INTO YOUR ART
Brom uses contrast, lighting and detail 130 First impressions
Dan Dos Santos on ad work.
to introduce a demon king Page 122
115
Workshops
THE REAL DEAL

Oils I use real 23K gold leaf. The fake stuff is
fake looking. I also glaze and paint over it as
required, to make it feel part of the painting.
EMBRACE WORKING THE SURFACE

My use of layers and glazing over the drawing is
GOLD LEAF key to creating the complex surface finish. I use

transparent glazes as well as opaque paint, followed
again by transparent glazing. This results in a
AND OILS
subtle surface and interpretation of colour.
REBECCA GUAY exposes the secrets

behind her unashamedly romantic artwork
R
ed Sugar is a 48x60-inch heaviness of the gold versus the fleeting
fixed diptych in oil and 23K quality of the embrace. My figures are
gold leaf, on two canvases. drifting over a graphic and barren yet
It’s a very personal work that beautiful landscape below, which again
was shown at the Jonathan underlines the surreal flight of passion.
LeVine Gallery back in August. The Red Sugar is an unabashedly romantic
painting explores the ideas of sensuality piece that I painted in earnest and
and surrealism that have been central without irony. But I believe it exists
themes in all of my work since I made the beyond its surface beauty. My hope is that
shift to gallery work in 2011. there’s emotional complexity on show as
I drew the artwork in graphite and well: complexity in the dark and the light
powdered graphite and water over of the piece, the grip of the figures, the
canvas, which had been gessoed and intensity of their bodies, the hands and
sanded multiple time to achieve a faces, the gravity of the embrace – within
smooth surface. I then worked in oil to the floating, surreal world.
complete the final piece. I wanted to Rebecca’s early work comprised
convey the sensuality of the embracing artwork for RPGs, card games,
figures in a dream-like environment comics and children’s books.
SOLIDIFY THE SCENE
while depicting the weight and the She’s since moved towards more Large, abstract elements, such as the
gravity of the metallic in the gold. Thus gallery-led work, with large pieces created in area of red fabric around the figures,
there are two contrasting aspects: the oils. See her art at www.rebeccaguay.com. help to anchor the composition
Step by Step: Merging human gesture with gold leaf
1 GESTURE SKETCHES
I start all my images with emotion-based
thumbnails in my sketch book. These are not
2 PREPARING THE CANVAS
I take two 30x48-inch stretched canvases,
sand them down, coat them with gesso and then
3 FINISHING TOUCHES
I usually use gold leaf in negative spaces and
large graphic areas. Then I glaze the piece with
beautiful or impressive drawings; rather, I see carry out wet sanding between five or six layers Galkyd and finish it in oil paint. The final piece is
them as useful thinking tools driven by the feeling of gesso. I want the surface to be velvety and given a coat of Gamvar to protect it. I prefer
I want to convey. You can see in this preliminary smooth with very little “tooth” of the canvas left. simple framing for my work these days, because
sketch that I’m working out the emotion and the In most cases I’ll freehand my drawing on to the ornate frames are a distraction and don’t allow
gestures between the figures. The unusual canvas (although I’ll sometimes use a projector). for the work to be seen in its own right. I use
moment as their torsos press together and the I draw with a large, woodless graphite pencil and painted black slats: the most basic finish framing.
position of the hands is very important. a brush with powdered graphite and water. I love its clean presentation.
116 January 2016

Artist insight Gold leaf and oils
SHAPES, NOT OBJECTS
Think of the elements in the
image as tools of composition,
rather than real-life objects.
It’s the shape of objects that
matters, not the fact that
it’s hair, cloth and so on.
The shapes work to bolster a
strong composition.
FACE FACTS
If a face is shown in
a piece then I make
it as wonderful and
enigmatic as possible.
A boring or simply
‘okay’ face won’t
engage the viewer.
Make it special!
MATERIALS
MEDIA
Q Galkyd and Gamsol
by Gamblin.
PAINTS
HUMAN TOUCH Q Gamblin, David Davis,
I consider where to Grumbacher and Old
depict specific and Holland.
recognisable physical BRUSHES
gestures, to make that Q Windsor & Newton
and Rosemary.
emotional connection
with the viewer. LEAF
Q 23K gold transfer
THE HUMAN ELEMENT sheets from Gold
A clear and deliberate gesture with the figures Leaf Factory.
in the piece is essential. If the gesture between VARNISH
the two characters falls short, is static or Q Gamvar by Gamblin.
uninteresting, then the piece itself fails.
January 2016 117

