content issue 03/2010

Mad Hatter
Nico Di Mattia 4
In this tutorial I am going to show you in some basic steps, how
I usually work with Photoshop. In this case I made a speed
painting of the Mad Hatter, of the movie Alice in Wonderland. This
digital painting took me about 6 hours, it has many details and I
made it in A3 size, at 300 dpi. While I was painting, I captured the
whole process in the screen, I speeded it up and made the speed
painting video in an editing software. Hope you enjoy this tutorial
guys!

photomanipulation interview
Aquarium Bert Monroy 48
Benjamin Delacour

Carried Away
10
Mingo Chui / Pdair 52 Happy Easter !
Natalia Voloshyn 18 book review
Nowhere Bound Animation Insiders 54
Phil Fensterer 26

digital painting
The Red Queen
Nicholas Hon You Onn 30
Jake Portrait Wishing you a very Happy Easter
Lina Eriksson 34
With love and Best Wishes
creative class May that Easter Day brings
Space Lighthouse
Mariusz Karasiewicz 40 Lot of Happiness and Joys in your life!
tips&tricks Marta Kobus
IronMan Editor in Chief
Bert Monroy 46
advanced | 6 h.
adobe photoshop CS4
 the mad hatter

The
Mad Hatter
In this tutorial I am going to show you in some basic steps, how I usually work
with Photoshop. In this case I made a speed painting of the Mad Hatter, of
the movie Alice in Wonderland. This digital painting took me about 6 hours, it
has many details and I made it in A3 size, at 300 dpi. While I was painting, I
captured the whole process in the screen, I speeded it up and made the speed
painting video in an editing software. Hope you enjoy this tutorial guys!

01

Step 1
Create a New Layer. Name it Border Line. Chose
the airbrush, number 9 as shown in the image. It
works good with the pen pressure. Now start with
the basic shapes of the character. As you can see,
I work my first lines very sketchy.

02

Step 2
I created two new layers, below the border lines.
One for the background color, and one for the
basic colors of the figure. I painted both with
a new brush, a textured one, with other dynamics
and the pen pressure activated. Remember to
do that in separated layers. I recommend you to
paint the background first, so you can see the
relation between it and the tones and values of
the figure.
.psd Photoshop 5
 cover artist

03

Step 3
In a new layer called face I painted the face. This
layer goes above the border line layer. I added
the final shapes and colors, and some details.
This is one of the most important elements of the
painting, when you have to get the likeness of the
subject with accuracy. After that, the work will
be easier. I used the same brush, with different
opacities and flows. Always with the pen pressure
activated.

04

Step 4
I usually make a new layer every time when I have
to paint the clothing of hair for example. So, make
a new one, above the last one, and paint with
some details the hair and the clothes. I decided to
make this painting with a particular style, where
you can see the brush strokes like if the painting
were made whit acrylics or oils, with a huge brush.

05

Step 5
In a new layer, paint the details of the hat and
the tie.

6 .psd Photoshop
 the mad hatter

06

Step 6
Delete the layer of the border lines. Now, you can
concentrate in the details of the hat and the hair.
I enjoy doing the hair hehe. I created a new layer
to do this. Remember I used always the same
brush, with different sizes and flows because
I wanted the textures in the lines, not a effect of
softness.

07

Step 7
After the character, we have to concentrate in
the background. I make a layer above the first
background, but below the character. I added
some shadows and different textures, with
a special brush.

08

Step 8
As you can see, the background has a lot of hats,
around the character. You have two options: To
paint each hat single or make some selections,
and copy and paste. I created a new layer and
I painted one hat. Then I duplicated the layer
a couple of times and moved them, one by one,
making the circular figure around the Mad Hatter.
Then I transformed the scales of them. With the
burn and dodge tool I made the values of the hats,
depending the zone of the composition.
.psd Photoshop 7
 cover artist

09

Step 9
I created a new layer for the final details. I wanted
a special texture and an effect of wet paint in the
final rendering. So I make some stains, and dirty
effects.

10

Step 10
Finally, I usually put some little details after all the
process, like shines, small hair, etc. I want to give
some special touch in my paintings, something
personal. Making realistic portraits, and using
reference pictures could be boring, but if you
can give to the piece your particular technique
and passion, it will worth it. I made this digital
painting with Photoshop CS in about 5 or 6
hours. It requires a lot of practice and constancy.
I captured all the process from the monitor, and
edit it making a nice performance called "speed
painting". But I guess you know that. Hope you
enjoy it.

by Nico Di Mattia

8 .psd Photoshop
Aquarium

For this illustration, I created a character with a glass effect to be filled as an aquarium.
What I need: high quality picture and real statue that will serve as a model. What I should
obtain: poetic picture with that unique personal touch.

advanced | 2 h.
adobe photoshop CS3
 aquarium

Base
We'll use only the curves of the body and not the
clothes. You must find a picture of a nude or lightly
dressed person. I chose a picture of a woman with
closed eyes laying in a calm/serene position. First
step (that shouldn't be overlooked) is to trim
down the character that figures on the picture.
Easy to do with the pen tool under Photoshop.
Then, you have to save the trace to use it later on.

02

Creating the glass effect.

To create a character with a glass effect, it is best
to find specific royalty free images of pieces of
glass, bottles, light bulbs, aquarium... To save you
time during the trimming process. Try to download
images with a white background. Create a new
blank layer and paste another one above the
outlined model, reduce the opacity of your layer
while keeping the outlines visible. This will serve
as a frame to place the glass over.

03

Here we go!
I found an image of a light bulb with a white
background that I'll use to trace the contours of
the body. To work this out, you must find the best
piece of glass.

.psd Photoshop 11
 photomanipulation

04

Distortion effect
We'll use this piece of glass to transform it with
the free transform tool. To do this, we simply need
to adjust the size of the piece of glass with the
selected part, and shift to free transform mode
to fit the contour of the glass with the curve of the
model. Don't do a lot with a single piece.

05

Layer mask
To blend all pieces together we’ll need a layer
mask and you’ll be able to join a line with a curve
then another line etc. In a 3 part process. If
the shape of the object doesn't match with the
contour, delete the unnecessary elements with
the layer and take a new piece of glass to finish
the contour.

06

Carving
Sometimes you'll need to rework some pieces to
follow closely the contours of a shape. You can
do this with the free transform tool and carve the
contours to obtain a realistic effect. Remember to
store your layers in easy-to-remember folders.

