Académique Documents
Professionnel Documents
Culture Documents
Interview
Serge Birault
Articles
Sketchbook of Dimitar Tzvetanov
The Gallery
Songnan Li , Amenov Vitaliy and
Steve Jung, plus more!
Portraiture
Jason Wei Che Juan brings us the final chapter of our Painting
Creatures From Folkore series.
Photoreal Fantasy
Contents
Editorial
Contents
001
Serge Birault
Interview
Sketchbook
014
The
soft round
airbrush is
my favorite
tool. When you
use it with a very
low opacity you can
easily blend colors and
do clean gradients. Its a bit
like a traditional airbrush,
but easier.
Rabbit.
022
028
Claire Beard
I find it far easier
to
Steve Jung
see where something
Songnan Li
be Issue
wrong
Chapter 01may
| January
061 if all of
Composition
the
components are in
Chapter 02
| This Issue
place.
If you were to
Lighting and Color
paint a perfect mouth
Chapter 03 | Next Issue
nose they may
Portrayingand
Emotion
still look wrong
Chapter 04 | April Issue 064
Story Tellingif the eyes were
!
Chapter 05 | May Issue 065missing.
036
Artist:
Andrew Jones
website: www.shareoneplanet.org
we continue our Photo Real fantasy series by tackling a photo real giant
Some
things in
art cannot
be avoided,
and some things
must be understood to
digital painting, and gives us master class as to how to do this and make
050
Portraits are one of the most commonly tackled subjects in all forms of art, but also one of theand
most
common that we see
techniques to demonstrate depth
go horribly wrong. In this series our talented artists will be showing us how to use a photo
to paint
accurate
of reference
field are being
usedan
today
as were being
portrait without being tempted to do a paintover. We dont stop there though; weused
alsohundreds
venture into
the specialized
field industry
of years
ago. In this series
of caricatures. Caricatures are a tricky subject to deal with, but there are ways
that youwill
canbeuse
your photo
to
professionals
teaching
us the reference
art fundamentals
that
make them easier and this series gives us
anput
insight
into this process.
they
into practice,
and will be sharing amazing tips that we can
all use to improve the quality of our work.
Intro Text
it look real. Rich has a double bill in this months issue and also handles
Chapter 04 | Male | Richard Tilbury
056
It is important to get
the correct levels of
dark in the shadow
and show how the
skin reflects the
light.
artists from around the world and has become a large part of the film
drawn from fairy tales and folklore. In this tutorial series our artists will
Dragon
072
Alien
movies, computer games and artworks over the years. With such potential for magic, monsters
This is more than just an artwork book.
and imaginations to run wild, its easy to see why fantasy is such an attractive subject. But giving
Not only does it feature full-colour, fullfantastical ideas enough of a basis in reality to be convincing can be difficult. In this series our
page images, but each artist has given a
talented artists are going to take one aspect of fantasy legendary creatures and show us
detailed description, in their own words,
how they would tackle this problem. Some use photo integration, others paint the creatures very
of the creation process behind each piece
carefully with a steady hand, but all share the benefits of their experience and reveal the tricks and
of published artwork. And theyve done it
techniques they use to make the unreal seem real.
especially for this book!
Baba Yaga
core subjects that any artist needs to appreciate, and this month Jesse
shows us ways to portray and use light and color to accentuate the
Photoreal Fantasy
Portrait
066
Portraiture
044
his image and by giving it a story makes it appear a lot more believable
Art Fundamentals
with Richard Tilbury. Rich talks a lot about the design and idea behind
JP Rsnen
it was GIANT! Forgive my abstract link to our tutorials this month, but
our portrait tutorial. In this issue Rich shows us how to paint a boy and
The Gallery
Sasha Gorec
Cowboy vs Sandworms
Digital Art Masters: Volume 5 Free Chapter
by Min Yum
About us
076
Yuehui Tang is a fantastic artist and has a great way of painting portraits. In this Making Of he
shows us how he painted his image Portrait by starting with a black page, adding the light and soft
tones to create a grayscale image, and then painting over it.
