eet | (olay ETe Wife) Becoming a concept artist pel rete De Sey Ruy . _ Paint snowy \ Re UCU geen od e Maris Lewis presents a Dee Deer te es ere sry Oieeielats 5" hyperrea Bite portraits Discover how self- lene lee cacelg ei Set od eTeer | roots as inspiration ae UtEditor’s Letter me) J JESS SERJENT-TIPPING. Deputy Eater Welcome to 2dartist issue 109! Welcome to our firstssue of 2015, packed with top tutorials and resources to get your year off to a creative start! Try learning the basics of painting a snowy landscape, or creating magical characters in Photoshop with Cristina Lavina, or discovering matte painting techniques with Davide Binello. Skilled illustrator, Justin Gerard shows us how to sketch a detailed scene, while Lena Richards opens. the pages of her other-worldly sketchbook. We also talk to talented concept artist Darek Zabrocki, look at traditional artist Victor Grasso’s stunning artwork, and much more. Enjoy Contributors vicror Grasso DDavIDEBINELLO | 7 Vitor Grassisa set-taught artst whos carved an Impressive carcer through his sinature, photorealistic ste. Hechats tous about his work and ' how thecoastinepireshiml i: LENA RICHARDS Lena chads she moved through the postions as concept art or mod ‘visual development ant fartasy RPS games. Unita, Sony Sepp and 20th Century Fx. JUSTIN GERARD Fromthemoment that usin Ger ft sme that cayonsweremeantircoloingand noteatig hehas been daning He dares inspfaton om natureand hhumantistory,though his tvortesource st, taughtatstandin CRISTINA LAVINA (tina Lavina worked asa concept artis for more than 2 years at Opus Art (London) learingfrem samestefore aringattherole oy Bjom Hur, She curently works t Fathom interacve, Coa Du PE Dean) fcebookcom/3étotal facebook om/layerpaint eter com/Sdtotal itr con/ayer_pa youtube con totaipublihing vimeo.com/3cota vie com/layerpaint a pinterestcom/Sdtotal (Bi eenconstoa mesdtoraleg Seog landscapein Photoshop. Hp DaReK zasnockt MARISALEWIS Darek Zabrockis a concept artist andilstrator Wing aisaLewisisafietancelustator and resident at In Cambridge, UK workngor Sony Guerila Games. Soa HO and would be to make apltursbookene He has contributed to projects rom compariessuchas day. Sho guides you through tecreation ofa snowy Davide Bnello fs mate painter from aly curently lvingand working London. Before getinginto \Vethe earned a dereein Philosophy, speialzingin Aesthetics and Semitis, and ets Vancouver developing games for mobile devices. WOULD You LIKE To suBMIT To 2DARTIST? ravayslookingformtaial aes galley submissions potential interviewees, ters and ‘more. 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For lots more tutorials and exclusive articles, visit www.layerpaint.com ‘anst magazines valable aa downloadable POF again. youhavean fad ot Phone, youcan dag your ‘maganne to your Tes bray wl sutomatcaly ada the POF ta your books a Yous Bods 3p!Contents |ssue 109 Sl Cr Meee needa gt De ee ER EE) 022_Creating hyperrealistic paintings Discover how self-taught artist, Victor Grasso uses his coastal roots as inspiration CEs mc eT PO ee a ute preeanniaese ats Cy Camel PR eR issue's gallery selection of our top 10images 064_ Draw detailed scenes Leam how to compose a complex fantasy scene Cnr Cre Mee ec eMC Marisa Lewis presents a beginner's guide to Peary CE Merete Ce eee Pet DRE eid Uy Mercenary RRR ae ee DSU ea le Cea a Fe me eer Levi Hopkins divulges the process behind the creation of his image Stare SAVE 30%! Subscribe today Go to page 076 for detailsreeaaeenateamaea aa eieattemenenen atime eneeeenenente neem ee een n enema enna enna eeieneeeeeeeenneeeet teen eeeeeenneeeInterviewed by: ‘Tipping Datek Zabrock sTYeoy ays a concept artist Concept artist and illustrator, Darek Zabrock’s striking paintings are instantly recognizable, but what inspires them? He talks to us about his creations, style and the importance of SUV - Levels and cagthe int sider 0 that only the blackline remins (and there no paper texture). This cleans up the drawings so ther st too much clutter or competing paper textures. Once thave laid outall of my varios elements ‘over my thumnal here are going to be areas thathaveyet to be drawn, coud print he whole fileout on copy paper and finish the areas by hand, but findthatit goes fastrto do this in Photoshop, Se wl bestaying onthe computer for this stage.» 