12 .psd Photoshop
 aquarium

07

Carving again!
You have to repete the same process as above for
smaller parts by reducing them to perfectly stick
to the fingers and ears of the model.

08

Face
Use the black brush with a selection to create the
eyelashes and eyelids.

09

Finishing with the body aspects

Disable the layer on the model to see if your
outline is properly done, and eventually correct
assembly and merging errors. You can see that
all internal parts of the body (armpit, neck and
shoulder) have been worked similarly but with
layers of reduced opacity compared to the
contours.

.psd Photoshop 13
 photomanipulation

10

Water
Get the selection trace of your character, and paint
a new layer with a transparent blue color to give
an aquarium effect. With a white fine brush draw
the surface of the water, do not paint too close to
the glass if you wish to get the thickness of the
glass. You can also darken slightly the surface of
the water to give the impression of a wave motion.

11

Water drops
To achieve condensation effect in the aquarium,
use royalty free images of water drops on
a window or take your camera and spray water on
a glass. Give a 75% floodlight effect on the water
drop layers.

12

Add vegetation
You'll need as much images of flowers/plants as
you can to fill the aquarium. Create a folder under
the glass and water files to simulate transparency.
Flowers we'll be in the glass and feet in water. If
the edges of the glass hide some of your flowers,
create a layer mask on the folder and paint inside
it to reveal flowers.

14 .psd Photoshop
 aquarium

13

Fill your aquarium

Continue to place your flowers to fill your
aquarium, while keeping in mind to vary shapes
and colors. Make flowers overflow slightly with
the free transform tool and reshape them to give
a plastered effect against the glass.

14

Vegetation shadows
Select a layer of flowers and add a drop shadow
effect. Right click on the layer effects that we've
made previously and copy them, then select all
the layers of flowers and right click to paste to
the effects on all layers at once. You'll just have to
modify a specific layer if necessary. I also added
2 goldfish, to emphasize the aquarium illustration.

15

Background
I tried to make a simple but textured background
that gives a transparency effect on the glass.
You simply need to find a texture and place it on
a layer below plants. You can also add a slight
gradient to draw attention to the center of the
image.

.psd Photoshop 15
 photomanipulation

16

Lights and shadows

You can add to your model other effects such as
reduced opacity on shadows with a large brush.
On another layer you can add some light.

17

Reflection
Take your light bulbs and glass pics and place the
reflections on your character. You can also draw
yourself the reflections by making a selection and
painting them with a white brush.

18

Final step
Give the final touch by creating adjustment layers
above all other layers. I added adjustment layers
for contours, saturation, blue photo filter etc. Well,
that's about it!

by Benjamin Delacour

16 .psd Photoshop

Nico Di Mattia cover artist
Nico Di Mattia was born in Cordoba, Argentina. On 2005 he
graduated as a Technician Producer In Audiovisual Media and he
directed the short fantasy film “La liga de los Imperfectos”, which
took part and was awarded in various National and International
Film Festivals.He also directed two new animated short films
between 2007 and 2008, which are participating of different
national and international film festivals.Nowadays, he works
independently in animation, film direction and postproduction,
as well as a freelance illustrator and caricaturist for different
business and private clients from all the world.
Website: http://nicodimattia.com
Lina Eriksson
I’m a 22 year old from Sweden who loves to paint, especially
when I started doing it on the computer. Messing with sticky oil
colours has never been my thing. I’ve been painting more or less
since I was 17 but it wasn’t until 3 years ago when I started to
use the comp and corel painter to draw that I was hooked. So I
am still quite a noob and learn new things everyday!
When I’m not painting I study Digital Media Design at a university
and I hope I can use my interest in a future occupation.
Natalia Voloshyn
I’m a 21 years old master student from a beautiful city of Lviv,
Ukraine. Though my occupation (I’m a linguist) can hardly
be called arty, I’ve been madly in love with Photoshop and
photography for nearly 3 years. Being an artist is an amazing
feeling.
http://voloschka-photo.deviantart.com/
http://voloschka.deviantart.com/
Editor in Chief:
Marta Kobus marta.kobus@psdmag.org
Executive Editor:
Ewa Samulska ewa.samulska@psdmag.org
Copy Editor: Ed Werzyn
Art Director: Agnieszka Marchocka
DTP: Ireneusz Pogroszewski, Przemysław Banasiewicz
Art Executive Manager: Ireneusz Pwogroszewski
Senior Consultant/Publisher/President:
Paweł Marciniak
Managing Director:
Ewa Łozowicka
Marketing Director:
Marta Kobus marta.kobus@psdmag.org
Executive Ad Consultant:
Ewa Samulska ewa.samulska@psdmag.org
Production Director:
Andrzej Kuca andrzej.kuca@psdmag.org
02/2008
contributing writers
Nicholas Hon You Onn
Hi, my name is Nicholas Hon You Onn a Graphic Design
Student from Malaysia. I do Digital Illustrations as a hobby
and pastime and I’m planning to go into Advertising. If you’re
interested in viewing my artworks you can find them here:
www.r3myx.deviantart.com/gallery/
www.r3myx.deviantart.com
www.mr.nic.hon@gmail.com
Benjamin Delacour
Graphic Designer for over 10 years, I currently work as a
freelancer. Passionate about design and image retouching,
I work regularly on complex image editing for products of
various organizations. I take the time to perform personal
projects that allow me to discover again and again Photoshop.
Mariusz Karasiewicz
My name is Mariusz Karasiewicz and I’m from Poland. I have
been interested in graphic designs for over two years now.
I love to do photo manipulations and fantasy art.. You can
check all my work on fishbot1337.deviantart.com
Phil Fensterer
I’m a digital artist residing in Dallas, TX but born and raised in
Albuquerque, NM. Tools that I use to create my work include
Photoshop, Illustrator, my own photography, Lightwave 3D
and some traditional art. My art has been featured as cd
covers, book covers, in TV, movies, magazines and artbooks
including Expose 5 by Ballistic Publishing and Fantasy Art
by Imagine Publishing. I have also created poster and t-
shirt designs for bands such as The String Cheese Incident,
Widespread Panic and more. Though my personal work
is more surreal, I am a varied artist and experiment with
various styles to fit my personal mood or a clients needs.
Postal address:
Publisher: Software Press Sp.z.o.o SK
02-682 Warszawa, ul. Bokserska 1
worldwide publishing
www.psdmag.org/en
All trade marks presented in the magazine were used only for
informative purposes. All rights to trade marks presented in the
magazine are reserved by the companies which own them.
Mathematical formulas created by Design Science MathType™.
The editors use automatic DTP system
Editorial contributions should be sent to:
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Customer Service +1 917 338 3631
The Software Press Sp.z.o.o SK works individually from Adobe. The
psd Photoshop team reserves the right not to be responsible for the
topicality, correctness, completeness or quality of the information
provided by contributors.
17
medium | 2-2,5 h.
photoshop CS4
 carried away

Carried
away
This tutorial will tell you how to create a dreamy image of a girl who has
got trapped in an old image and whose dress in turning into a profusion of
dandelion seeds.

