Académique Documents
Professionnel Documents
Culture Documents
Yigit Koroglu
Articles
Sketchbook of Vince Chui
The Gallery
Jason Seiler, Lukasz Kotula &
Yuriy Mazurkin, plus more!
008
Yigit Koroglu
lost in the crowd because
Hello, I hope you all had a they lack guidance”
This month’s interview is with the fantastic
Yigit Koroglu. Yigit comes from a part of
the world that is surrounded by artistic and
cultural inspiration, which shines through
Sketchbook
days lazing on the beach. 026
It’s sad to be saying
The Sketchbook of Vince Chui
goodbye to the long sunny
days of the summer but
040
This month we feature:
The Gallery
Jason Seiler
Alex Andreyev
Yuriy Mazurkin
Andrian Lucchian
10 of the Best 2D Artworks
there is no need to fear Weiye Yin
050
Lukasz Kotula
Giorgio Grecu
Rafael Nascimento
Geoffroy Thoorens
our brand new series Painting Creatures from Folklore. This is a great 076
Futuristic soldiers and marines appear in many pieces of digital art. We see them
in huge sci-fi scenes or even as a lone soldier wandering in a deserted landscape.
They regularly feature in first person shooter computer games and even on the
Chapter 1: Evolved Future Marine | Svetlin Velinov | July 10
Chapter 2: Hot Planet Hydro Marine | Ignacio Bazan Lazcano | Aug 10
Chapter 3: All-Terrain Marine | Richard Tilbury | Sep 10
Custom Brushes For Sci-Fi
new series that will be tackled by some fantastic artists, and we kick off covers of books and comics. In this tutorial series our artists will be showing us
how to create an original futuristic soldier that could live and thrive in some of the
different environments a marine may face. The artists will also explore different
Fantasy plays a huge part in digital art. It influences thousands of
Chapter 4: Female Marine | Alex Ruiz | Oct 10
084
“Sea War”
drawn from fairy tales and folklore. In this tutorial series our artists will
Chapter 4: December Issue 60 | Ogre | Richard Tilbury
Chapter 01: Asteroid Belt | July 2010 Chapter 04: Underground Corridor | October 2010
painting a Goblin. Many of you will remember Andrei’s Sewer dwelling Chapter 02: Egyptian Sci - Fi Scene | August 2010 Chapter 05: Sci-Fi Ruins | November 2010
Chapter 03: Night-Time Sci-Fi City Battle | September 2010 Chapter 06: Underwater City | December 2010
– Free Brushes
Project Overview by Lin Bo
With the release of 3DTotal’s book, Digital
Art Masters: Volume 4, we have some ex-
“Capsula”
clusive chapters for you...
monster that made it onto the front cover of the May issue, well Andrei 090
This is more than just an artwork book.
this idea I started to block in his image “Sea War” which featured
page in the
images,
of 2DArtist. Lin Bo shares
butgallery in the has
each artist
hisdescription,
entire process
August issue
given a
in with
theirusown
andwords,
talks us
some really rough brush strokes detailed
through his compositional
process and design choices.
with simple flat colors”
of the creation behind each piece
of published artwork. And they’ve done it
has done it again and has provided another fantastic image for this
especially for this book!
Magazine!
If you’re 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!
Andrei Richard
Pervukhin Tilbury
Andrei Pervukhin is a 25 year Has had a passion for drawing
old Russian artist who in 2007 since being a couple of feet
graduated from the Veronezh tall. He studied fine art and was
art College. Andrei has worked eventually led into the realm
as an illustrator for a Moscow based publisher and of computers several years ago. His brushes have
does traditional and digital artwork. He has been slowly been dissolving in white spirit since the late
doing digital artwork for 2 years. In his spare time 90s, and now his graphics tablet has become their
he enjoys boxing, watching movies and playing successor. He still sketches regularly and balances
computer games. his time between 2D & 3D – although drawing will
always be closest to his heart.