message in our image, and really drive home its entire concept. Jesse
shows us how to do this by using examples from his portfolio which is
fantastic. A big thanks goes to Jesse for shedding light on the matter
This months issue contains the final chapter of our Creatures from
Folklore series. We will be sad to see the series come to an end as the
tutorials have been great, but we do wrap things off in the best way
possible with another fantastic tutorial. Jason Wei Che Juan doesnt
Editor
Layout
Content
Sub-Editors
Simon Morse
Layla Khani
Matt Lewis
Simon Morse
Tom Greenway
Richard Tilbury
Chris Perrins
Jo Hargreaves
Simon Morse
Jo Hargreaves
Lead Designer
only show us how he painted his image but gives us an insight into
Chris Perrins
Marketing
Jo Hargreaves
I am swiftly running out of space so I will speed up and just let you know
about the cool technique used by Yuehui Tang in this months Making
Of. He uses gray scale but backwards, sound weird? Check it out to see
I managed to catch up with Serge Birault for this months issue. For
those of you who are regular readers of 2Dartist you will know who I
Beard and many more. Anyway, dont take my word for it, read on and
has blown us away for years with his realistic paintings and fantastic
check it out!
www.2dartistmag.com
page 2
Magazine!
If youre having problems viewing the double-page spreads that we
feature in this magazine, follow this handy little guide on how to set
up your PDF reader!
Contributors
Dimitar
Tzvetanov
Contributing Artists
Every month many artists around the world contribute to 3DCreative and
2DArtist magazines. Here you can find out a bit more about them!
If you would like to be a part of 3DCreative or 2DArtist magazine, please
contact: simon@3dtotal.com
Jesse
http://www.artbychrom.com/
chrom@artbychrom.com
Richard
van Dijk
Tilbury
http://www.jessevandijk.net/
http://www.richardtilburyart.com
jesse@jessevandijk.net
www.2dartistmag.com
rich@3dtotal.com
page 4
Contributors
Jason
Yuehui
Tang
http://www.cgtnt.com
www.jasonjuan.com/ | Jasonj05@msn.com
tyhart@163.com
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www.2dartistmag.com
page 5
The
soft round
airbrush is
my favorite
tool. When you
use it with a very
low opacity you can
easily blend colors and
do clean gradients. Its a bit
like a traditional airbrush,
but easier.
project?
www.2dartistmag.com
page 7
Interview
Serge Birault
www.2dartistmag.com
page 8
www.2dartistmag.com
page 9
Interview
the day. This job is like a vampire. Even when
detailed pin-ups?
Serge Birault
a toy shop.
Serge Birault
For more information please visit:
http://www.sergebirault.fr/sb/index.php
Or contact them at:
serge.birault@hotmail.fr
www.2dartistmag.com
page 10
www.2dartistmag.com
page 11
Interview
Serge Birault
www.2dartistmag.com
page 12
www.2dartistmag.com
page 15
Sketchbook
www.2dartistmag.com
page 16
Dimitar Tzvetanov
(Fig.06 08).
(Fig.04 Fig.05).
(Fig.09 10).
www.2dartistmag.com
page 17
Sketchbook
www.2dartistmag.com
page 18
Dimitar Tzvetanov
Dimitar
Tzvetanov
For more information please visit:
http://www.artbychrom.com/
Or contact them at:
chrom@artbychrom.com
PMS COLORED
116 U
404 U
3D image
created
in modo
by Luxology.
Credit:
Gelmi
3D image created in modo by Luxology. Credit:
Gelmi
For more
information,
visit
modo3D.com
TM
Artist:
Andrew Jones
website: www.shareoneplanet.org
protection.
Competition Schedule
shareoneplanet.org
mankind.