01 Stock credits
• Model: http://faestock.deviantart.com/
• Blooming field: http://www.sxc.hu/ , ID 583988
• Texture: http://www.sxc.hu/, ID 1088066
• Bottom of the dress: http://dazzle-
stock.deviantart.com/
• Dandelion brushes: http://redheadstock.devia
ntart.com/

Choosing the stock

For this picture, we’re going to need a picture of
a blooming field, a grunge/vintage texture, and
a picture of a model(s). As to the background,
many pre-made ones can be found online at stock
websites but we will try to make our own.

02

Background 1
To create a vintage-looking background we need
a picture of a field in bloom and a grunge/vintage
texture. The latter can be of any colour but
brownish one fits best as it creates the effect of
an old postcard or picture.tresc kroku tresc kroku
tresc kroku tresc kroku tresc kroku tresc kroku
tresc kroku tresc kroku.
.psd Photoshop 19
 photomanipulation

03

Background 2
Open the blooming field picture with your
Photoshop. Open the texture as a new layer and
duplicate it. Set the first texture layer into Soft
light mode with the opacity of 100%. Set the
second texture layer into Multiply mode with
the opacity of 56 % (this is not a must, choose
the opacity which fits you best and makes your
background look perfect).

04

Background 3
To make our background look more postcard-
like, we can add vignette. To do this, go to Filter
-> Distort -> Lens correction. Set the vignette
amount to -82 and its midpoint to +40. (though,
again, choose what looks best for your picture).

05

Background 4
We already have our vintage-looking background,
however, it is still a bit too bright as for an old
picture. Go to Image -> Adjustments -> Vibrance/
Saturation. Set Vibrance to – 19 and Saturation
to – 21.

20 .psd Photoshop
 carried away

06

Background 5
Our background looks almost perfect. However,
I decided to change colour balance slightly to
make it look more bluish/washed-out. To do this,
go to Image -> Adjustments -> Color balance
and set cyan to – 11 with the tone balance on
midtones and preserving luminosity.

07

Background 6
Merge the layers. Our background is ready! Now
we can start working with a picture of a model.

08

Model 1
Open the picture in a separate tab. You can also
open it as a layer of the background picture but
I prefer working in a separate tab as it is more
comfortable. Then right-click on your layer-
background and choose Layer from background.
.psd Photoshop 21
 photomanipulation

09

Model 2
Erase the background of the picture. You can use
eraser or magic eraser. If you use the latter, make
sure the tolerance is not very high as it might
remove essential parts of your picture.

10

Model 3
Copy-paste the roughly extracted model onto the
background picture. Fix the size and the position
of the picture. Remove the remaining ‘dirt’ around
the edges using a soft eraser brush. This will
soften the rough edges and prevent our model
from looking like a cardboard cutout.

11

Model 4
The model looks good but there is something
definitely wrong with the bottom of her dress.
Let’s replace it. To do this, we’re going to a picture
of a lady in a dreamy dress/skirt. This one will do.

22 .psd Photoshop
 carried away

12

Model 5
Open the picture as a new layer. Remove
everything from the picture with the eraser but
the bottom of the dress. Fix the size and position
so that it fits. Then set it to Lighten mode with
the opacity of 100%. Remove any ‘dirt’ around the
edges with the easer if necessary. Merge down
the two layers of the bottom of the dress and the
model.

13

Model 6
To make a dress turn into a profusion of dandelion
seeds, we are going to need dandelion brushes.
The can be downloaded for free and are easy to
use. We will use them in two steps: first – as the
easer brush and second – as a painting brush.
Use the eraser around the edges of the dress,
especially around the bottom. Make them look as
if they’d been torn into many small pieces. Then
use dandelion paint brush and work around the
edges changing the size and the opacity of the
brush. This will give an impression we’re aiming
at. Don’t be afraid to experiment with the brushes.

14

Model 7
Our picture is almost ready. To make the bottom
of the dress stand out, dodge the parts of it. Use
the dodge brush set to the opacity of 57% and
midtones.
.psd Photoshop 23
 photomanipulation

15

Model 8
Finally, our picture is almost ready. You can adjust
the brightness and contrast of the background
and the model if necessary. I set the brightness of
both of them to 5.

16

Model 9
You may add details to you picture, such as an
umbrella or hair decorations. I did not do it as
I thought it would distract from the very picture.
Now, when everything’s ready, merge visible
layers. Et voila, your dreamy photomanipulation
is ready!

by Natalia Voloshyn

24 .psd Photoshop
Nowhere
Bound
This is a tutorial on how I created the image Nowhere Bound. This took just a few hours
during a few late nights and wanted to create a simple but surreal fantasy scene.This
tutorial was not written for the beginner but if have basic knowledge of Photoshop then you
should be fine!

medium | 6 h.
adobe photoshop
 nowhere bound

01

Step 1
I started with a few photos I took around the area
I used to live. I found the ship at a local antique
store. Using a layer mask, I blended the mountain
image and the lake image to create one single
photo.

02

Step 2
Using curves and levels, I adjusted the image to
have a higher contrast. I also used hue/saturation
to saturate the colors a bit.

03

Step 3
To create the darker edges, I added a new layer
of dark gray and erased the middle with a radial
gradient layer mask and adjusted the opacity to
whatever I thought would look good. I also added
a gritty texture and set blending mode to multiply
and again adjusted the opacity of that layer to
a setting I liked.

.psd Photoshop 27
 photomanipulation

04

Step 4
I wasn’t happy with the clouds and thought there
was too much texture at the top. So, again, I used
a layer mask to blend in some new clouds over
the mountains and removed some of the gritty
texture.

05

Step 5
After using the pen tool to remove the model ship
from it’s background, I placed it in position on the
image and began to digitally paint a rough idea
of a new organic hull for the boat. I used a normal
hard edged brush for the main shape and then
used the dodge and burn brushes to add some 3d
relief to the hull.