Workshops
Pencil
GIVE YOUR ART
RHYTHM AND SHAPE
ALLEN WILLIAMS plays with rhythm, shape, value and texture to
create fantastical images that feel – and sometimes are – truly spontaneous
D
rawing, for me, has been a For a long time my work was mostly at. I had reached a point where, for
long and crooked path. I can GET YOUR concerned with the female form, and to whatever reason, I couldn’t find a frame
remember copying images
from comic books well
RESOURCES
See page 6 now!
this day anatomy still plays a huge part in
my work, sometimes even in the more
of reference for the images that I wanted
to make. I took this as a good sign that
before I could read. My abstract work that I do. I put a lot of effort I was on a more personal track, and that’s
family travelled as I grew up. Comic into chasing styles and techniques that I what led me to the manner and content of
books, pencil and paper are very portable, would emulate, integrate or disregard. the work I do today. Hopefully, this
so that’s what I usually had with me. About 13 years ago, around the time my workshop will inspire you have faith in
I drew nothing but creatures for a long first child was born, I had the growing your own vision.
time until, aged 15, I met another kid feeling I was overlooking something Award-winning illustrator,
and fellow artist who only drew nude crucial. I came to realise that I hadn’t spent concept artist, fine artist and
figures. His mother was, shall we say, much time exploring what I loved to do. writer, Allen continues his
progressive and to support his love of This was a dramatic turning point for passion for graphite every day,
drawing would supply him with me. I started paying close attention to creating strange characters and creatures. See
magazines featuring tasteful nudes. what it was that most excited me to look his art at www.allenwilliamsstudio.com.
1 Chose your own path

Before you pick up a pencil or brush, decide what is the
purpose of your work: conceptual, personal, narrative, abstract,
expressive? This decision – and often it’s made on a piece-by-
piece basis – can determine how you should proceed.
2 Knowledge is key
I have to say that you can make do with the most basic
materials if you understand them thoroughly. In a pinch there’s
nothing wrong with a #2 pencil and a ream of plain white copy
paper, but different tools have different qualities. Having a
number of options can help keep your work fresh.
118 January 2016

Artist insight Rhythm and shape
3 Your working surface
What kind of media do you want to work
on? Digital or paper? If paper suits you most
then, like me, bear in mind that you don’t have to
settle for one type or brand. In my opinion, you
should have a variety of papers with different
qualities that you’ve come to understand
through your own experimentation. Smooth
papers aid smooth renders. Rough papers aid
textural renders. Sounds basic I know, but you’d
be surprised at how many professionals struggle
against their own media.
You should have a variety of papers

with different qualities that you’ve come
to understand through your own work
MATERIALS
4 Use references to suit the piece
Reference can be models, nature or even out of the
PENCILS
Q Tombow Mono100 4B
brain. I try to photograph all of my own reference, but I Q Mitsubishi Hi Uni 10B
occasionally piece together (or ‘Frankenstein’) reference
PAPER
that I’ve found online. For figures I try to have the best Q Stilman & Birn Zeta
reference I can afford. For natural reference, such as rocks Series
and trees, I tend to shoot reference, study it and then put it Q Fabriano Hot Press
away and work from the impressions left in my mind. Of watercolour paper
course, all of that reference combines in my brain and that’s Q Stonehenge and
what causes the almost abstract quality of some of my art. Arches Hot Press
watercolour paper (the
reverse of the sheet)
5 Take different approaches