General Information
of Share One Planet
Competition
CGW.
www.2dartistmag.com
page 23
Adrian Smith
British illustrator, he got his name
on the long list of fantasy scifi artists
when took his first commissions for
Games Workshop, especially famous
for his concept art for Warhammer
series. Now hes busy providing
service for Seoul Visual Works. Other
clients includes EA games, Ubisoft,
THQ Australia, THQ Canada etc.
http://www.adriansmith.co.uk/
www.2dartistmag.com
page 24
Franc
One of the few Chinese artists who
first practice CG art, he is published
many times in the renowned
international CG annual series
EXPOS and Exotique. He now
works as Art Director for international
interactive game projects, clients
including important enterprises like EA
and 2K.
http://www.franc-art.com
www.2dartistmag.com
page 25
Cecil Kim
Born in 1972, Soul, Korea, then
moved to US in 1990. He graduated
from the Art Center College of Design
in 1996 and worked at Square USA
from 1997 2000. He now is Lead
Concept Artist of Sony Computer
Entertainment America Santa Monica
Studio, mainly works on God of War
titles. He is also instructor at Otis
College of Art and Design Los Angeles and Gnomon School of Visual FX.
http://www.cecilkim.com/
www.2dartistmag.com
page 26
Black Queen
Paul Abrams
http://www.paulabrams.com
obliviongrin@yahoo.com
www.2dartistmag.com
page 29
10 of the Best
The Gallery
Climate Changes
Tiago da Silva
http://grafik.deviantart.com/
tmds77@gmail.com
Face
Rafael Nascimento
http://rafaelnascimentoart.blogspot.com/
rafaelp.nascimento@hotmail.com
www.2dartistmag.com
page 30
Streets
Claire Beard
http://www.clairebeardart.com
claire.b.art@hotmail.com
10 of the Best
The Gallery
Waking Light
Andreas Rocha
http://www.andreasrocha.com
rocha.andreas@gmail.com
Chef
Sasha Gorec
http://sasha-gorec.livejournal.com/
sashagorec@gmail.com
www.2dartistmag.com
page 32
Convoy in Sandstorm
JP Rsnen
http://www.jprasanen.com
juhis_r@hotmail.com
Elf
Amenov Vitaliy
http://red-daddy.blogspot.com
amenvita@gmail.com
www.2dartistmag.com
page 33
Shadow
Songnan Li
http://blog.sina.com.cn/oldmole
wuminggege0202@yahoo.com.cn
! tion
W
cip
O
s
N b
E d,
BL loa
Su
A w
IL l Do
A ita
AV, Dig
D
DV
In this two volume series, Scott Patton shows the processes he uses to
create a 3D character for feature films. The first volume explores
Patton's fast and efficient method for concept sculpting, skipping the
2D sketch phase all together and designing the character entirely
within ZBrush. He covers everything from blocking out the forms
and fleshing out the muscles, to adding props, detailing with alphas
and posing the character. The second volume covers methods for
creating a final color rendering using ZBrush and Photoshop. Patton
cr
shows how he squeezes the most from ZBrushs powerful renderer to
create both a wide and close-up shot of the character. He then shares
creative Photoshop tips and tricks to quickly get to a finished piece of
concept art from the ZBrush renders, covering topics such as adding
and refining skin texture, hair, eyes, shadows and scars. Patton also
discusses how to create backgrounds that enhance the character and
composition.
overall
ov
www.thegnomonworkshop.com
Some
things in
art cannot
be avoided,
and some things
must be understood to
create great images. We
call these Art Fundamentals.
The same compositional rules
and techniques to demonstrate depth
of field are being used today as were being
used hundreds of years ago. In this series industry
professionals will be teaching us the art fundamentals that
they put into practice, and will be sharing amazing tips that we can
all use to improve the quality of our work.
negligible.
Cliff Dwellings
In terms of color the approach for Cliff
Pitch
www.2dartistmag.com
page 37
Art Fundamentals
Indigo
Netherworld Archipelago
Project Indigo:
(link: http://www.jessevandijk.net/g_08_76.html)
www.2dartistmag.com
page 38
Art Fundamentals
Spiritual retreat
The aim for the mood of this image was very
clearly defined: it had to be a very sunny setting,
with lush vegetation, and birds singing (Fig.07).
A place you would want to relax: a veritable
spiritual retreat. To prevent the entire image
becoming overly green, many different colored
plants and trees were added, such as the pink
cherry blossom trees. For the full color feel of
the image, the patch of blue sky is important, as
it is one of the few instances of bright blue. To
emphasize the brightness of the direct sunlight,
the lit areas contrast strongly with the shadowed
ones.
www.2dartistmag.com
page 40
vice versa.
because of this.