06

Step 6
I had made a wood texture using a tileable flooring
texture I created in Photoshop a long time ago and
decided it would be a good texture for the hull.
I used the pen tool to create a good solid shape
for the hull. After making it a selection I pasted the
wood texture into the selection and adjusted the
angle by using free transform. I set the blending
mode to overlay though to get it looking right, you
may need to duplicate the layer once or twice and
try out different opacity settings and modes. Next
I added the ship’s shadow and used free transform
to get the correct angle I wanted.

28 .psd Photoshop
 nowhere bound

07

Step 7
I needed a light source and decide to add a white
gradient layer on the right side of the image. This
also helps with adding a touch of atmosphere
to the image. I dropped the opacity to about
90% and added a layer mask so the foreground
isn’t obscured by the white layer. Next I added
a blueish base color layer to the entire image.

08

Step 8
A purple color layer and an orange color layer
were added and I used layer masks to erase the
parts I didn’t want the color to show. I then added
a subtle cloth texture to the entire image and set
that layer to 12% overlay.

09

Step 9
I wanted the ground to pop a little more so
I duplicated the ground layer and set the blending
mode to overlay and dropped the opacity a bit.
I then added one more dirt texture to the entire
image at a low opacity to help create a bit of
uncleanliness. I used hue/saturation again and
adjusted the levels slightly to add a little more
vibrancy. That’s it!

by Phil Fensterer

.psd Photoshop 29
The
Red Queen

medium | 4,5 h.
adobe photoshop CS3
 the red queen

01

Brush Settings
Select the Brush Tool then open the Brushes.
Palette Select any Hard Round brush. Adjust the
settings as show here. There are many ways to
adjust the brush according to your liking. Different
settings have different effects. Try to experiment.
Finally save the brush and it would appear in the
Brush Presets Menu, you can also save in under
tool presets.

02

Layering
This is the layering for my basic paintings. The
can be tons more layers depending on the artist
example the artist might want to paint each
person separately. Maybe even add a couple more
layers for details. This layering system does not
include texturing. Thus if you do decide to add
texture each texture would be placed in different
layers.

03

Blending and Smudging

Block in Flat tones in areas where the tones are
needed. Reduce the brushes Opacity about 10%
30% 50% depending on how much you want to
blend. Hold Alt while the brush tool is selected to
switch instantly to the color picker. Pick colors
from the flat tones while blending. I Use smudging
mainly for fur and hair as It blends the tones
together and creates a sense of direction. Block
in Flat tones in areas where the tones are needed.
Use the smudge tool with 60% strength and
make sure the size is not too big. Smudge in the
direction needed. Try smudging from both ends.

.psd Photoshop 31
 digital painting

04 Beginner’s Tips
• Use Grid lines if necessary
• Tracing is alright if your doing it for
learning purposes
• The base color will help blend tones
together
• The outline is the highest layer
• The background color is the lowest.

Step 1
Create a detailed outline. Include the basic
highlights and shadows just to roughly know
where the tones should be. This should not take
up too much of your time as it is a guide to your
painting and would be of no use in the final
piece. Select a background color that is able to be
a strong base color or a mood color.

05

Beginner’s Tips
• Select colors either from swatches or
manually adjust them.
• Picking colors from the reference image
is not advisable.
• Use the colors to blend and create tones.

Step 2
Lay down a few basic colors which you can spot
from your reference image. The colors should be
placed on a new layer above your outline. These
tones are the main tones used for blocking in
color.

06 Beginner’s Tips

• Use the colors from the swatches laid down.

• Toggle opacity levels to create extra tones.
• If there are extra tones which you think may
be useful like mid tones lay them down as
well.

Step 3
Block in all the colors that you’ve lain down and
start blending them together (refer Blending).
You also want to identify all the highlights and
shadows and paint them in as well. Do this
on a separate layer below the outline layer.
I personally like painting in parts e.g. id finish
one half of the face before I continue with the
other areas. I feel it gives me a stronger sense of
satisfaction and it motivates me to complete the
painting

32 .psd Photoshop
 the red queen

07

Step 4
For the crown, the blending can be quite harsh as
it is shiny and metallic. Just blend the edges of
the blocked in colors on the crown because if you
blend it too smoothly it may turn out to look like
silk or satin.

08

Step 5
For the hair, Lay down the base colors including
mid tones and highlights. Then start smudging
them in the direction you want (refer Sudging).
after you’re done smudging create a new layer and
start painting in the extra highlights and shadows
that you may have missed. Lastly, begin adding
outer hairs, this will make it look more real. The
outer hairs should be fine and light, use 40-60%
opacity and toggle between light and dark colors.

09

Step 6
After painting in all the details. The finished
artwork. There are artist who use filters and
effects to enhance their painting. If you are
unsatisfied with the color you can duplicate the
detail layer and set it to overlay or any other
setting to enhance it’s color

by Nicholas Hon You Onn

.psd Photoshop 33
Jake
Portrait
A tutorial in painting Jake Sully with airbrushes. I use corel painter but this can easily be
done in your programme of choice. I use a digital airbrush with different opacities according
to what I'm painting. Lower opacity on shades and highlights and higher opacity on hair and
details. I use a lot of layers for control and often use the multiply tool on my layers when
shading so I get the same colour in darker tints.

medium | 2-3 h.
corel painter | wacom tablet
 jake portrait

01

Step 1
Start with two layers. One with your sketch on it
and one layer with a background colour of your
choice. I usually work with grey since it's easier to
rest your eyes upon than white.

02

Step 2
Add a new layer beneath your sketch layer so
that you can see your sketch at all time. On this
layer you add a blue colour for the skin. Start with
the eyes and look at your reference photo which
colour that fits your base. I chose a yellow to work
with.

03

Step 3
Now work with other tints and darker ones to
creates the shades in the eye. Try out different
shades of brown and some green. I create tiny
highlights with a very light yellow or beige tint.

.psd Photoshop 35
 digital painting

04

Step 4
Now I add a darker blue as the base for my lips.
Start shading it with darker blue. I also use a blue
colour with a lot of grey in it. I recommend you to
mix your own colours in the colour palette which
you can use over an over again. Then you'll always
have your favourite colours at hand and you know
what colours you are using at all time.

05

Step 5
I use a darker grey to create the creases in the
lips and a light blue for some highlights. Paint the
teeth as well and remember that they are very
rarely white. I use different grey shades.

06

Step 6
Paint the facial marks with a darker blue. Start
adding you basic shadings. Think big and don't
make them too dark at this point. I've also painted
the nose here with the same technique as the lips.