http://pervandr.deviantart.com/gallery/ http://www.richardtilburyart.com
earfirst@gmail.com rich@3dtotal.com
Lin Vince
Bio Chui
Lin Bo has worked for a games Vince Chui has in the past
company in China for 1 year. worked on video games, books
He studied biology in college and advertising and a wee
but finally found a job where he tiny bit in movies. He enjoys
could use his love for painting and became a concept character design and when he’s not drawing he
artist. Lin Bo’s preference is to create environment enjoys a good game of Ultimate Frisbee.
concepts.
http://blog.sina.com.cn/7rambo http://www.kidchuckle.com/
7rambo@gmail.com kidchuckle@sympatico.ca
You mentioned your love for Transformers, think the films proved that nothing is impossible; and inorganic elements within the film, they
which is something we have in common! What there’s always a work-around if you think transformed the image of the cartoonish
do you think of the new movies and if you really hard about it. I’d like to bow before the robots into something highly realistic, complex
were designing for them would you have done design team of Transformers because of their and mature. Yet, they were still loyal to the
anything differently? unparalleled vision and intelligence. With the silhouettes of the characters that we knew from
The Transformers movies have everything effective cameras angles, complex 3D modeling, the animated series. This is a seriously hard
in them that a man would like to watch; cars, fast animations during the transformation of thing to achieve and it makes me amazed by
robots, firepower and Megan Fox of course! I robots and successful combination of organic their talent twice-over. And if I were designing
for the Transformers movies, I would do my
best to keep the quality of it as high as I could,
because at the moment it’s flawless.
My advice doesn’t solely include art, it applies find some way to expand it. We can’t spend If you could highlight one individual thing as
to any profession. A person shouldn’t wait for those precious years dreaming of the day we being vital when creating an image what would
6p.m to regain his freedom every day. We retire from the job we hate. Do what you love; it be?
have approximately 70-80 years to live unless success and relief will surely follow. There is only one, unquestionable answer to
something terrible happens or until scientists this: light. If there was no light, there would
be no colors, shapes, shadows, perspective,
or anything that we can see. As an artist, the
more you understand light and how it effects the
whole world around us, the more successful and
realistic your paintings will be.
www.thegnomonworkshop.com
“Other times I like to go to
the local coffee shop and just
draw patrons. I find this helps
me improve my ability to
capture a person quickly.”
Materials used are either pencil or ink (sharpie or ball point) (Fig.13 – 17).
Here are some explorations with poses and getting the feel of
the character (Fig.20).
I then worked on toning down the line work and blending it into
the tones, as well as thickening the tones and smoothing them
out to really develop the shapes (Fig.32).
Vince Chui
For more information please visit:
http://www.kidchuckle.com/
Or contact them at:
kidchuckle@sympatico.ca
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 america’s 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
Brütal 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 Vampire’s 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 Harper’s 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
Closet Monster
Rafael Nascimento
rafaelp.nascimento@hotmail.com
(Right)
Leonardo DiCaprio
Jason Seiler
http://www.jasonseiler.com/
seilerillustration@gmail.com
© 2010 SEILER All rights reserved
Sentinels
Geoffroy Thoorens
http://www.djahalland.com
contact@djahalland.com
(Below)
Plot summary: Lex Crane, a former police officer, is now the chief of There is a giant prison facility that has been placed on the planet to house
security at Skye Global, the largest manufacturer of pharmaceuticals the galaxy’s most violent and evil criminal element. Escape is rarely ever
on the planet. Lex discovers something about the company he works attempted because of the sheer fact that outside the walls survival is not
for that he shouldn’t have, and this starts a chain reaction that causes possible. The extremely harsh climate, along with the predatory dangers
him to be wrongly accused for the murder of his family and a local that exist on the planet, make it so that the prisoners would rather stay
politician. He is sentenced to life imprisonment on the prison planet of confined to prison. At least there is food, shelter, warmth etc., inside the
Asturia. On the prison planet he is constantly targeted by the criminals jail.
that he put there all those years ago, along with an unknown enemy
within the prison walls hired by Skye Global. Lex was framed by Skye Prisoners are forced to work as part of their sentence. The labor camps
Global’s CEO, Lance Shepherd, and Shepherd is now trying to have him are set up throughout the perimeter surrounding the prison. They are
killed in a place where nobody will miss him or even realize he’s dead. forced to mine for the oil that exists deep within the surface of the planet.