The lighting is not very clearly defined, and in
The lighting is vague, predominantly to allow
Uriel 9
Uriel 9 uses a similar approach to Procession
About Jesse
(Fig.09).
http://www.jessevandijk.net
jesse@jessevandijk.net
www.2dartistmag.com
page 41
SynthEyes 2011
Match-moving,
Set Reconstruction,
and Stabilization
nd
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Now
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Sophisticat
Portraits are one of the most commonly tackled subjects in all forms of art, but also one of the most common that we see
go horribly wrong. In this series our talented artists will be showing us how to use a photo reference to paint an accurate
portrait without being tempted to do a paintover. We dont stop there though; we also venture into the specialized field
of caricatures. Caricatures are a tricky subject to deal with, but there are ways that you can use your photo reference to
make them easier and this series gives us an insight into this process.
Intro Text
Introduction
This tutorial required a portrait to be painted
using a photo as a reference and so the first
decision that needed to be made concerned
the subject. I decided to paint my son Gabriel
and so picked up the camera and tried my
best to persuade him to sit still while I took a
few pictures. I photographed him from different
angles in order to get a variation in the lighting
and in the end opted to use the photo seen here
in Fig.01.
Blocking In
When it comes to digital painting the canvas
proportions are not crucial as you can always
extend the frame later or alternatively trim
it, which is a luxury unavailable to traditional
painting without re-stretching. I opted for a
www.2dartistmag.com
page 45
Portraiture
begin with.
the nose.
photograph.
www.2dartistmag.com
page 46
www.2dartistmag.com
page 47
Portraiture
Final Stages
Richard Tilbury
http://www.richardtilburyart.com
www.2dartistmag.com
rich@3dtotal.com
page 48
www.2dartistmag.com
page 49
artists from around the world and has become a large part of the film
drawn from fairy tales and folklore. In this tutorial series our artists will
composition.
www.2dartistmag.com
page 51
www.2dartistmag.com
page 52
www.2dartistmag.com
page 53
VFS animation & ViSual eFFectS alumni creditS include 9 Mike Dharney, Animator 2012 Jamie Bowers,
Texture Artist | Zeke Norton, Previsualization Supervisor | Anuj Patil, Senior Technical Director | Christine Peterson,
Digital Compositor 50 cent: Blood on the Sand (VG) Giorgio Bertolone, Creature Technical Director aliens in the
attic Rex Ahn, Pre-Visualization Lead | Craig Calvert, CG Supervisor | Julianna Kolakis, Character Designer | Ben
Sanders, Supervising Animator | Rommel Shamoun, Compositor | Noel Wright, Digital Compositor | Adam Yaniv,
Animation Supervisor alvin & the chipmunks: the Squeakuel Nicholas Augello, Technical Animator | Christopher
Downs, Technical Animator | Amy Lu, Animator | Adam Yaniv, Animation Supervisor amelia Armando Velazquez,
Digital Compositor | Clement Yip, Animator americas army 3 (VG) Matthew Turner, Artist angels & demons Craig
Calvert, Pre-Visualization Artist | Jessica Wan, Lead Rotoscope Artist | Noel Wright, Digital Compositor armored Riley
Benard, Digital Compositor | Yuta Shimizu, Visual Effects Artist astro Boy Andreas Hikel, Layout Artist | Kim Ooi,
Animation Director avatar Michael Cozens, Lead Animator | Tamir Diab, Technical Director | Aaron Gilman, Character
Animator | Alfredo Luzardo, Layout Technical Director | Ben Sanders, Animator the Beatles: rock Band (VG) Mike
Krentz, UI Artist Brtal legend (VG) Marke Pedersen, Senior Artist case 39 Riley Benard, Digital Compositor | Craig
Calvert, CG Supervisor | Matthias Lowry, Visual Effects | Fion Mok, Matchmove Artist | Teh-wei Yeh, Matchmove Artist