4 PROTIP Cee tabeBeanie een up worklike tis in Photoshop, only use basic brushes without any textures orfancy brush settings For this workshop lam usinga standard Ciel rush, which has bean squashed and angled just abit to gre the line ail if. Please nota that in Tansfer| have set both Flow “ter and Opscity Jitter to Pen Pressure Og irisrrersisstons vivsins digital rush workin any envermental areas that havert awn. Thejunale pants anc tree shapes get drawn in, aswell 3s any areason ‘or around my igure that haven't been drawn, [also tighten up my background areas Ido nat spend long doing this as foliage, landscape and background canbe very, very orgnic ts making sure the characters are working that we aremainly concerned with, OS iztrinasscemensroxion has many wonder tools or adjusting yourdrawing At ths stage wantta check allo my perspective lines and proportions before! ‘mave on tomy final ght drawing Todo this mitre yimage using Image ImageRotaton > Flip Canvas Horizontal Hiroringthe imagewilloten reveal many errs tomethat could see befor, Tix them il tithe redraw them,orselect the offending area and use Edit» Fee Traeform or alternatively Edit > Transform Warp to achiovewhat need to so thatthe image looks proportional and corect (justrememberto ip yourcamvas backwhen you aefnshed) Now that we know what ourlayoutis gong tobe, wehave one more step to do before me do our Light rowing: we ned to planoutourlightng Yourmay atk, "But why do need to plan out my lighting Havent wastes enough time already?” and Can|have a sandwich instead?” The answer Even you are wotking om aphoto-eference ‘of apace tisstilimportantto go through this stage so that we know how to shade and render coureharacter, OG resntsstesisies ose on my lighting am going to make some tiny value studies of drawing In Photoshop | ‘ink my fla to something very tiny to prevent yz from getting caught upin the deals (or thisimage shrunk my fle to 600-paes wide by 450-ptels high). Then ldo saveralthumbnals using nly black white and gray. Itrest my compostions lke they are stage anc they have afceground, mié-ground and alsoa baciground, Do | wantto darken my foreground to play upthesettingin thebackground? Do | want te darken the background to gve more ramaticighting tothe foreground? Thisis where experiment and decide.Aa eT urd ee serena ee eee ree erent) pooper Sear nt ee. eet sarees t eeeet Seen ree4 PROTIP SSL) eer ee ase: Ceres peer) pee ee ee nee el Se ee coer OT ens atciny pein! pein my fnal ih ‘approach my final draving with more confide ow that have worked outa the deals a ‘already dealt with any potential pal OMe ernst ners ‘ourcrawing rom our computer screen tour drawing paper. Thee are a variety o feolsthe bee fou. een printing outightly on your paper areal Fndthatgothe best, end results when do 208 pastel transl So Adil Se PU al eat possiblities For me ub eee) eee Sere ah peer tre oor: Peete ct) Se) thats what wil be using for my dravinghere printout over this and tape the top ofthe hee smplestensto do soft pastel rans a you can Ifttuptocheck the transfer and na rt the drawing surface (this wa First rit tthe drawing on copy paper have towomy about the drawingor transfer + Second, make atransfersheet by rubbing a to traci, ark coloryoulte) on tracing sot pastel som obatkcanpeeycomstisntct, A (Blow of remaining dust Drawing: Ibeain craving ancl lihty ont have ectablshed my ines, 120 comytrarte + Third place the sheet oftracingpaper ace them ith a HB pencil to darken ther. own on the drawing paper and place theBA usenet lohan ising hatchlines. Theseallow meto gue ‘some senss of moiement an ttre Usully |wlsave the majority of my shading for ater | havedraun all ofmy/lines,butsinethis isa large piace andi know very well what want ny values to belke eventually, lam gong to shade 251 go alonginstead, Whenever! approach deep shadow areas that rsd toresc black! suitento 9.28 pene i pressed firmly tcan schievevery ich darks. Ly resect NN Geese snoh sad ronal pest mana cones ang clit fey pets Hoan Cater es necney SSSR seen etc cs hes Sodedin metic very py hem i 2nerel Nor gece ede set ieee niaaesssony per ssa“The area between full shadow and full light is where ‘texture can be best observed” willalow thatreg bbe murky! Butwhen| get to wherethe shadow im dark tog, transitions wl satch backs Why al he opi reo that are transitioning out of deep shadow and into ight are any sharps ine) dec with ateh-nes or ausehatch-linescanbetter ves the lusion of