Lex is trying to escape from the prison and return to Earth, where he’s Along with these intensely laborious tasks of digging and mining, the
convinced he can find the evidence to clear his name. Along the way he prisoners are also constantly expanding the facility to house yet more
forms unexpected alliances and is disappointed by shocking betrayals. prisoners.
Chapter 3: Characters Concept Art for Games
Concept Art for Games:
Part 3 - Characters
Software Used: Photoshop
stray too far from the original thumbnails. Stay focused and stay on
course. While sometimes the most creative ideas come from thinking
outside the box and wandering slightly off of the original path, it can
sometimes create more work later on down the road (Fig.06). Early on
is the best time to let the “wild” ideas take shape, but once you’ve moved
beyond the brainstorming stages, stay on course as much as possible.
complimentary color in there somewhere I’ll add and understand the limitations of your game.
a subtle splash of blue or blue/green. You can’t always create the most elaborately
detailed concept. Sometimes it’s necessary to
Here is a closer shot of some of the detail and know how and where to put your most important
texture work (Fig.09). It’s still pretty loose, but details, and leave other areas less complicated.
you can get the general vibe of the direction this In this case, since it’s hypothetical, the polys are
character. One thing to always remember is to unlimited and we’re going for an extremely high
do your research, know the story and character, resolution, very detailed world.
Bart Tiongson
For more from this artist visit:
http://riceandeggs.blogspot.com/
Or contact them at:
BTiongson@RobotEntertainment.com
116 U
404 U
TM
Futuristic soldiers and marines appear in many pieces of digital art. We see them Chapter 1: Evolved Future Marine | Svetlin Velinov | July 10
in huge sci-fi scenes or even as a lone soldier wandering in a deserted landscape. Chapter 2: Hot Planet Hydro Marine | Ignacio Bazan Lazcano | Aug 10
They regularly feature in first person shooter computer games and even on the Chapter 3: All-Terrain Marine | Richard Tilbury | Sep 10
covers of books and comics. In this tutorial series our artists will be showing us Chapter 4: Female Marine | Alex Ruiz | Oct 10
how to create an original futuristic soldier that could live and thrive in some of the
different environments a marine may face. The artists will also explore different
methods of creating futuristic and organic armour and weaponry.
Painting Futuristic Marines Chapter 3: All-Terrain Marine
Painting Futuristic Marines:
Part 3 - All-Terrain Marine
Software Used: Photoshop
Introduction
The task for this tutorial was to paint a futuristic
marine/soldier, which initially conjured images
of bulky, heavy armor typified by certain
games such as Warhammer, Starcraft, Gears
of War and Halo. There are some films that
also seem to have established an iconic vision
of a space marine such as Aliens, Starship
Troopers and off course Star Wars with the
classic Stormtrooper. The subject has definitely
spawned some memorable designs over the
years in both game and film and has been With this in mind, the main thing we’re going to and explore various ideas as I go along which
explored extensively. As such it is hard to focus on is the heavy armor and the rest of the often leads to happy accidents. I suppose it is
extinguish all of this imagery from one’s mind design will be established during the painting a bit like sketching and painting at the same
when it comes to designing something original. process. time but sometimes the image will suggest a
direction to take and give the process a sense of
The first step with any creative task is to Blocking In spontaneity. Use a standard Hard Round brush,
research the material and find references. In this Start by filling in a background layer with a solid such as the one shown in Fig.02, with just a
instance I typed Space Marine into Google and color and then create a new layer in which to minimal number of tonal values to add volume.