If I’m doing concept work for a client I tend
OTHER
Q Kum Longpoint
to follow a more formal process: sketch, line art, pencil sharpeners
rendered drawing. It saves time in the initial Q Dahle rotary
concept phase if the sketches can be assessed sharpeners
before you waste time on an inappropriate Q Graphite powder
rendering. When I do personal work I’ll begin Q Kneaded erasers
drawing with the end result in mind. I’ll grow the Q Pencil extenders to
creature out of a striking detail. That direction achieve the full life of
isn’t for everyone and you have to be sure of a pencil
your ability to ‘find’ the form. It’s a fun way to Q Spray fixative
work, and with practice can help you find Q Transparent acrylic
shapes, forms and textures that you wouldn’t matte medium
have necessarily thought of in the beginning.
January 2016 119

Workshops
ARTIST INSIGHT
WHEN TO EXPLORE
Experiment as often as
you can. Having said
this, it’s usually best to
do it on non-client
work, unless you have
enough time to fail a
few times.
ARTIST INSIGHT
TRY TO SEE THE
BIGGER PICTURE
In your efforts to get
6 Rhythm and shape hierarchy
No matter what direction you take your art in, it’s
7 Avoid designing around eyes
That’s a rough and ready summary of
better, don’t forget to important to keep in mind the rhythm of the shapes within something that Iain McCaig mentioned in one
hold on to the things the work. This directly relates to shape hierarchy. It’s really of his instructional videos. I’d like to give it a
that you do well and just another way of thinking about composition. Building broader meaning here: try not to either design
realise that it’s the interesting patterns of light and dark is a good skill to or conceive your creature, character or
differences in how you have. You don’t want everything to be too similar in composition from the same starting place all
apply techniques that shape and size in your work because it can lead to an the time. This is especially applicable if you find
make your work unique. uninteresting or awkward rhythm (unless, of course, you yourself producing images that feel like you’ve
knowingly deviate from that guideline). done them before.
Step by Step: Rhythm and shadows
1 START BY EXPLORING
This is just a loose exploration of shapes and
rhythm. I’m usually looking for pleasing shapes
2 SCULPTING WITH SHADOWS
Now I find the shadows that will sculpt the
form, image or composition. This can change the
3 PUSHING THE VALUES
Now I push the render and look for values
that need to be coaxed into place. Often this is
and interesting negative space. It’s easy for me to design and direction, and is a stage where you the most fun stage of my drawing process, but
get lost in finding details at any stage, and must be unafraid to use your eraser. Unless you significant changes can still happen within the
depending on my intentions for the piece I often have specific reference to draw from, you may piece. I try to stay open to the possibility that
just let go and explore in whatever direction the have to chase the form until you find it. Once you large areas might need to be erased and then
drawing seems to favour. find it, however, it may alter the form’s hierarchy. redrawn at any stage.
120 January 2016

Artist insight Rhythm and shape
8 Lost and found edges
It’s very important to understand how
edges create depth, resolve elements and imply
dimensionality. With concept work, lost edges
aren’t always an issue. A clearly defined
silhouette is often what’s required but in
illustration, personal work and so on, it tends to
make an impression.
9 Add matte fixative

After a graphite piece reaches a certain point and
everything is in place, I’ll spray it with a matte fixative. When
it’s dry I use a broad soft brush and apply ultra-matte
medium mixed with a bit of water (use a thick paper for this
to work without buckling). This kills the graphite gloss but it
also lightens the values a bit. You can now punch the value
range if you tweak your image with a darker drawing tool,
such as Nero black extra soft pencil or even Prismacolor
black. The image will also scan better because it’s all matte.
It’s very important to understand

how edges create depth, resolve
elements and imply dimensionality
10 Don’t be afraid to get dirty

As long as you clearly understand what your lightest
value in a piece will be, light smudges and erased values
that leave a grey ghost aren’t any cause for alarm. Very
many beginner artists’ drawings are less successful because
they leave too much white on the paper. In other words,
there’s not enough drawing in their drawing. I’m a very
pale person, but the lightest areas of my skin are still darker
in value than a white or even a cream-coloured piece
of drawing paper.
11 Rubbing for a reason