cirque du Freak: the Vampires assistant Nicholas Augello, Technical Animator | Julianna Kolakis, Character
Designer | Ai Saimoto, Lighting Lead cloudy with a chance of meatballs Andrew Lawson, Animator | Arun Ram-Mohan,
Senior Color and Lighting Technical Director coraline Brian Demoskoff, Animator a christmas carol Kirk Chantraine,
Motion Capture Technical Director | Joel Pennington, Motion Capture Technical Director | Shraga Weiss, Character Modeler
Brent Wong, Character Modeler district 9 Neill Blomkamp, Director/Co-Writer | Jelmer Boskma, Modeler | Robert Bourgeault,
Lighting Lead | Freddy Chavez, Visual Effects Compositor | Dominic Cheung, Lighting Technical Director | Paul Copeland,
Visual Effects Artist | Anthony Di Ninno, Animator | Brian Harder, Creature Rigger | Bernhard Huber, Effects Animator | Brett
Ineson, Motion Capture Supervisor | Steve Johnston, Render Wrangler | Patrick Kalyn, Animator | Bernhard Kimbacher, Visual
Effects Data Coordinator/Compositor | Julianna Kolakis, Creature Texture Painter | Adam Marisett, Visual Effects Artist | Nikolai
Michaleski, Compositor | Brendon Morfitt, Digital Artist | Fernando Pazos, Animator | Dan Prentice, Visual Effects Artist | Mike
Rhone, Visual Effects Artist | Cesar Rodriguez Bautista, Digital Paint & Roto Artist | Cynthia Rodriguez del Castillo, Digital Paint
& Roto Artist | Marc Roth, Visual Effects Artist | Derek Stevenson, Matchmove Lead | James Stewart, Creature Supervisor | Richard
Sur, Lighting Technical Director | Anna Tonrungroj, Digital Compositor | Shawn Walsh, Visual Effects Executive Producer | Joey
Wilson, Modeler/Texturer | Samson Wong, Matchmove Artist drag me to Hell Thomas Schelesny, Visual Effects Supervisor
dragon age: origins (VG) Bobby Bath, Character/Creature Artist | Ryan Lim, Lead Creature Character Artist | Herbert Lowis,
Artist | Brian Sum, Concept Artist | Nathan Zufelt, Cinematic Animator escape from Planet earth Giorgio Bertolone, Creature
Technical Director | Anthony Di Ninno, Layout Artist | Craig George, Head of Story | Gary Hendry, Layout Artist | Nicholas Smolyn,
Layout Artist eureka Anuj Patil, Lead Compositor | Mike Rhone, Visual Effects Artist Fast & Furious Ben Dishart, Texture Artist
Armando Velazquez, Digital Compositor the Final destination David Yabu, Animator G-Force John Iskandar, Lighting and Compositing
TD | Ken Kaiser, Animator | Hyun Chul Jung, Animator | Andrew Lawson, Animator | Phan Wiantrakoon, Animator Ghostbusters: the Video
Game (VG) Giorgio Bertolone, Creature Technical Director | Winston Fan, Compositor | Harry Liu, Junior Motion Capture Editor | Jessica Mih,
Modeler | Maya Zuckerman, Visual Effects Artist Gi Joe: the rise of cobra Jelmer Boskma, Modeler | Patrick Conaty, Digital Compositor | Ben
Dishart, Texture Supervisor | Aruna Inversin, Digital Compositor | Julianna Kolakis, Concept Artist/Modeler | Sean Lewkiw, Visual Effects Artist | Tom
Piedmont, Digital Artist | Jeremy Stewart, Senior Animator | Jeff Tetzlaff, Lead Modeler | Jessica Wan, Lead Rotoscope Artist Grey Gardens Armando
Velazquez, Digital Compositor Halo 3: odSt (VG) Bartek Kujbida, Cinematic Animator Harpers island Steve J. McLeod, Digital Compositor Harry
Potter and the Half-Blood Prince Harry Mukhopadhyay, Lead Effects Technical Director | Pietro Ponti, TD Generalist | Gia Sadhwani, Digital Effects
Artist | Kieran Tether, Digital Artist | Teh-wei Yeh, Lighting TD ice age: dawn of the dinosaurs Scott Lemmer, Animator | Thom Roberts, Animator | Brent
Wong, Modeler invictus Christopher Ahrens, Lighting Lead | Geoffrey Hancock, Visual Effects Supervisor | Sean Lewkiw, Digital Effects Supervisor | Jason