36 .psd Photoshop
 jake portrait

07

Step 7
I add some other shades of blue and I use a low
opacity on my brush when doing the highlights
in white. Add the sparklies with a white or light
blue colour.

08

Step 8
Continue your shading and highlighting and
experiment with the layers using the multiply
setting.

09

Step 9
If you haven't done the ears, this is as good a time
as any.

.psd Photoshop 37
 digital painting

10

Step 10
When staring to feel finished with your face, add
a black base for the hair. use a higher opacity on
your brush to get cleaner strokes.

11

Step 11
I used a soft white and some brown to create the
strands of hair.

12

Step 12
Then I paint the neck with the same technique as
the face, working in layers between the face and
my base skin colour.

38 .psd Photoshop
 jake portrait

13

Step 13
When you feel pleased with your character, start
doing the background! Work in layers beneath all
of your Jake layers. I use a low opacity on a big
brush. Don't be too detail picky. Just swoosh the
colour on there!

14

Step 14
Just paint until you are satisfied.

15

Step 15
Turn off your layer with the sketch on it and ta-
daa! You're finished!

by Lina Eriksson

.psd Photoshop 39
Space
Lighthouse

medium | 2 h.
adobe photoshop CS3
 space lighthouse

Recourse and Start

First you must find some nice stock. Mine I found
on sxc.hu. If you find some with no colorful sky
you can easier blend space. We open a new stock
in Photoshop and change a canvas size but only
hight about 2x. Click on Image then Canvas size
and change it.

02

Sky
The next step is to add a color sky on transparent
background. Use eyedropper tool and click on
the highest place on the stock then use a new
color and fill transparent background by it. Then
we must add some dark area on the top. To do
this use a gradient tool chose a black color for
foreground and background and set opacity to
0% for one of them. Place the pointer/cursor inside
the image on the top and drag to dawn.

03

Stars
Next step is to do some stars. The fastest way is
to open a new doc about 2000 pix – 2000 pix and
fill it with black. Then we add some noise (filter
-> noise -> add noise) amount set about 15 – 18
% set gaussian and monochromatic. Then go to
image adjustments and levels. Set it like me 0
– 0,4 – 160 click OK and you have stars. Drag this
image to your work and set the layer on screen.
You must also erase some bad looking places.

.psd Photoshop 41
 creative class

04

Space gas
It’s simple step. In my work the biggest think will
be planet so I decide not to do a big and colorful
nebulas. Like you see my nebulas is small and
almost transparent. I just reset color (pres D)
to black and white and use cloud and different
clouds filter . To do it go to filter -> render ->
Clouds and after it use different clouds go to filter
-> render -> different clouds (repeat different
clouds several times by pressing CTRL + F). Now
in my art I change blending mode to screen and
change opacity to 20 % of course you must erase
some area.

05

Sun
Now we must do sun. In my work I use lens flare
to do this. On new layer we must fill all canvas to
black and go to filter -> render -> Lens flare. Set
brightness about 120 % and lens type to 105 mm
prime. Set this layer to screen and we have nice
looking sun.

06
Planet
To do nice looking planet we must find or make
good texture. The easier way is find some on
deviantart.com. My I made using several type of
textures. If you have your texture use elliptical
marquee tool and select nice ring on it (hold
SHIFT to do it symmetrically). You must invert
your selected, to do this press CTRL + I and press
DELETE to erase unnecessary places. OK now we
have a circle, we must do a nice 3D planet. Next
step is select your planet, to do this hold CTRL
and click to layer icon whit your texture then go
to filter -> Distort -> Spherize set amount to 100
% and press OK. Now you have almost done planet
we must only add some blending options. Set all
like me (look at picture below. Some of my setups
will not fit to your planet. Everything is dependent
on the size of your planet). The Last thing to do is
place your new planet on your work.

42 .psd Photoshop
 space lighthouse

07

Light and Shadow

In this step you must add some light and shadow
on your planet. To do light use dodge tool and to do
shadow use black soft round brush whit 30 – 40 %
opacity. Look at the picture and see like I do it.

08

Details
If you want to add some better look to your art
you must add some details. I add one more planet
and brush some falling comets. Also I add cloud
brushes to blend my big planet.

09

Colors and Finishing

It almost all. Last thing to do is add some nice
colors. It is up to your taste as to what colors
you use. You can also and some sharp filter or
gaussian blur (about 2 % pixels) to soft light.

by Mariusz Karasiewicz

.psd Photoshop 43
 Editor’s Choice Mariusz Karasiewicz

.psd Photoshop
 My name is Mariusz Karasiewicz
and I’m from Poland. I have been
interested in graphic designs for
over two years now. I love to do
photo manipulations and fantasy
art. You can check all my work on
fishbot1337.deviantart.com

.psd Photoshop 45
 iron man’s metal

Tips & Tricks from Bert Monroy

Iron Man’s Metal
T here are many things to consider when creating elements for an
image. Highlights and shadows are obviously very important. If
the object is reflective, it must reflect other objects around it
in the scene. Texture also plays an equally important role. All these
factors working together will determine what an object is made of.
elements within the scene is a billboard for the movie Iron Man. It was
necessary to get the character right because Iron Man is a popular
character with many fans. In this article you will learn how I created
the metal texture for Iron Man’s armor suit.
I create every individual part of the overall image in its own,
In the creation of my latest painting, Times Square, one of the many separate layer. This will facilitate any alterations that might be

Figure 1.
.psd Photoshop 47
 tips & tricks
Figure 2.
needed once all the parts are put together to form the final image. In
Figure 2 you see two separate layers that make up the gold-colored
arm guard of Iron Man’s armor. The shapes were generated using the
Pen tool. A golden color fills the main shape while a darker tone was
used for the insets.
With the Dodge and Burn tools, highlights and shadows were
added by stroking the layers. The addition of these tones gave the
shapes form as seen in Figure 3. A Layer Style of Bevel and Emboss
Figure 4.
48 .psd Photoshop
Figure 3.
was applied to the insets. The insets were also blurred slightly (Filter
> Gaussian Blur) to soften the edges. The highlights and shadows
certainly add drama to the armor but it is the texture that gives it the
feeling of the rough metal that the actual super hero has on his face.
As is usually the case, filters will provide the needed texture.
A separate layer was filled with a 50% gray. To this layer, the Add
Noise filter was applied (Filter > Noise > Add Noise). A large number
was used for the Amount in order to produce a lot of noise (Figure 4).
Figure 5.