Draw as much with an eraser as with a
pencil. It’s often much easier to find shapes and
textures with the broad stroke of a kneaded
eraser than with a pencil. I often discover my
best accidents with the eraser.
January 2016 121

Workshops
Oils Acrylics
PULL THE VIEWER

INTO YOUR PAINTING
Discover how BROM uses elements of contrast, lighting and detail to introduce
the viewer to a character from Lost Gods, his latest illustrated novel
S
omewhere in my early 30s My obsessiveness took over and the prose summer of 2016 from HarperCollins.
MATERIALS
my love of painting began to began to flow. Soon I couldn’t wait to This is Lord Kashaol, one of the
wane. I found the cover work paint the characters and settings that I BRUSHES characters from Lost Gods. In this
Q Synthetics
that I was doing to be was writing about. portrait I use a range of painting
Q Grumbacher
repetitive and confining. I Interestingly, my time spent techniques and elements to draw in
Goldenedge
longed for more creative control and developing stories on the page revitalised the viewer, leading them to discover
craved a vehicle to showcase my own my enthusiasm for painting. I’ve found PAINTS the subtle details.
characters and situations. that the two disciplines feed off one Q Daniel Smith oils Brom says he’s long been
I’ve always considered myself a another, that I love the creative back-and- Q Rembrandt oils obsessed with the creation of the
Q Liquitex acrylic
storyteller, whether through pictures or forth that bringing a story to life in two weird, the monstrous and the
words, so the combination of the two mediums can provide. MEDIUM beautiful. Working in books,
seemed a natural progression. I dug out Now, some 20 years and five illustrated Q Daniel Smith Painting games, comics and films, he’s achieved this
some of the stories I’d outlined over the novels later, I’ve just completed my latest, Medium goal and more besides. You can experience
years and started pecking away at them. Lost Gods, which is due out in the more of his art at www.bromart.com.
Step by Step: Don’t be fearful of making mistakes
1 SKETCH THE IDEA

I start by laying down a number of gesture
sketches, trying to come up with an interesting
2 DEVELOP THE LIGHTS AND DARK
Once I’m happy with it, I transfer the finished
drawing to the board and then apply acrylic for
3 APPLY OILS TO UNIFY THE SCENE
This shot shows the first pass with oil. I finish
with oils to unify the colours, mould the forms
and unusual shape, working up to a tight sketch. the underpainting, which establishes the lights and work out the details. My technique varies
I often use photo reference but in this case, as and darks in the image. This also helps to create with every painting, because I’m always
with most of my creatures, I enjoy painting an interesting background, as well as help speed experimenting, often failing – but it’s these screw-
completely from imagination. up the drying process later on. ups that often lead to the most interesting results.
122 January 2016

Artist insight Pull the viewer in
LIGHTING THE HELM

The brightest elements and
strongest contrast of the painting
draw the eye to the focal point.
GUIDE THE EYE WITH COLOUR

Notice how the intensity of
colour heightens towards the
focal point. In this case it’s the
blue flowers that contrast with
the gold helmet.
COMPOSITION
TRICKS ’N’ TIPS
I place design
elements such as
the deer horns and
lines of the helmet
so that they all
lead toward the
character’s face.
VARYING THE FOCUS
The crispest details are placed
on the most important aspect
of the work, while some edges
are left soft to give depth
and a feeling of the demon
materialising out of the gloom.
January 2016 123