McKeeman, Lead Technical Animator | Farhad Mohasseb, Compositor | Michelle Skrzyniarz, Matchmove Artist | Jose Yapor, Animator Killzone 2 (VG)
Andrea Arghinenti, Technical Artist King of the Hill Michael Loya, Director Knowing Tim Rowlandson, Rigging Technical Director | Richard Sur,
Lighting Technical Director land of the lost Nicholas Augello, Massive Technical Director | Tony Etienne, Lighting Supervisor | Amy Lu, Character
Animator law abiding citizen Freddy Chavez, Compositor | Veronica Marino, Compositor | James McPhail, Effects Animator | Jacob Curtis Miller,
Matchmover | Jay Randall, Visual Effects Supervisor | Derek Stevenson, Matchmover | Shawn Walsh, Visual Effects Executive Producer the
league of Super evil Daphne De Jesus, Compositor | Barry Karnowski, Animation Supervisor the lord of the rings: conquest (VG)
Michelle Lam, Lead Character Artist the lovely Bones Michael Cozens, Previs Animator monsters vs. aliens Jiyoung Lee, Texture Artist
night at the museum: Battle of the Smithsonian Rex Ahn, Previsualization Lead | Nicholas Augello, Technical Animator | Christopher
Downs, Technical Animator | Joshua Herrig, Lead Lighter | Zeke Norton, Previsualization Supervisor | Ai Saimoto, Lighting Lead | Ben
Sanders, Supervising Animator | Derek Stevenson, Previsualization Artist | Joey Wilson, Previsualization Artist | Adam Yaniv, Animation
Supervisor orphan Francisco Moncayo Moreno, Digital Artist | Shawn Walsh, Visual Effects Executive Producer Paul Blart: mall cop
Riley Benard, Digital Compositor Planet 51 Sandro di Segni, Senior Effects TD | Jorge Kirschner Torres, Modeler | Gianfranco Valle, Effects
Animator Prototype (VG) Harry Ahn, Lead Cinematics Animator | Bobby Bath, Lead Character Artist Punch-out!! (VG) Nelson Garcia,
Concept Artist Pushing daisies Scott Dewis, Visual Effects red Faction: Guerrilla (VG) Dilber Mann, Project Manager resident evil 5
(VG) Jacob Palmer, Animator rock Band unplugged (VG) Mike Krentz, Artist Sanctuary Julie Bergman, Animator | Mladen Miholjcic,
Visual Effects Artist Shorts David Yabu, Animator Sorority row Mike Rhone, Visual Effects Artist Star trek Aruna Inversin, Digital
Compositor | Tom Piedmont, Digital Plate Restoration | Kieran Tether, Digital Artist | Teh-wei Yeh, Digital Artist Stargate universe
Daphne De Jesus, Digital Compositor | Julianna Kolakis, Character Designer | Daniel Osaki, Lead 3D Modeler | Anna Tonrungroj, Digital
Compositor Supernatural, Daphne De Jesus, Digital Compositor Surrogates Anthony Di Ninno, Animator | Joshua Herrig, Lighting
Artist/Look Dev Artist | Matthias Lowry, Digital Compositor | Laurie Powers, Compositor | Teh-wei Yeh, Digital Artist tales of monkey
island (VG) Jason Findley, Character Artist terminator Salvation Geeta Basantani, Digital Matte Painter | Teh-wei Yeh, Lighting
Technical Director transformers: revenge of the Fallen Allen Holbrook, Animator | Aruna Inversin, Compositor | Stephen King,
Animator | Henri Tan, Creature Technical Director | Kieran Tether, Digital Artist | Teh-wei Yeh, Digital Artist the twilight Saga:
new moon Dominic Cheung, Lighting Technical Director uncharted 2: among thieves (VG) Mike Yosh, Lead Animator
underworld: rise of the lycans Pearl Hsu, 3D Artist | Lon Molnar, Visual Effects Production Executive up Bill Watral, Visual
Effects Artist Warhammer 40,000: dawn of War ii (VG) Ian Cumming, Senior Artist | Allan Dilks, Artist | Nathan Hocken, Lead
Animator | Christine Hubbard, Artist | Claire Roberts, Artist | Jefferson Takahashi, Artist Watchmen Ori Ben-Shabat, Compositor
Jelmer Boskma, Previs Modeler | Freddy Chavez, Compositor | Dominic Cheung, 3D Artist | Ben Dishart, Texture Artist | Ty Duperron,
Modeler | Pearl Hsu, 3D Artist | Bernhard Kimbacher, Digital Artist | Sean Lewkiw, Technical Head of 3D | Matthias Lowry, Digital