texture there 4 PROTIP er) Serene eet hieve this eins rendering the ot ee between ul ow and flight I whe be best ‘observed Ful ight miniioste ful hodow does to show fatal eep our shadow areas clear of eure our fll ligheareas very lightly rendered, and o In batwcen, detaied and sharp rendre{- EN U N 1stefeto) nnn) -4-) concept artist ees pence as SCY oA o ey es old - va ‘ asa Lewis presents a eros a Se ee eee) Ocehaiares \" 7 hyperrealistic portraits Peo mie Raat taught artist, Victor ero ree) Troll CEH aTolic- leo}SAVE 30%! when you subscribe to 2dartist today! ° Save a huge 30% - the equivalent of four issues * Hassle free - no need to visit i taeSale) Relea OAL) ° Simple, easy payment options with PayPal Subscriptions allowing you to pay with your PayPal account or credit/debit card * Never miss an issue and no need to re-subscribe each year “Contemplated signing up for so long. Don't know why | waited before signing up as this magazine offers an incredible insight to the world of 2D art. Can’t wait for next release.” RM ong TN kag Roe 8 www.2dartistmag.com/subscribe Ce ae ee ee ec ee dissatisfied, you can email ussupport@adtotal.com and we wll fund you any undelivered issues. The PayPal recurring subscription can be canceled peeve eer eet esrThe Artist Marisa Lewis 2dtotalcom Software Used: Photoshop Marisa Lenisis afeelance ‘astratr and resident t dtotal HO, Shetdtke to ‘make a picturebook one day at Paint snowy environments Marisa Lewis guides you through a step-by-step tutorial on howto paint a snowy landscape in Photoshop using.a selection of simple brushes and useful techniques.Learn how to paint simple In this tutorial, we'llbe looking at how to paint _2quick snowy landscapein Photoshop, with ‘selection of basic brushes and tats that shouldbe acessibieto any Photoshop user. Well be building the image up from simple blocks of cor, implementing some visual {rich to create a sense of scale and distance, and adding features tothe landscape withthe Lasso tool ‘fore opening Photoshop, Istartout by looking at some reference images of snow, ‘mountains, clouds, and frozen lakes, which 6 ‘advise you to do as well Snow is never quite the olor you think ist 01": open anew canvas, make anew ayer, and scribble outa big blue patch forthe sla: My brush ofchoie here |sPhotoshop's default chal brush, wth Sh Dynamics and Other Dynamics tumed on fora rare blending endl recut. Tie stages about filing space and making shapes not painting eta, so youl want a petty huge brush, bright white canvas can be distracting, 0 fl intheremning space with gray where tesnen ‘and mountains wll be alo bland the sky move, Using the Eyedropper too (Alttey aor to Pick colors quickly O2 reece in the simple block shapes ofthe mountains to get ‘an deaf thelandscape then sea purple gay colorta define some basic shadows vant the sun tobein theupperle ofthe image, where the skylight so the ight-facing sides ofthe ‘mountains be in shadow You can try playing around wth ferent shadow shapes to see how they give the impeession of Blur> Gaussian Bluron alow sting = again, don't overdoitor the results wil stick ‘uttou much, ind there we haveit-asnony landscape scene. @The Artist Marisa Lewis 3oal com |3dcreative. 3dtotal presents the new issue of 3dcreative magazine, a downloadable monthly magazine for digital artists for only £2.99 eraser S4. eye 69). Perry Re) all ere ersten wee Tene weenie 6 - 3dcer2 aN rt. Loran ae = REALISTIC CHARACTERS Sculpting the human form César Zambelli’s work is memorable for its striking bodies, compositions, and eye for detail. He shares some of his inspirations and advice with us EWE] NOW Breer eel3DTOTALPUBLISHING These tutorials not only ~~ A provide interesting exercises { ] wt ee DA A for the beginner to help build a y> strong foundation for drawing and painting, but also provide important insights into the Lois Van Baarle (aka Loish) eg ital painting in Photoshop: characters Guru) sean Peete See ene Ue lates (lle explores the popillpr teghniques Used in character design. Beginner's Guide to Digital Painting: Characters is a comprehensive guide for artists wishing to create convincing and detailed characters. It features established artists such as Charlie Bowater (concept artist at Atomhawk) and Derek Stenning (freelance ‘concept artist and illustrator, wth clients including Marvel Entertainment and Nintendo) who share their industry