Workshops
Gouache
PAINT THE
ILLUSION
OF REALITY
In this workshop, adapted from his Gnomon
video Airship Arrival, SYD MEAD paints with
enough detail for a convincing look of realism
M
y medium of choice is I work from background to foreground.
gouache, which is an So here we’re coming up from ground
opaque watercolour. The level and we’ll repeatedly trace down our
somewhat annoying part detail edges over what we’ve already
of gouache is that some painted. You’re essentially cleaning up
colours dry darker than when they are edges as you go. The final rendering of the
wet and some dry lighter, but you get used dirigible will define its edge. Some of its
to this. I use only around 12 colours total, graphical markings will be the last things
or in this particular illustration only we do. Everything else is like dressing a
about six. In my whole career (56 years stage for a performance.
and counting) I don’t have crimson, or I paint standing up. It’s the only way
screwball colours like chrome orange. you can float the upper part of your body
For detail work you’ve got to have a with your arms free to manipulate your
very good detail brush. I use a Winsor & bridge and your brush. And I paint on a
Newton Series 7 Number 2, and there’s flat desk, not an easel, because I’m dealing
about two or three tip hairs, which enable with something that’s wet, and I don’t
you to make hair-thin lines in paint. The want it slopping all over.
nice thing about gouache is that you can When I finish an illustration I’ll scan it
make a white hairline highlight over jet in, both for delivery and for archiving –
black if you want to. When the end hairs when gouache dries it is essentially a
go, you need a new brush. Even on this dried powder layer on the board, so it’s
size of painting, which is 15x20 inches, very fragile to the touch, and it fades
I’ll go through two of these brushes. rapidly in sunlight. Once the artwork is
scanned you can play around with the
colour balance and make several pictures
using the same base painting.
I’ve done illustrations for movies in
preproduction, and the idea is to visualise
what a particular scene could look like.
You’ve got to make it look believable. So
here’s how I create the illusion of reality.
Syd began his art career at
Ford, but is more famous for his
GET YOUR
concept work on films such as
Blade Runner, TRON and RESOURCES
See page 6 now!
Aliens. See more at www.sydmead.com.
124 January 2016

In depth Illusion of reality
January 2016 125

Workshops
ARTIST INSIGHT
IT’S ALL AN ILLUSION
The brain is fairly easy
to trick; if you create
the right cues, your
brain will fill in the rest
of it. So if it looks right,
it is right. That’s the
general rule I follow.
If it doesn’t look right
then you haven’t
sufficiently tricked the
eye by using the right
colour and value in the
right place.
1 Initial sketch
My original sketch was done quickly to work out the
2 Final sketch
I tighten up the design and rough in a longitudinal
perspective and composition. This is a 1,500 foot long section. I decide the sunlight angle and create a shadow line
luxury passenger dirigible. If I were doing this digitally this along the length of the vehicle relative to this curve. Then
could be created in 3D, but to draw it accurately I have to I scan the sketch in and blow it up to the size I’m going to
measure everything up and make sure it looks believable. paint, 15x20 inches, on my final trace-down vellum.
3 Building the hotel

The hotel structure at the right is there to suggest scale and make it look
interesting. Originally it was a round thing but I decided I didn’t want to duplicate the
ellipse geometry, so I did a sketch offline. I’ll often do little bits and pieces of the
rendering as a separate sketch. This is architecture, but it’s on a slant and has an
interesting graphical look to it. So when I have all this ready, I’ll trace this down, too.
MATERIALS
ART BOARD
Q Crescent Cold Press
GOUACHE
Q Winsor & Newton
FLAT EDGE BRUSHES
Q For base colours (for
a 15x20 inch painting,
half an inch across)
DETAIL BRUSHES
Q Winsor & Newton
series 7 number 2
AIRBRUSH
Q Iwata
4 Colour rough
Next I paint a quick colour model, a small scale
5 Blocking-in colours
Now I block-in the basic shapes as fast as possible so
version of the illustration, to decide the colour set. Once I’m ready on my second pass, which is detailing, to work just
that’s done I mix about 10 or 12 matching colours in cups, so with tones of the premixed colours. Using a flat-edge brush,
I can start to paint and not have to think each brush stroke I can carve out areas accurately. Then, because the light is
about the correct colour. I then wet both sides of the art coming from the lower right, I lighten up the base ground
board so it won’t warp when the wet gouache goes on. tone in the lower right to give it a more realistic appearance.
126 January 2016