Figure 6.
This noise became the basis for the texture. Then the Noise was
stretched to make it look like a brushed metal. This was done with
the Motion Blur filter (Filter > Blur > Motion Blur). A large number
was input for the Distance to lengthen the lines (Figure 5).
There was one more effect needed to make the brushed metal
appear rough and that called for a third filter — Ocean Ripple (Filter
> Distort > Ocean Ripple). This filter, with small numbered settings,
gave the texture that final touch to make it look like the texture on
the real Iron Man’s armored suit (Figure 6).
Using the Warp command (Edit > Transform > Warp), the texture
was molded to fit the shape of the armor. In Figure 7 you see the
texture being warped to follow the contours of the arm plate. You will
Figure 7.
.psd Photoshop
iron man’s metal
notice that the Warp grid is being distorted in a shape that follows
along the lines of the actual shape of the arm plate. The mode for the
layer containing the texture was set to Soft Light to make it add the
texture to the existing gold of the armor without discoloration.
Remember that it is the steps that have been outlined here that
are important. You might never have to create an image of Iron Man
but adding texture to a shape might come up a few times in your
future. Have fun!
by Bert Monroy
Figure 8.
49
 interview

Interview with
Bert Monroy
Born and raised in New York City where
he spent 20 years in the advertising
industry as an art director and
creative director for various agencies
as well as his own. Upon discovering
computers with the introduction of the
Macintosh 128 in 1984, he embarked
on a new digital career. He embraced
the computer as an artistic medium
and is considered one of the pioneers
of digital art.

You consider yourself as a Hyper-realistic artist. Can you

explain what that means?
My style is similar to Photorealism, however, I do not fully fit the
criteria as a photo-realist. Photorealism adheres to a photograph.
Depth of field and certain atmospheric effects are part of the painting
making them look photographic. If you study one of my pieces you will
find that it is not photographic because everything is in focus.
I call it Hyper-realism because it is more like being there.
Wherever your eyes looks everything is clear. It is as if you were
actually standing in one of the places I have painted.

How has your work changed over the years?

The advancements in hardware have allowed me to work on higher
resolution and larger canvas sizes giving my greater detail than
before. The advancements in the software have given me new
techniques that I can apply to get greater effects.

How has the advancement of digital imaging tools changed

your creation process?
I think I answered that in the previous question though I can expand
on it. The evolution of digital imaging tools has changed my creative
process by forcing me to take greater risks in my projects. I am
challenged to make things more realistic. Textures, for example, are
no longer left as assumed in the eye of the beholder, every thread of
a garment has to be there. Every sign of wear and tear must be put
into an object no matter how small.

50 .psd Photoshop
 interview with bert monroy

What changes do you like, or dislike in digital imaging tools

available today?
I have a strong say in what goes into a lot of the tools being created
so there is much to like since I am getting what I ask for. What
I dislike is when something I want is not in the tools.
I understand that some of my requests are not mainstream
so they don’t get much attention. One such item is the addition of
grouping of Paths like Layer Groups in Photoshop. It is not common
for users to have hundreds of path sets in one image so I understand
why they don’t hurry to implement this feature.

Do you have any book that you are currently working on and
when do you expect their release?
Right now I am focusing only on my latest painting. The only
time I spend away from it is to write the magazine columns that
I responsible for and the occasional article for other magazines.
A book requires too much work and I don’t have the time for one right
now. I will be writing sections of two books. One is for Adobe on the
new 3D features of Photoshop and the other is a collaborative book
with Jack Davis, Cher Pendarvis and Jane Conner-Zizer on painting
with Photoshop.
These books are slated to be worked on later this year. A series
of video training for Lynda.com is my next big project. The series will
concentrate on the creation of my latest piece. I have been working
on it for over three years and hope to be finished by mid-year.

What recommendations do you have for people just starting

out in the digital imaging field? What do you recommend in the
way of books, coursework or tutorials that they can help them
discover their own digital painting skills?
My best recommendation is to sit there and play. The best way to
learn a new program is to open it up and push all the buttons to see
what they do. There are tons of resources for learning. Online offers
many free sources. I have 160 free episodes of my weekly podcasts

.psd Photoshop 51
 interview

available at revision3.com/pixelperfect. I did end the series recently

but all the episodes are still available for downloading. Books are
plentiful with new titles coming out every day. With the release of
CS5 we can expect many, many more to arrive on bookshelves soon.
Still, the best way to learn is to push those buttons and see what
they do.