experiences by ‘covering such aspects as posing characters, choosing the correct costumes, conveying emotions, and creating suitable moods. Caren ee ete eee en eee ee en eee character design and a glossary covering essential Photoshop tools ~ make this an invaluable resource for those looking to leam_ en ee eee eaeThe Artist F Davide Binello wmeo.comdaviebineo Software Used: Photoshop DavideBineloisamatte painter fom aly currently lhingand workingin London. Before gotnginto ihe camed adegreein Philosopy,specaizingin esthetics and Semiots, andar. Matte paint dramatic landscapes Davide Binello demonstrates useful and important techniques for matte painting landscapes to match the realistic and epic landscape paintings of the Masters ©aamnsrwnciaue | Catnip cee Davide Binello reveals invaluable techniques for matte painting landscapes... During my formation and first profesional jobs, realized how important its for a lial artist to carefully study the masters of traditional arts; earning thelr lessons about color palettes, dramatic lighting, perspective, ‘composition and moody atmospheresis crucialf your goa isto create powerfl artworks, capable of catching the aye and ralsing emotions. When it comes tomatte panting landscape ‘concept art and environment design atthe Hudson River Schools huge source of {inspiration for me and many other artists allaroundthe world. This Amerian artiste ‘movement, heavily influenced by European ‘Romanticism, focused on the creation of ‘dramatically realistic yet wonderful and epic landscape paintings. ‘The strong idealization of nature, seen a 3 reflection of God's greatness, helps create an enchanted and magical atmosphere, wile realism is preserved thanks tothe exceptional amount of details painted, perfect perspective studies and appropriate sealing Technically, thists going to bea completely 20 matte painting Photoshop. We wil tart by studying carefully the reference painting by Abert Bierstadt, focusing on composition ‘and color palette, and then we will proceed to buildup the image from the background sky tothe foreground elements. Being a20 matte painting, ells wil involve digital painting, ‘photo manipulation techniques, problematic ‘matte extractions ayers organization and proper use of adjustment layers and filters. r cetera meet Deets Eat enarenreeninyete sara ney “During my formation and first professional jobs, | realized how important is fora digital artist to carefully study the masters of traditional arts” Lice st seneitsanrany peed Sree esta tenon tat pene seats whchovngston tse ered el pimltstoss Ing stead omnes val ondbeate cesar cTghos Tamtrgoure tg eae ‘ogame serene ‘Compositions absolutly perfect al natural clerents, including clouds formations, are smartly shaped in oder to creat thot lad into the heavenly God ays, the center sivedlines and focus ofthe whole painting Lighting is ‘trong, dynamic and dramat, ghingthe piece romantic feo. Last, the amount of details Incredible, making the piece extremely ‘ery intriguing OD seen eaten tetctsee sits ofcreatng the background of ‘ky and cloud formation. The cloudecape inthe ‘ofginalpantingissosmanty designed that ts crucial feature the composition andthe tue key othe moody atmosphere, The main ight sourceis coming aight rom the above, upper: lef direction, and ‘Start with a desaturated indigo as abase color ‘and alight yellow to define the complex shapes ‘oftclouds.Usea simple Round brush, 59% hardness, bush ip sight squeezed intoan lips, With diferent shades of the two main pain 90-percent othe cloudscape fr the ‘comer and upper-right clouds, though, use some photographic elements which can be from yourwn library or easily acessibfom ree texture ses, Then apply Curves to coor corect and do some paintowas. OB merersmennsin rome cloudscape emerge the fist ayer ‘of mountain, | use about ten photographic ‘elements; during my research look or pictures ‘of ocky formations in ads lightingcondition, avoiding sharp shadows and overexposed ‘2s. ndoingso, you wl lower the me spent ‘suppressing darksand lights, and labtaln a nico seamlesstetureto useasa base. ‘Then use Cunesta caloreoractitand hesily relight it ith pant stokes Color pick rom the ‘sky palette and use a simple Round brush with ‘a squeeted tip 75% harness to adda lotof details and smaller rocks, alza crest several layers of haze and fog. usingabigsftChale brush with angle and sie jitter