6 Trace down and start detailing
I’ve created the shadow-light-shadow progression
back into the distance, and next I trace the line drawing
back over what I’ve blocked in. After doing this, I start to
redefine some of the object lines in the picture. Then I turn
my attention towards the background detail, adding some
indication of habitation, lines that could be architecture,
pathways, roads and so forth.
For accuracy I use a bridge, which is like a ruler on little
feet. You lean the ferrule of the brush on the bridge to make
a clean line. You can make a slightly curved line with the
brush on the bridge by moving your wrist or your hand in
and out. It’s good for a very smooth, very controlled edge.
7 Implying foliage and other details

I now render some foliage against the crisp and
controlled edges, to break it up and suggest that the
architectural or mechanical sits on top of this terrain. Look at
aerial photographs and you’ll see how to suggest the idea of
foliage without having to render each and every tree. I know
you can paint tree textures electronically, which is amazing,
but you still have to be aware of what you’re doing.
The tool is, to me, much less important than the idea. You
have to make a relative value call as to why something is
dark or light way over in the background. Little highlights
indicate metallic edges, tracks and who knows – you don’t
know what’s back there, but it looks busy and visually
intriguing, and at this point that’s all I’m after.
PAINT
VISCOSITY CHECK
The paint’s viscosity
on the board is critical.
When I pick up some
colour, I flatten the brush
or wipe it on a board, to
achieve the right
consistency.
ARTIST INSIGHT
DON’T GIVE UP
At school our rendering
instructor said, “Every
picture goes through
an awful stage where it
looks really crappy.
Don’t give up! If you
have planned the
composition well, keep
8 Scumbling in the trees

Palm trees are really silly plants: a little puff of foliage at the top of this long stick. But they’re a great scale device.
at it and trust yourself
and eventually it will
I’m sure you’ve out looked over Los Angeles and in the distance seen a row of these palm trees, and it’s an instant scaling take on an organised
sort of thing. Now I’ll detail inside the overall foliage area and add in some tall trees, probably Italian Cypress. The detail is illusion of reality that
very random. It’s not a system, it’s an idea. It gives the overall feeling of a forested area with trees at the far edge. This kind you’ve planned from
of rendering is called scumbling, and it goes very very fast. It’s a brush strokes illusion rapidly created, and you can do it the start.”
with any technique, charcoal or chalk or paint.
January 2016 127

Workshops
WIN! in a
You could w
co py of Syd’s
signed t
nd ou
video. Fi
ore - visit us on
m
Facebook.
VIDEO LESSON
9 Mask and work forward
Gouache is sensitive to touch and finger oils, so when I finish an area I cut out paper masks to protect it. I now do the
same as before on the right-hand slope – again feelings of mechanicalness overlaid on to a forested tree texture. We’re in
AIRSHIP ARRIVAL
the shadow, so I start creating the transparency of the shadow. You start seeing colour in areas rather than just shades of
This workshop has
grey, and we’re slightly closer to the camera, so now the detail of the tree texture has to be a little bit finer. For the ground
been adapted from
detail – it could be tracks or roads – I’m following lines that I’ve traced in over the blocked-in tone.
Syd’s video, Airship
Arrival, published by
The Gnomon Workshop.
You can purchase it from
http://ifxm.ag/gm-ws.
10 The illusion of detail