52 .psd Photoshop
 interview with bert monroy
Do you have a tour schedule for upcoming events?
I have many tours planned in the future. I have a series of events in
Italy this year as well as a seven country tour of South America. When
CS5 releases I will be starting my Creativity Tour with Kelby Training
again that goes to a different US city every month. I also speak at
universities and other organizations around the globe. The News and
Events section of my website announces most of the public events.
How will the recent 3D animated movies inspire people in the
digital painting field?
The same way all movies inspire—by stimulating the senses. What
these new 3D movies do provide is a new vehicle for work prospects.
All those 3D objects need texture maps that are an entirely new
venue for artists that did not exist before.
What do you like or dislike about the new 3D animations?
I like them all. Some are better than others. One thing that is always
important is storyline. 3D and special effects are great to watch but
the true experience is the story they help to tell.
If you could "do it all over again," what you you change in your
professional career? What would you leave the same?
If I had to do it all over again I would not change a thing. Everyday
is a change. My work evolves. Each day brings new challenges.
Yesterday is gone. I try to only focus on what is ahead.
What tools or computer systems would you recommend to
a new person considering digital painting?
The fastest Mac they can afford. I prefer Macintosh computers
because they are what computers should be—transparent. They
.psd Photoshop
provide the tools and ease of use without all the extras that only get
in the way. Adobe Photoshop and Illustrator are my tools of choice.
I think people should try whatever is best for them. Oils, watercolor,
Photoshop, Painter? It’s what makes you feel comfortable that is
important. The tools are only the means to your end product.
How do you know when you are finished with a piece of art
work? Do you have a tendency to tweak and change it after it
sits for a while or do you know when it is finished and leave it
be?
I have what I call the “once-over file”. This is the final composite file
where all the elements of an image have been assembled to form the
final piece. I will set the view of this image to 200% on my working
screen. On my view screen the image will be set to 100%. I start at
the upper right-hand corner and move down one window space at
a time. I look for imperfections, mistakes or necessary additions in
each view. I make any necessary changes. When I reach the bottom
I move to the right one window size and start moving up.
When I have reached the last window size on the lower right I am
done. The image is renamed the final title and I never touch it again.
What tips can you give Photoshop users on learning and
advancing their the skills?
Sit there and play. Think of it as a journey that has many things for
you to discover and enjoy along the way. It should not be work, it
should be fun.
Thank you for your time Bert
by Ed Werzyn & Psd Team
53
 interview with
Interview with
Mingo Chui from Pdair
xxxxxxxxxxx
Tell us a little about your company and why it was created.
When we started our business, the mobile phone accessories
market was still growing, and it was already semi-matured. We
had our plans and visions on providing the best quality leather
and aluminium cases for mobile devices, started off only as a B2B
distributor, and entered the B2C market only in recent years.
When did you start the business?
2002
What did you do to expand your company to where it is today?
Quality control is the biggest concern for us, making sure every
purchase reaches every door with a happy face is our aim. But of course,
damages in transit is something we cannot avoid in a rare case, so we
usually refund / replace the order in such rare cases. Our customers are
just happy with our products as a whole, providing the biggest range of
choices, holding the most styles/ colors and patterns. We are one of the
first to release leather protections for mobile devices, but please let me
stress the point that we do not pre-release a piece of product before
the device is actually released, because we strongly believe that cases
made with only prototypes measurements will not fit the device too
well, and it has been proven that some of our competitors have many
unhappy shoppers with such issues that we have successfully avoided.
What plans do you have for the future?
We aim to provide more variety on our signature products, the
leather and aluminium range. It could well be coming out real soon,
and we will keep everyone informed once the development is ready
for production, like I said earlier, we do not provide false hopes, but
rather we will come out with a perfect product every time.
54 .psd Photoshop
Where are you located?
Our headquarter is located in Australia, with branches in HK / China and UK.
What were your sales in 2009 and what do you predict in 2010?
Our sales kept at a healthy level and we do hope to expand our
product range further and to expand to more parts of the world.
What makes your company different than other similar
companies?
We emphasize on quality and the speed of release and to provide
protection to almost every mobile phone out there, in general, we do
find that our competitors either provide quality but lead time is long,
or they provide protections very fast but lacking in quality, we have
successfully brought balance between the two.
Tell us about your Customer Service and how it is different than
other companies.
Our customer service is pretty much based on product enquires, and
on a rare case of returns / exchanges.
Response rates are pretty good, mostly within 1 working day.
What direction do you see the cellphone industry taking in the
next year and what new products will be introduced?
Exciting news on the cell phone industry is emerging at such a rapid
rate, it will definitely continue to grow exponentially in the coming
year, we aim to keep up with the rapid changing environment of the
cell phone market, and to bring the best protection to those precious
little device that they deserve, with style.
How do you predict your inventory needs?
We do have our own way of predicting the inventory needed to keep
everyone happy, and we do aim to provide the best, the biggest
range of products for everyone.
How will the AT&T suit of HTC affect sales of HTC cellphones?
How will that affect your company?
Honestly, the sales of HTC products have been affected slightly, but
we do not see a problem with that, because the marketing has been
ever changing, Motorola for example, they have definitely made
a comeback recently. Since the days of HP PDA, to the O2 PPC, up till
now, with all the exciting devices and brands, we have kept up well
with the change of environment, and we aim to keep up with it for as
long as we can.
What are your best selling products?
Our best selling products are leather cases, aluminium cases, and
recently, our own luxury silicone range are giving a better silicone
option to our users.
by Ed Werzyn and Psd Photoshop Team
 book review
Animation Insiders is a series of books dedicated to animation. These books are a compilation of know-how, experience and anecdotes
from talented animators. Each book explores a new theme. Animation Insiders is aimed at people who are passionate about animation,
those who are looking to surpass their limits and acquire new techniques. Animation Insiders is the perfect tool to learn from the best
animators. For more information about Animation Insiders contact us at
Mike Nguyen
''....In regard to an animated character,
my thoughts follow along this thread :
The essence of a being is the soul.
The soul inhabits a shell (character
design). The spirit of a soul (character
personality) affects its shell resulting in
a distinct mannerism, both in gesture
and texture of movement. The soul has
feelings and responding to life with
emotions. The temperament of the soul
determine the strength of emotion.
Emotion reflects through interaction
with the shell, pending on graphic
looks, flexibility of skeletal structure,
numbers of compartment, make and
feel of mass, to numbers of joints.....'
Jason Schleifer
''...There are two things that really nail
emotion for me in a character. One is
the pose, and the other is the change
between poses. It's really key to make
sure that you're aware of how much
emotion can come from the change that
happens over time. You may find that
you can draw a great concerned brow
pose, but how concerned does it really
feel? It isn't until you tighten that brow
just a little bit more that the real concern
comes out. Or if you release the tension
just a touch, suddenly the character
feels a little lighter. Remember we're
looking at moving pictures. Don't forget
about making the pose move to really
make the emotion come through....''
56 .psd Photoshop
Publisher:SStudiopress
Copyright:2010
ISBN:978-0-9865330-0-6
Pages:120
$29.99
info@sstudiopress.com
Jason Martinsen
'' ... Now I can start the shot with
a solid idea in mind. I find a strong
key pose that really symbolizes what
the character is saying and feeling,
even if the pose is not in your shot
exactly, and refer to this thoughout
my posing. Never stray too far from
it emotionally except in really strong
takes or action, where great contrast
is needed. Emotion comes from the
face, nail it then let the posture and
silhouette do the rest. If the character
is facing away from the camera, the tilt
and angle of the head says everything,
with the slump of the shoulders and
the tension or lack of in the hands and
body..... ''
Pablo Navarro
'' ... I believe that the workflow
depends on the experience you have.
I mean, your way of work is not the
same at the beginning of your career
as later. The biggest tip I can give
you is that you should use whatever
makes you feel comfortable.
I remember when I first started I was
told that animators made thumbnails
for the animation and I lived by that
“holy” rule. So I spent many hours
making thumbnails; sometimes it
was helpful, and sometimes it was
just a nightmare, even though I still
forced myself to do the thumbnails
for every scene I was given — big
mistake! ..... ''

