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 Artist info
Stanley Lau
Personal portfolio site
rt.
http://artgerm.devianta
com
Country Singapore
hop
Software used Photos
Cre ator of the Pep per
Project, which saw the
eponymous character
drawn by many artists
worldwide, Stanley also
and
specialises in mythical
fantasy characters from
o
ancient Asia. This is Xia
ary
Qiao, one of the legend
na.
beauties of ancient Chi

Xiao Qiao
2009 Photoshop

to the launch issue of Digital Artist

April Madden,
Deputy Editor
What to expect Welcome to the first-ever issue of Digital Artist,
the only magazine that covers all styles of

from us every issue… digital art and all the software used to create it.
On p26 we kick off with a feature on current trends
Digital Artist is the only magazine that so you know which styles are selling at the moment
and what techniques artists are using to create
covers all styles and genres of digital art. dramatically different artwork. Anne Pogoda joins us
www.digitalartistdaily.com
Discover more at

Our drawing techniques, software and style on p40 to explain some top tips for perfect portraits in
tutorials and reviews of top creative kit are by Painter and Photoshop, while on p48 Simon Dominic
artists, for artists, giving you the resources demonstrates how you can use ArtRage in
combination with Painter to create dramatic skies.
you need to create fantastic artwork Elena Savitskaya shows how you can create
cutting edge light effects in Photoshop on p54,
Software covered in this issue Darren Yeow explains the secrets of aerial
perspective on p62, and on p70 Cryssy Cheung gets
you started in Illustrator by working from photos.
At the back of the magazine you’ll find our Creative
101 section, which is chock-full of drawing techniques,
stylistic cheat guides and compositional know-how,
Corel Adobe Adobe starting on p87. Plus we’ve got reviews of the latest
Painter Photoshop Illustrator kit, software and services for digital artists to help you
Plus: ArtRage, Manga Studio and more… get the most from your tools and create stunning art.

© Imagine Publishing Ltd Digital Artist 3

No unauthorised copying or distribution

003_DAR_01 Welcome.indd 3 10/11/09 16:54:55

 Welcome Contributors

Anne Pogoda
www.darktownart.de
Anne Pogoda is a very talented
digital artist, specialising in portraits
with an otherworldly feel to them.
She shares some of her secrets this
issue and unveils top tips for getting
your best-ever portraits.

Contributors
Meet this issue’s collection of experts
Simon Dominic
www.painterly.co.uk
Simon is a king when it comes to
the Painter and ArtRage programs,
so we got him to merge his two
loves in one tutorial and reveal how
to make skies that shimmy with
drama, light and realism.

Leslie Nivison
www.nivisonart.com
Leslie is a fantastic artist working in
traditional and digital mediums. Her
work spans many subjects such as
portraits, landscapes and pets. She
took care of our Creative Challenge
as well as some Q&A nuggets.

Elena Savitskaya Lois van Baarle

www.elenasavitskaya.com http://loish.net
Elena works as a web and graphic Lois’ distinctive style has made her
designer, specialising in the vibrant a firm favourite with the Digital Artist
mix of photomontage seen here. team. Being nosey creatures, we
Follow her tutorial and discover how persuaded her to share some of her
some simple Photoshop techniques earlier pieces and show us how her
can create great lighting. work has progressed.

 Digital Artist © Imagine Publishing Ltd

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004-005_DAR_01 Contributers.indd4 4 10/11/09 18:16:28

 If you’d like to contribute, email april.madden@imagine-publishing.co.uk
Imagine Publishing Ltd
Richmond House 33 Richmond Hill
Bournemouth Dorset BH2 6EZ
☎ +44 (0) 1202 586200
Web: www.imagine-publishing.co.uk
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Magazine team
Editor in Chief Jo Cole
jo.cole@imagine-publishing.co.uk

Darren Yeow
☎ 01202 586224
Deputy Editor April Madden
april.madden@imagine-publishing.co.uk
www.stylus-monkey.com ☎ 01202 586201
Darren spends his time coming up Group Art Editor Lora Barnes
with spectacular concept art for Designer Carly Barrett
various industries, so knows the Senior Sub Editor Colleen Johnson
importance of getting things right. Head of Design Ross Andrews
This issue he shows how to use Contributors
aerial perspective effectively. Sandra Chang-Adair, Lois van Baarle, Paul Cartwright,
Wen-Xi Chen, Cryssy Cheung, Simon Dominic, Alex Getty,
Sophie Elliot, Amber Hill, Leslie Nivison, Anne Pogoda, Elena
Alex Getty Savitskaya, Tom Rudderham, Adam Smith, Mary Winkler and
Darren Yeow
home.messiah.edu/~ag1280/ Advertising
Alex is another victim of our Digital or printed media packs are available on request.
Head of Sales James Hanslip
noseyness. This time we were in
☎ 01202 586423
search of how an image was made, james.hanslip@imagine-publishing.co.uk
so got the talented student to reveal Advertising Manager Hang Deretz
how he created his typographic self- ☎ 01202 586442
hang.deretz@imagine-publishing.co.uk
portrait image. Sales Executive Dominic Johnston
☎ 01202 586436

Want to join the Digital Artist party?

dominic.johnston@imagine-publishing.co.uk
Cover image
Xiao Qiao by Stanley Lau.