This fine detail is all mechanically precise. These lines,
11 Depicting parked cars
For the parking lot I do a row of quick dabs of
even though they are short, are lined up with perspective random colours. Then I cut across them with the concrete
back into the distance and has the illusion of organisation colours. The real world is actually fairly colourless. It’s the
on the ground plane. The shadow cuts across this vast accents that make it look real. So I put a little dark spot on
settling basin for my dirigible, so I use darker values for parts the shadow side of each car, then a few white highlights on
in shadow and lighter values for lit surfaces. the sunlit side – randomly, not on every single one, mind.
ARTIST INSIGHT
THINK YOURSELF
INTO THE ARTWORK
When you’re painting,
you do think that you’re
there. In your mind,
you have to be there in
full three dimensions,
otherwise you can’t
make this stuff up on
the fly. You have to be 12 Into the shadow
Now I work back into the shadow, doing the same
13 Detailing the hotel
On the hotel, I indicate edges of balconies and little
there in your mind, but with colours lower in value than those in sunlight. Then I spot windows, which gives it scale. These balconies are
experiencing why it add detail in the shadows of the settling basin. Shadow isn’t facing up, so they have a little bit more highlight on them.
would look this way exactly razor sharp, and I like to make a buzz line where the They call it “rusticating”: randomised detail inside an
and not another way. shadow gradually shifts to sunlight – not much, but all it established area. You’re breaking it up, because in the real
takes is a little bit of an edge and it will look more real. world you’d have little variations in lighting.
128 January 2016

14 Surrounding superstructure
Now I put in the gantries that hold the dirigible in
15 Painting the dirigible
To make the dirigible look shiny, I put on a horizon line reflection, suggesting
place. This gantry is 200 feet off the ground, so it has to the trees and ground details. To create the illusion of roundness and reflective texture,
have enough fussy details to make you believe it’s the right we need a soft progression from the base colour to a darker blue reflecting the sky. So
scale. The last step is a highlight to make it look real. A little I mask off the shape and gently shade the top with an airbrush. We need to dress that
bit of light and shade and detailing makes this believable. top stripe, so its colour varies convincingly. I use small strokes – dry-brushing, almost.
AIRBRUISH
CORRECT MEDIA
I use an Iwata
16 Finessing details and finishing

I highlight that return edge a little bit because it’s facing the sun. Now I go over little bits and pieces,
instrument, which is
stainless steel. I’d never
and sketch in some of the hairline feature details. I accent some a little bit, to suggest that they have a try to use gouache with
dimension to them, a little bit of an edge. I finesse the reflection on the underside a bit, suggesting some a Thayer & Chandler,
reflections. I add what could be a little outdoor area with a pool and umbrellas sitting around – again, it adds a like we used in
little bit of detail to a very severe architectural angularity. At this stage you start going back over and think “well, school.
that needs a little bit more to fix that”… But when the signature goes on, it’s done!
January 2016 129

First Impressions
Dan Dos Santos
The artist talks about

teaching, advertising
work and investing in
tech companies…
Where did you grow up,

and when was it that you
realised you had a talent
for painting?
DRAGON EMPRESS
“I painted this for the Dragon Con
I grew up in Bridgeport, programme guide. It’s one of the
few personal paintings I’ve done.”
Connecticut, in the US. I loved drawing
as a child. As for when I specifically
realised I had a knack for drawing, name but a couple. Yet the best moments
that was probably when I started school have definitely been getting the chance to
and realised most other kids couldn’t meet some of my artistic heroes, and
draw. Until then, it simply hadn’t realising that they are now my peers, and
occurred to me that other people didn’t even better, my friends. Julie Bell and
draw all the time, too. Michael Whelan in particular – but
I admire so many artists’ work in one
Did your upbringing influence your way or another, that it’s silly to isolate
style of painting in any way? MATERNAL INSTINCT just those two when that feeling really
My upbringing didn’t really influence “Hell hath no fury like encapsulates so much more.
a woman scorned.”
my style as much as the era I was born
in. I was raised on 1980s cartoons, such What’s been your most challenging
as Transformers, ThunderCats and Just because you’re a good commission or assignment?
He-Man. In addition to great cartoons Pretty much every advertising job ever.
and comic books, various artists and artist, it doesn’t make you It doesn’t matter if it’s a movie poster,
styles of the era also left an imprint.
Artists such as Earl Norem, Jim Lee and
a good teacher or a pharmaceutical ad. Advertising work
will test your skills, your speed and your
Patrick Nagel still influence my work. patience like no other genre.
WHITE TRASH ZOMBIE
Why does fantasy art float your boat? “Created for the cover of a zombie Are internships something that all
romance novel. It’s still one of
I think fantasy art is a very wide genre... my favourites to date.”
established artists should consider?
encompassing anything that isn’t real Definitely not. Just because you’re a good
life. I don’t take as much pleasure in artist, it doesn’t make you a good
imitating things that already exist. I like teacher. Teaching is something I happen
to create new scenarios, new worlds, new to be very passionate about, and I’ve had
people. Fantasy art enables me to be as interns for most of my career. But I know
creative as I want to be. lots of professionals that just aren’t cut
out for it. The creative process is deeply
How do you think your art style personal for a lot of artists, and sharing
changed over the years? that process with someone else takes a
Honestly, not that much. I like to think lot of trust, time and commitment.
that I’ve gotten better, but I’m not
entirely certain my sensibilities have What advice would you give to your
changed much. Though I’m admittedly younger self?
blind as to what my own style actually is, Invest in Google.
so assessing it is a bit difficult.
How would you sum up your work,
What’s been the highlight of your career in under 10 words?
Photo by Greg Preston
so far? Any low points? Strong, sexy women in colourful,