on Ogre tensroes mountains: The mid-ground main ‘mountains haveway more contrat showing stronger shadows a wells realy bright lights | use about twelve photographic elements, ‘manipulating them with the perspective and distor tools until lreate a believable and coherent mountain formation For color conection use the Curves andLevele plying with the Output Levee siden the Levels! window s arealy easy and quickway to match contrast beqween two ferent images Torelght and add lots ofsmall details, use ‘several layers ofpain = well a5 jusment layers ith alpha channels coming from hand: painted masts. To creat alpha channels from the painted masks simgly Cliclick on the paint layer this create a selection, and then Select > SaveSelection> OK. You wil now fndanew alpha chonnelin the Channels window. nd this techriquerealy fective becausit allows i am 1 | 3 = ® youte psntightsand shacons enhancing ‘the underlying texture instead ofcoverngits photographic deals.» © vr escrg ines orate main ‘lnentandyoulget compl and conan pterncanverdng inate site © erect cents cam bres dogs, bat eal ple Choosing the right pictures to paint on ‘willsave you an enormous amount of ‘time and wil give smoother results © wets are» pouertl tootin Photshon and the Levels Output side really comes inhandy during photo mergingCurves, Levels and basic distortion tools. The hardest partisthe trees’ extraction, and for this particular taskluse a med technique frst al eat a rough mask sing the Magic and tool witha really low tolerance value (5-8) then start painting inside the mask using black, white anc ‘hades netwaan thee according to how much tall | want to recover Al necessary lighting was done with pant ayers and ots of pated branches were integrate to ‘add detail and help the compostion. The temple isa homaget clasical art and philosophy. 06 To balancethe composition, adda foreground rock formation ontop ~on the let side from hich create flowered bush by merging some photos -Acthispointyourfle may be gettingtoo heavy ‘and slow ue tothe excesswenumber of ible layers, about 140, When dealing with complex paintings tis crucial to kp your le clear and accesible, careful renaming layersand orgaizing them in folders Aer savinga backup copy, you can then start, merging layers together fective reducing thet ‘number and avoiding cenfsion; Photo wllrun smoother and aster and you will save precous time. 8y essing rs Shite, Photoshop ill reat 3 new aye, mergngallthe tracting trees using the proposed ‘technique may be long and boring but ives excellent results and great control onedges ‘Whenever you fellike Photoshop is slowing down, just start merging layers = thiwillsave you from crashes and data oss07 creating he akeis a challenging tasksince merging diferent [Photographs not an effaciva technique erate ‘acolarbase picking up the darkest cexulean shade from thesky then lok fora proper water 4 texture, jst one seamless, wide composte itasalayer on topo Softghtmode To add reflections, merge alse ayersinto ane pit vertically align tikes minors reflection below the mountains, and a Notion iu fitert it (ter> Blur lu, set 050" Ange and ation Distance. Las! ‘swtch layering made to Overlay and reduce the ‘pack oan, Rocks ar added as photograph cements, lightened with pint and color comected using Levels and Curves DB oer neo photographic elements caefuly earactingtiees, colorcorect them with Levels and Curves, and paint nsomereally ne branch details During this step! am verycarelul about choosing ‘the proper scalefor vegetation in order to achieve arealtc result and dilate spacethrough a sense ofistance then paint the waterfall and add some morehaze with a bigChalkconvth, pact reduced 05% finish, apply awarming photo fiter as an agjustmentlayer tsa really rietoolbutt must acy at 008s eining,myadkice isto reduce be used carefully fy lav soing to be over itta atleast 20%, The Motion Blur ters a useful and handy tool when it comes to creating and easily controlling fake reflections Tobring the image togethers subtly warm filters added at the endTHE DIGITAL PAINTING RESOURCE LayerPaint allows you to browse the gallery interviews, news, tutorials and products all dedicated to 2D digital art.On top of that, we have GE eeu an ne cue ce aces We wish LayerPaint tobe a definitive resource for digital painting, creating @ friendly and educational environment that not only helps Cn ee ene ee