Victor Navone
'' ... Usually I find that the more research
and planning I do up front, the better the
shot turns out. Even knowing this, I still
sometimes rush through planning; it’s not
that I’m so excited to start setting keys,
it’s that I really don’t enjoy planning that
much. It’s like eating broccoli — I know
it’s good for me in the long run, but I could
take or leave the taste of it. The way I plan
depends on the criteria listed above. If I’m
dealing with non-humanoid characters like
WALL- E, I find that sketching thumbnails
works very well. WALL-E is simple enough
(and his rig is fast enough) that I can easily
experiment in the computer in addition to
drawing. For human characters, such as The
Incredibles, I don’t usually trust that I can
get by on thumbnails alone. I usually look at
live-action films or videotape myself acting
out a scene as reference...''
Ana Maria Alvarado
'' ... From Stuart Little 2 to some of the
Warner Bros shorts I’ve worked on recently,
I always think twice before committing to
a course on the first shot. The reason it’s
so hard to get started, beyond the fact that
you’re still learning about your character(s),
is of course that you are dealing with an
art form. There isn’t one path, one way to
convey what you need in your shot. It’s up
to you to pick a course (one that pleases
your director and animation supervisor)
and execute it. This is why I love to animate.
Granted, sometimes your choices get
overturned and sometimes you are spoon-
fed screen direction, but every now and
then, you get to run with it. ...''
Anthea Kerou
'' ... If the movie has many influences from
a specific genre, you can watch some of
those movies for reference. For example,
Planet 51 is reminiscent of the classic 1950s
sci-fi movies, so watching some of those
may help you. After you’ve been assigned
a shot from a sequence, it is important to
watch that sequence again more closely, and
specifically the shots surrounding yours. In
an effort to ensure a smooth continuity of
the shots, you need to be clear on the staging
for hook up purposes, whether a character
is moving throughout the scene or is holding
an object in a certain hand and so on. You
should meet with your lead, or the lead of
the main character you will be working on, to
discuss the shot, and, if possible, you should
receive your assignment from the director,
since they are the final decision-makers and
it’s important to know what they want. I also
think about the dialogue, how the character
is feeling, and the place in the sequence. Is
this a slow, calm part of the sequence? Is
it building to something? Or is it a frenzied
moment? All these details will affect how you
approach your planning.. ...''
.psd Photoshop
animation insiders
Jason Ryan
'' ... Sometimes, I act the shot
out in front of a mirror. If it’s
an action shot or a weight
lift, for instance, I might
actually pick something up
that is fairly heavy and then
exaggerate it. This way I’m
thinking naturally about the
weight, the balance and the
line of action that I’m going
through; I begin with making
little mental notes such as
“my weight is over in my left
leg” or “I have to shift my
weight on to that side before
I can release my right leg.” In
order to get a convincing feel
in your animation, you have
to observe yourself and feel
the twists and turns that your
body makes, like your hips,
your shoulders, and your line
of action through your spine
and legs. For convincing
acting, You have to think about
what is inside the character’s
head. It's not just okay to
think what you would feel in
those situations but rather
what your character would
feel...... ''
Gabriele Pennacchioli
'' ... The director’s handout
provides me with all the
information I need about my
shot. Getting to know the
dialogue (if any) and the
action is the first step. I watch
the shot in the context of the
sequence. I look for continuity
between my shot, the shot
before and the one after. If
one of those shots has already
been animated, I need to be
sure my acting/action will hook
up properly. I also pay attention
to the layout, props and any
technical challenges that might
arise. A good example of this
is the sequence on the bridge
in Kung Fu Panda. In those
scenes, the characters had to
interact with a moving bridge.
So it was crucial to figure out
a system to control the bridge
and the characters at the
same time. Knowing the shot
could require some additional
research too. Let’s say I have
a fish character and I haven’t
animated one before. I go and
do some research. I study
the behavior, mechanics and
anything else that can help me
to better animate/understand
the character....... ''
57
 book review
Matt Strangio
'' ... I’ve always liked to imagine that
if Leonardo da Vinci or Michelangelo
were alive in contemporary times,
they’d be animators. Because
animation takes into account so many
different artistic disciplines and uses
them to imbue performances that,
when done well, conjure emotions
or reactions in the viewer, not unlike
the art created by those masters of
the Renaissance. Design, anatomy,
contrast, appeal, being able to direct
the viewer’s eye — all working
together in time. These elements
can work so well together to create
believable characters who can, in
their own right, breathe, and think,
and live, and have their own dreams,
and their own fears. It’s a fun way to
make a living! ... ''
Emilio Ghorayeb
'' ...For an animator, the word
"workflow" is synonymous with the
word "planning." There are three
things I always account for: artistic,
technical and workflow, in that
order. From an artistic standpoint,
performance, staging, silhouette,
recognizing beats, timing, spacing,
etc., are the keys to developing an
interesting shot. From a technical
standpoint, preparing your shot
before you start setting keys is
extremely important, so as to not
get into trouble later on. A good
example is parenting and constraints.
Knowing which character to parent
to another, which hand will need to
be constrained to which weapon
and when, or should you parent the
weapon to the limb: these are crucial
because you don’t want the technical
details to get in your way, and you
don’t want to spend time fighting
these and not concentrating on the
artistic aspects of your job. As for
workflow, basic layout, blocking, first
pass, next pass, final pass are the
cleanest way to work. ... ''
58 .psd Photoshop
Reno Armanet
'' ...Animation — what a fascinating job!
Giving life to a character in an adventure
is to give a feeling of joy, doubt or tears,
or to communicate a message. To bring
your character to life for a year or more.
To dissect each millimeter of his face
and his unique movement, for only a few
seconds of the film. All that precision to
create a feeling in a scene or to serve the
story or message of a film.
For me, the universe of animation
is more real than a fiction film because
of its uniqueness. There is no possibility
of doing several takes for a scene. This is
the unique side that I like. The characters
really exist in their own world. Strangely,
this gives me the impression that it
is unique and more exceptional that
a fiction film.
Animation is a magical way of
expression. A way of giving life to an
imaginary world. This is the reason
I have always been drawn to this kind of
medium. We get to use all kinds of graphic
styles to adapt to the story. For me,
animation is an art linked to observation.
My constant observations of human ways
of being inspire the stories I bring to life in
these characters. ... ''
Pedro Blumenbaum
'' ... After I have all my references,
there is one last preliminary step
before animating. I have discovered
that I can’t just open the video
reference in one window and the 3D
software in the other and copy the
movement just like that. First, I need
to make some thumbnails — not only
because I like to keep drawing, but to
understand what I’m about to animate.
I want to know why the arms move
like they do, or why that foot suddenly
moves a little to the side, etc. You can’t
imagine how many little movements
(unconscious ones) we do all the time
to maintain balance, to compensate an
effort in another part of the body, or
simply because the body gets bored
and wants to change positions. . ... ''
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