I’ve had lots of highlights, such as dynamically lit settings.
winning awards, and working on the very Dan Dos Santos’ award-winning work spans
properties that influenced me as a kid novels, comics and film. You can see more of
– Star Wars and Magic: The Gathering, to his art at www.dandossantos.com.
130 January 2016

9000
9001

ImagineFX January 2016 UK

Uploaded by

Copyright:

Available Formats

ImagineFX January 2016 UK

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

ImagineFX January 2016 UK

Uploaded by

Copyright:

Available Formats

What are some of the featured artists and topics in this issue?

What are some of the featured artists and topics in this issue?

What advice does Dan Dos Santos have for artists?

What advice does Dan Dos Santos have for artists?

EXCLUSIVE!

“IAIN MCCAIG SHOWED

the digital art innovator

LEGENDS ART & ADVICE

to the big one!

Our special cover for

Print subscription queries

over this month’s reader art –

News and events

74 Use light for a

84 Capture the 92 Depict an epic

88 Create lighting 98 Know yourself,

118 122 130

Inspiration and advice from

Futuristic concept imagery Dan Dos Santos

2 Find the files you want

3 Download what you need

PHOTOGRAPHY Future photography studio CONTACT US

EXCLUSIVE VIDEO TUITION!

Todd Lockwood Eric Deschamps

Raphael Lacoste Mélanie Delon Bobby Chiu

Bobby Chiu Brian Yam Ruan Jia

71 CUSTOM BRUSHES, INCLUDING…

A few years ago, Ayya

1 KATRINA’S MISSION “Sometimes

2 HARLEY QUINN “I decided to draw

3 SUMMER SMILE “I love the sea, the

Ayya’s colourful work

Email your submissions to [email protected] January 2016 9

“I always used to draw

Video game concept

1 RUINS “This painting was inspired by

10 January 2016 Email your submissions to [email protected]

AJ’s main focus is on

It’s thumbs up from

1 PLEASE STAND BY – FALLOUT 4

2 AVENGERS “A tribute to the release

3 NEAR THE CAMPHOR TREE “This is

4 WIZARD OF OZ “When I was asked

12 January 2016 Email your submissions to [email protected]

Email your submissions to [email protected] January 2016 13

Tatiana started studying

Titianna has put a

1 RAIN “It’s no secret, I love the splash

2 SAILOR DEADPOOL “This was my

3 DEVIL IN HER EYES “This lady

4 RED “This is a perfect example of

Email your submissions to [email protected] January 2016 15

Taking inspiration from

1 MARVEL VILLAINS “I came up with

2 GUARDIANS OF THE GALAXY “This

3 ALIENS “As a big fan of the Alien

16 January 2016 Email your submissions to [email protected]

Email your submissions to [email protected] January 2016 17

18 January 2016 Email your submissions to [email protected]

Sean was born in France,