found all the usual pictures of heavily armored block in the character. I’m using a grey blue
characters. I liked this approach as opposed to begin with although this is only provisional. In Fig.03 you can see two variations where I’ve
to one that might look more like a stealthy Fig.01 shows the initial block in of the character added in some rough shapes and line work
assassin, such as the Crysis character with that you should be aiming for, with some loosely to flesh out a general design. At this stage
his nanosuit or Solid Snake from Metal Gear painted sections of armor. The design at this the process is very fluid, incorporating simple
Solid. These character designs are very strong point is far from finalised with this just providing strokes to sketch out the main volumes and
but they seemed too elite and specialised to a rough template from which to work. I find shapes of the armor.
represent an average soldier of the future. that it is easier to experiment on the canvas
Fig.04 shows another version with some color
added on a separate layer. I prefer to keep the
color on a different layer so that I can change it
easily and try different solutions. I usually flatten
the layers later on when I have decided on the
final palette. For this stage I’m using a custom
brush with some texture, but a textured Chalk
brush also works well for general use.
The helmet and visor look a little uninteresting and more like something
a high altitude skydiver would wear. Some of the most memorable head
wear that have stuck in my mind are the older gas masks from the 1940s
and Roman gladiatorial helmets, so we’re going to combine the two, giving
the helmet both a futuristic and antique quality.
In Fig.08 you can see the initial block in, which adopts the eye shapes
from the gas mask and upper part from the Roman helmet. Feel free to
play around with the design here until you get something you’re happy
with.
We’re going to look at the texturing next. I’m using some photos from the
industrial and urban objects sections in the free library at 3DTotal (http://
freetextures.3dtotal.com/) so I would suggest you do the same if you
don’t already have any appropriate images. My photo choices can be seen
in FIg.09.
Richard Tilbury
For more from this artist visit:
http://www.richardtilburyart.com
Or contact them at:
rich@3dtotal.com
www.2dartistmag.com page 63 Issue 057 September 2010
- Free Brushes
Fantasy plays a huge part in digital art. It influences thousands of Chapter 1: This Issue | Goblin | Andrei Pervukhin
artists from around the world and has become a large part of the film Chapter 2: Next Issue | Fairy | Nykolai Aleksander
and gaming industry. So much of what we see within this genre is Chapter 3: November Issue 59 | Siren | Min Yum
drawn from fairy tales and folklore. In this tutorial series our artists will
Chapter 4: December Issue 60 | Ogre | Richard Tilbury
be showing us how to research creatures from folklore and use this
Chapter 5: January Issue 61 | Troll | Simon Dominic Brewer
gathered information to create an original and accurate depiction of
these fantasy characters.
Painting Creatures From Folklore Chapter 1: Goblin
Painting Creatures From
Folklore: Chapter 01 - Goblin
Software Used: Photoshop
With this idea in mind, it’s time to start creating the finer details (Fig.01). old fashioned fantasy looking lamp and some
our image. We’re going to begin painting in light and glow on a separate layer. Use layer
black and white because it helps to set out the For the next step we’re going to use the guide modes to find which light looks best (Soft light,
composition, light and design. It also helps us called “golden section”. This shows the centre Overlay, Color). Fig.03 – 04 show a couple of
to imagine what the final piece is going to look of the image and helps us to identify where the the layer modes that I’m trying out. I think Fig.04
like. You can use some textured brushes at this main focus of the viewer will be (Fig.02). looks the best, so let’s go with that one.