ea eee ee eg eee DCU Ee mee) Teo) ese eee ENC UMS eon EN ceoa Pa NEXT MONTH An insight into the career of Paul Sullivan Maxx Marshall shares the pages of his stunning sketchbook Improve your sci-fi vehicle designs with Matt Tkocz Master the art of matte painting A project overview of one of the most popular images online today Emily Chen reveals the process behind her image, A Striped Unicorn 10 of the best 2D images from around the world PLUS MORE! — os es I “4 — 2dartistCraft dynamic characters Cristina Lavina guides you through her character design process. From the initial sketches and blockingiin color, to lighting and the final enue esc co usar ensiie)Take a look at the process behind The Witch... ¢ 1 ‘Thistutorial will how the whole process of 2 character design from the design steps, color ‘and lighting, tothe final render. For this character! didn’t wanted to do ‘conventional witch. wanted to create ‘adiferent race and try not to fallinto stereotypes. Although, sometimes doing | fantasy character its really hard todo something that hasn't been seen yt, butit's very important totry to push the design and ‘not stay with the first sketch you do, OL eee emieeneens rough etches to try and find new ideas. Liytikingin diferent shapes ar sihouetis then ida scond pss onthe sketches see if could nd morentresing shapes Youcan cut and paste different areas that you like in one ay design ont another tocome up ith ew and . ' cere dese. “Be patient, think and explore different shapes and ideas before you start rendering. Ifthe design is not good it doesn't matter how good your render is” 2S resister ree Sore aris lene te colrfor the ast stp inthe design, bt fel hat color ple 8 ' tigparin the coi sl Thats why he to seperti color andalos ringt ching proc q Inthissop ted pay rund tfc cerent vibes forthe character Each olor shetch defines diferent attitude and pessnalty fr the character | decided to gofortheones that are ore evllookng, ® Playing with different shapes in my Initia sketches Experimenting with color optionsin the sketching stageaaRTsTWAGAINE | Pitnniecence 4 PROTIPS Peart eral Cant d oan a eee ene) at Cree ees Sete) eta eens WES d 3] nonin Cefn t een eee eet ee ee separ ft eprom stn seg may eh esactopuhoper ie ee Og miner snsteinin cre My mind wars better ii starwith a clean base, Thats why ke ta clean the design bytidyng up the line workand blockngin the larger areas of base colors bef start to render the image. oo ha to cide where the light ources came rom. decid to have thera ight source shining down from thetoplebehind the characte, andl alzo wanted coo igh from ‘asecondlight source atthe ron. With these place could star palntingin the shadons and highlights, and begin to define the volumes. b © ssecine my tatcsarpese © coontnenenerties ansbse cots @ recrrvetgesoweaaRTsTMAGAINE | PintamiecronceeD6 enema andits important to pay Understand e ed rat always relying on photos becau todefinerterals, but 1 ty to achieve and understand the materia OT Meese sesso simple background to pace the the character a decided tomake character, somewhere facal pointof where the cao second fom. This witch needed 2 bt of magic. OG rrrine serene vin onthe lower part of the design, so! cided to make the loner ara aot simpler | didn't wantto haveall that weight at th asthis ares wasnt important end ldreverdalivr a setch withthe detalsifyou zoom in tothe Painting the diffrent materials secording tohow they react to light © cing a rcaound © ‘rotting etover notte iage © reting nett one arsesaaRTsTWAGAINE | Pitnniecence “Lalways have an Adjustment layer of Hue/Saturation in grayscale (in the Color layer mode) to check my values as! goalong” LO e's very important tokeep in ming ll thetime the focal point ofthe painting, haven Aajustment layer of Hu detaisto the © cheer yours ote @ Wesoinsone ea steph taeett Opusanastasia | tlie op:DISCOUNT CODE DIGITAL ART MASTERS: V8 (GRAB YOUR EXCLUSIVE 20% rect Reon Iterated ‘THIS TUTORIAL!aaarsr aceasta ase op: {often find that commissioned work doesnot iveme enough time to explore experimental techniques duet the strictdeadlines and very specific design briefs, so whenever get break from work, like to test out interesting techniquesin my concept at. As this example was one of my own experimental pieces, | was abletostartitwitha diferent mindset. When starting this piece, had already decided that wanted te describe