Compositor | James McPhail, Digital Effects Artist | Jacob Curtis Miller, Digital Artist | Lon Molnar, Visual Effects Supervisor | Harry
Mukhopadhyay, Lead Effects TD | Cynthia Rodriguez del Castillo, Digital Artist | Derek Stevenson, Matchmove Artist | Shawn Walsh, Visual
Effects Supervisor | Samson Wong, Compositor Wheelman (VG) Laura Gorrie, Senior Animator Whiteout Armando Velazquez, Digital
Compositor | Clement Yip, Animator Wolfenstein (VG) Jason Martin, Modeler X-men origins: Wolverine Geeta Basantani, Digital Matte
Painter | Rommel Shamoun, Compositor | Jeremy Stewart, Previs Artist Zombieland Mike Rhone, Visual Effects Artist to name a few
The fantasy genre is hugely popular in the CG industry and has been showcased in hundreds of
movies, computer games and artworks over the years. With such potential for magic, monsters
and imaginations to run wild, its easy to see why fantasy is such an attractive subject. But giving
fantastical ideas enough of a basis in reality to be convincing can be difficult. In this series our
talented artists are going to take one aspect of fantasy legendary creatures and show us
carefully with a steady hand, but all share the benefits of their experience and reveal the tricks and
techniques they use to make the unreal seem real.
Introduction
The aim of this tutorial was to produce an
image that looked like a convincing photograph
of a creature that does not exist in reality, but
perhaps could have resided somewhere in the
world. I imagined a scenario in which a rare
snapshot has captured a unique glimpse of
a mythological creature. Before starting this
painting I recalled photos I had seen as a child
relating to Bigfoot and the Loch Ness Monster
and their alleged existence. The pictures lacked
Thumbnail Sketches
Blocking In
Fig.02 shows my initial block-in, with the giant
striding past a rock formation. I planned on
eventually situating the men in the foreground
sheltered behind the rock, with the photographer
being in the extreme foreground behind the
camera. During this stage I built up the image in
three distinct layers: the foreground, including
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page 57
Chapter 2: Giant
Photoreal Fantasy
the rock and sand, the sky and finally the giant.
Keeping these three sections separate meant
that each aspect could be modified easily
throughout the painting process. Because this
task involved creating an image that might be
interpreted as a photo it required some actual
photographic elements borrowed from a matte
painting approach.
Using Photographs
Fig.03 shows a sample of photos I
took from 3DTotals free library: http://
freetextures.3dtotal.com/ . The two rock
images can be found under Nature > Rock, with
the sky being located under Nature > Skies. The
two rock images were color corrected to match
and then scaled and rotated to fit the painting.
The sky was also desaturated slightly and
pasted in behind the giant and foreground.
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page 58
www.2dartistmag.com
the layer and went to Filter > Blur > Motion Blur.
page 59
Chapter 2: Giant
Photoreal Fantasy
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page 60
Richard Tilbury
For more information please visit:
http://www.richardtilburyart.com
Or contact them at:
rich@3dtotal.com
www.2dartistmag.com
page 61
Chapter 2: Giant
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page 62
Photoreal Fantasy
3dcreative
Interview
Benoit Regimbal
The Gallery
Ke Weilin
Rishikesh Nandlaskar,
& more!
Project Overview
Richard Tilbury shows us how he would add smoke, sparks and glows to his
3D render in Photoshop.
Andrew Finch continues to show us how to build our games level this
month focussing on adding accessories and texturing.