lamp in black-white, then on top of this add two To create the light from the lamp, paint in two In the next step we’re going to carefully cut the
layers - I’m using Overlay and Color. On these layers of “hard light” under the lamp. Then goblin from the background and move it to a
layers then add a Create Clipping Mask layer create a layer mask for a few corrections and new layer so that we can start thinking about the
“Lamp” and then paint the lamp. alterations (Fig.13). background. I’m going to paint the background
Andrei Pervukhin
For more from this artist visit:
http://pervandr.deviantart.com/gallery/
Or contact them at:
earfirst@gmail.com
Chapter 01: Asteroid Belt | July 2010 Chapter 04: Underground Corridor | October 2010
Chapter 02: Egyptian Sci - Fi Scene | August 2010 Chapter 05: Sci-Fi Ruins | November 2010
Chapter 03: Night-Time Sci-Fi City Battle | September 2010 Chapter 06: Underwater City | December 2010
– Free Brushes
Custom Brushes For Sci-Fi Chapter 4: Night-Time Sci-Fi City Battle
Custom Brushes For Sci-Fi
Chapter 4 - Night-Time Sci-Fi
City Battle
Software used: Photoshop
Introduction
The theme of this tutorial revolves around some
kind of conflict within a city environment, but
with a Science Fiction slant. In this instance it
will focus on a lone soldier isolated from his unit,
hiding in the foreground from an approaching
search party of enemy troops.
Custom made brushes can add a textural warm color scheme to reflect the fire that would
The principal aim of the exercise is to create realism to your paintings and be used to not eventually illuminate the scene.
an array of custom brushes that will help add only paint designated shapes but also to add
a certain dynamic to the painting, helping to variation to surfaces and the canvas in general. These shapes were blocked in using some of
create some of the details and shape some of They can be used for specific tasks such as the Standard Hard Round and Chalk brushes,
the forms. depicting clouds or smoke, or in many cases with Dual Brush enabled within the Brushes
simply to add a more random quality to your palette.
brush strokes.
In Fig.02 you can see the brush settings with
Coupled with this, they can prove to be an Dual Brush enabled. By using a single brush
efficient way of repeating a motif/texture and such as one of the default Chalk brushes you
hence streamline your workflow. can vary the strokes and brush marks by just
changing the secondary brush in this section.
Each time you create a new brush they can be I often do this during the initial stages to help
saved into a library or your “virtual studio” if you generate some randomness across the canvas.
prefer, and then used in the future for similar
tasks. Creating a Custom Brush
Now that there is a provisional composition in
During this tutorial I will aim to show how custom place I can get on with creating a new brush
brushes can be tailor made for specific tasks used to paint something quite specific - an
and hopefully provide a glimpse into their value approaching group of men. As these will be in
as a painting aid. the distance, almost in pure silhouette it will
be useful to have a brush that gives me the
Blocking In freedom to quickly add in extra figures at any
Before creating any custom brushes I blocked point.
in the rough composition and established a
preliminary color palette. As this scene will To save time and avoid having to manually
evoke a battle between opposing factions it create them I scanned through the library of
made sense to include fire and smoke, which is photos freely available from 3DTotal (http://
typified by most war torn environments. freetextures.3dtotal.com/index.php)
Fig.01 shows the initial blocking in with a street I found two suitable references which I used
stretching away, flanked by a wall on the right as my starting point (Fig.03) and which can be
and a series of pillars on the left. I chose a found using the links below:
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 year’s
fantastic line-up.
Hardback - 21.6cm x 27.9cm | 304 Full Colour Premium Paper Pages | ISBN: 978-0-240-52171-8
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Articles
Sketchbook of James Wolf Strehle
Tutorials
Concept art for Games
Chapter 4: Characters
Making of
Concrete 5
by Yang Xueguo
Galleries
another 10 of the best
Images from around the world!
this idea I started to block in his image “Sea War” which featured in the gallery in the August issue
of 2DArtist. Lin Bo shares his entire process with us and talks us
some really rough brush strokes through his compositional and design choices.
with simple flat colors”
Sea War Making Of
Sea War
Software Used: Photoshop CS3
Lin Bo
For more from this artist visit:
http://blog.sina.com.cn/7rambo
Or contact them at:
7rambo@gmail.com
“Capsula”
by Eduardo Peña
The following shots of the “Capsula” book pages are featured here in full-resolution and can be read by zooming in...
Digital Art Masters: Volume 1, 2, 3 & 4
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3DTotal presents the new issue of 3dcreative
magazine: a downloadable monthly magazine for
concept art, digital & matte painting for only £2.75 (approx $3.78 - €2.93)
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