some ruins Ina landscapes however, wanted to avold the generic castle coveredin vines. So frst gathered some references of various buildings, ‘objects or color palettes lked, to get the ‘creative juices rling. Using 30 ‘The nest step wa to use 230 package to model cout basic lock of geometry knewl wanted ‘shapewith concentric circles repeatingin ‘an abstract shape, so | wont ahead and dd some basic modelingto achieve that. thon lust rendered outa standard gray materiaon ‘the abject and went straight to Phatoshep with the rencer. Nest decidedto apply some basic colersand brush stokesto the cect andthe bachground (Fg. With this solid object n place. slowly state Reshing out thescene, providing simple ground plane and adding moreruinsinthe ‘background treated my layer withthe eign render rom 3D a a custom shape and just placed inthe background anumberaftimes. | then moved, shed, skevecand cited the background objects as necessary, to nudge main churkof uns so added somestanding into perspectveandhelp to reatea good columns. the background to distract theeye compostion (Fg.02, with vertical elements Painting Todo this, Iaid down some simplebush strokes ante to create some contrast the vee in oder to find an arrangement that worked for poweringhorizontl planes crested bythe ‘me. Following theidea cfcustom shapes, Inetlupicate the ayer containing and rotated itvertcaly then just resized which transformed tito the corect alignment Fig.03. can save alotoftimo when painting just by rousing certain chunks of thepainting ve ateady established. ‘Net, pate amore details by jumping around the canvaewith na real planin mind. Addngin the standard dichéd bidsforscale was obviously necessary atthis pont oo. also added an adjustment layer at this pointto push backsome ofthe saturation and create a more cohesive palette (Fig.04) continually used adjustment Layers during the painting process. The nce thing about these isthatl canjusttum them of ordelete them later on and go backto a priorstate.| never uly committo anything ina painting, which allows ‘mathe flat to change things on a whim. ‘Atthis pint realized Lwanted to add a foreground element and bring the scene closer tothe viewer, alongside some more elements comey ale. quiet blocked inthe shove cof asimple character riding some sort of animal Fig.05). Now, stepping back rom the realized os too closely focused on the scene sol simply used the Cop tol and expanded th widened | went ahead and started adding some ‘more atmospheric elementsclouds, haze, antngl anvas horizontally. Once the canaaarsr aceasta ase op: and lating particles (Fig,06) By adding these clement was able to start separating individual cements ofthe painting and realy accentuate the depths between the foreground, mid-grour, ‘and background, 'Nowthatthe Image was almost entirely blocked inl started addingsall details that hadn't considered before. | dicta the whole image tothesame tent pcked and chose areas that wished oat the vewerSattetion, conver, ut ther tthispoint added some mere detail and runs to the foreground and a few more sections ofthe ‘into the mid-ground (Fg.07) leo included ‘small poolf waternearthelarge ruins to add some reflections cross the ground plane. dd this by simply duplicating the entire panting Aippingitvertcally, and then erasing out areas ntl revealed the pool of water had eniioned ‘Then witha simple fla angled brut, indicated the edges ofthe water with aright white colo. ‘Completing the scene The nal stp inthis process as totweak the ttngsfor the adjustment layer. tend use Curves, Color Balanee, andthe Channel Mixer Fig.) can stn this phase for hous, ateringor modifying almost everything about he painting, However, a some pointyou have todecare a pece complet, evenifits just a personal piece dane for fund never pulled the jgget and stepped avy from this piece," stil bemessingwith adjustment ayes to ths daDIGITAL a MUIR HSS De mca Ser Mace Dene ue Lr De hes pereigoniots perenne & art broken down and panini eet eee pereeneneshiin Pe eet Pere at ed ence Se WHEN YOU ENTER DISCOUNT CODE: damv8s20 HARDCOVER EDITION ONLY AVAILABLE FROM WWW.3DTOTAL.COM/SHOP SN eee ura tec) Tie ee ee ake cee pote eet Digital Art Masters: Volume 8 s not your typical digital art gallery book While it does Fee ue a om Ieee ee ce tutorials explaining how each image was created. 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