In our Creating the Celeritas series we take a further step towards a finished
image with Djordjie Jovanovic, Luigi Terza & Tams Gyermn .
www.3dcreativemag.com
visit
to download the free lite issue, the full issue, subscription
offers and to purchase back issues.
Interviews
Branko Bistrovic
Articles
Tutorials
Art Fundamentals
Chapter 3: Portraying Emotion by Marta Dahlig
Portraiture
Chapter 5: Male Caricature by Jason Seiler
NEW!!! Comic Art
Chapter 1: Sketching by David Nakayama
Photo Real Fantasy
Chapter 3: Dragon by Tomasz Jedrusek
Making of
Fluffy Pup
by Yap Jia Xing
Galleries
Subscribe
It is important to get
the correct levels of
dark in the shadow
and show how the
skin reflects the
light.
Yuehui Tang is a fantastic artist and has a great way of painting portraits. In this Making Of he
shows us how he painted his image Portrait by starting with a black page, adding the light and soft
tones to create a grayscale image, and then painting over it.
Portrait Making Of
Making of Portrait
Software used: Photoshop
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page 67
Making Of
Portrait
such as the face and hair, and the hair and the
background.
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page 68
Portrait Making Of
brush Jitter and Flow control to Pressure. It was very important to make
sure that the hair didnt look flat by varying its thickness and transparency.
You can see the brushes I used in Fig.11b.
I then continue to paint the arms and neck. I also identified the parts of the
hair that needed work and strengthened them by adding to the effect of
light and shadow (Fig.12).
The hair was continuously developed and at this point I made new layers
to make adjustments as I didnt want to adjust what I had. I also added
eyelashes here (Fig.13 - 14).
In this final step I adjusted the colors. You will also notice that birds were
added. I also went back into a few layers to tweak things a little (Fig.15).
www.2dartistmag.com
page 69
Yuehui Tang
For more information please visit:
http://www.cgtnt.com
Or contact them at:
tyhart@163.com
Digital Painting Techniques: Volume 2 provides another thrilling opportunity to learn from
some of the most accomplished and skilled digital artists from around the world.
The second volume in this series covers a wide variety of themes and topics and provides
in-depth tutorials to aid and inspire any digital artist, whether beginner or veteran. Custom
Brushes, Speed Painting, Characters and Fantasy are just a few of the subjects covered in
the chapters of this must-have book, with each tutorial providing a logical and professional
approach to creating a digital painting of the highest standard.
With additional features including a gallery of stunning artwork and links to free
downloadable content such as custom brushes, Digital Painting Techniques: Volume 2
contains a wealth of inspiration and advice, making it a worthy addition to any artists
bookshelf.
Softback - 21.6 x 27.9 cm l 288 Premium full color pages l ISBN: 978-0-9551530-1-3
3DTOTAL.COM
Visit 3DTotal.com to see our full range Book products
Cowboy
vs Sandworms
by Kekai Kotaki
The following shots of the Cowboy Vs Sandworms book pages are featured here in full-resolution and can be read by zooming in...
The following shots of the Cowboy Vs Sandworms book pages are featured here in full-resolution and can be read by zooming in...
Following on from the success of our first four books, we received yet another
overwhelming response to our call for submissions for Digital Art Masters: Volume 5. Once
again over 1,100 submissions made their way into the Digital Art Masters mailbox, proving
to us that the series is becoming ever more popular with not only our readers, but artists
around the world too!
From this massive number of incredible entries, the 3DTotal team began the difficult task of
choosing approximately 300 images to take through to the next round. To help in the task,
we enlisted the help of industry professionals Tim Warnock (matte painter), Till Nowak (3D
artist) and John Kearney and Chung Wong (videogame artists - VooFoo Studios) to be our
guest judges. These wonderful artists braved the headaches of a grueling judging process
and helped the 3DTotal team to select the 50 stunning images that appear in this years
fantastic line-up.
Hardback - 21.6cm x 27.9cm | 304 Full Colour Premium Paper Pages | ISBN: 978-0-240-52171-8
3DTOTAL.COM
volume 1
volume 2
volume 3
series features 48 of
series features 58 of
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Young Choi
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