Set up a free gallery on our website

Xiao Qiao © Strategy Entertainment Pte Ltd
Cover disc
Head of Digital Lee Groombridge

www.digitalartistdaily.com
Offline Digital Projects Manager Stuart Dixon
Multimedia Editor Tom Rudderham
CORxtrahelp@imagine-publishing.co.uk
International
Digital Artist is available for licensing. Contact the
International department to discuss partnership opportunities.
International Manager Cathy Blackman
Cryssy Cheung ☎ +44 (0) 1202 586401
licensing@imagine-publishing.co.uk
www.cryssycheung.com Subscriptions
A motion and graphics designer, Subscriptions Manager Lucy Nash
subscriptions@imagine-publishing.co.uk
Cryssy uses Photoshop and For all Subscription Enquiries
Illustrator to create subdued and Email digitalartist@servicehelpline.co.uk
tranquil images. Here she reveals ☎ (UK) 0844 848 8410
☎ (Overseas) +44 (0) 1795 414 611
how to turn photo references into 13 issue subscription (UK) – £62.40
pastel-perfect artwork. 13 issue subscription (Europe) – £70
13 issue subscription (ROW) – £80
Circulation
Circulation & Export Manager Darren Pearce
☎ 01202 586200
Production
Production Director Jane Hawkins
☎ 01202 586200
Founders
Managing Director Damian Butt
Finance Director Steven Boyd
Creative Director Mark Kendrick
Printing & Distribution
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Q&A – Amber Hill Distributed by Seymour Distribution, 2 East Poultry Avenue,

London, EC1A 9PT ☎ 0207 429 4000
vantid.deviantart.com Disclaimer
Amber is just one member of our The publisher cannot accept responsibility for any unsolicited material lost
or damaged in the post. All text and layout is the copyright of Imagine
Creative 101 team, and is well Publishing Ltd. Nothing in this magazine may be reproduced in whole or part
versed in all things to do with animal without the written permission of the publisher. All copyrights are
recognised and used specifically for the purpose of criticism and review.
art. She reveals how to paint realistic Although the magazine has endeavoured to ensure all information is
correct at time of print, prices and availability may change. This magazine is
wings, using simple shapes and fully independent and not affiliated in any way with the companies

easy-to-follow techniques. mentioned herein.

Sophie Elliot © Imagine Publishing Ltd

2009
By day Sophie teaches art at ISSN 2042-2032
school, but by night she becomes
our one-woman oracle on the
fundamental art theory techniques.
These are the things you need to
know, whatever medium you work
in. First up is composition.

© Imagine Publishing Ltd Digital Artist 5

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004-005_DAR_01 Contributers.indd5 5 10/11/09 18:58:07

Contents 3
About the cover artist Subscribe 70
Drawing
8
The legendary inspiration behind
Stanley Lau’s image Xiao Qiao Exclusive offer from photos
10 for US readers
Get a discount of over $5 an issue
in Illustrator
The Gallery when you subscribe today!

60
The team’s favourite images from the
world of digital art this month Subscribe today
18 Ensure your copy of the magazine
every month before it hits shops
Community
Information and resources for everyone
in the digital art community worldwide

21
Artist Spotlight
This issue’s tip for artistic greatness is
US-based Yasemin Baran

22
Zeitgeist
Our pick of the hottest exhibitions,
coolest galleries and best books

24
Community Challenge
Win a year’s subscription to the
magazine by entering our challenge!

76
Reviews
Hands on with:
Acrylicana on Etsy

26
Artist Mary Winkler discusses why she
uses Etsy to sell her artwork

78
Reviews Wacom Bamboo
Fun Pen & Touch Medium
Digital
Wacom introduces multi-touch tech

80 art styles
Reviews
Spyder3 Studio SR
We take this complete colour
explained
calibration kit to pieces We showcase the best
examples of genres and
81 styles that are currently
Reviews popular in digital art
Manga Studio Debut 4
We find out what this product can do to
help you create fantastic comics

82
Reviews Books
Top Corel Painter tutorials plus a sneak
peek inside top graphics studios

84
Reviews Featured
Software: Corel Painter 11
Why Paul Cartwright loves Painter 11

 Digital Artist © Imagine Publishing Ltd

No unauthorised copying or distribution

006-007_DAR_01 Contents.indd 6 10/11/09 17:43:56

 Inside this issue Contents

Advice & techniques from

professional artists…
40
Flawless portraits
Anne Pogoda explains five key points that will
help to make your portrait paintings shine

48
Paint skies in ArtRage & Painter
Simon Dominic mixes two painting programs to
achieve dramatic skies – find out how

52
Artist retrospective:
Lois van Baarle
Seven years in the artistic life of Lois van Baarle

54
Cutting-edge lighting effects
Elena Savitskaya shares her tips for creating
brilliant light effects in Photoshop

62
The secret of aerial perspective
Learn how to add depth and realism to
landscapes with Darren Yeow’s atmospheric art

40 68
Evolution of an image:
Flawless portraits Typographic portrait How Alex Getty
created art with words

70
98 Drawing from photos in Illustrator
On your free disc Get started in Illustrator with Cryssy Cheung’s
90 minutes of video tutorials explanation of how to trace with vectors

74
68 brushes for Adobe Photoshop
30 reference photos
11 vectors Next month
Plus: Tutorial files and 25 textures Get a sneak peek at some of the fantastic content
we’ll be sharing with you in the next issue

48
Paint skies in
ArtRage & Painter Creative 101
Creative queries solved…
87
Questions & answers
Experts solve your creative conundrums and
demonstrate their artistic tricks and tips

54 94
Drawing 101
Photoshop Sophie Elliot looks at one of the most basic (and
lighting effects useful) theories of composition: the Rule of Thirds

© Imagine Publishing Ltd Digital Artist 7

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006-007_DAR_01 Contents.indd 7 10/11/09 19:04:23

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 The Gallery
Eight pages of our favourite
inspirational art from digital
masters around the world
Mario Wibisono
Featured artists

www.mariowibisono.com
Mario mixes realism with manga and
anime to create believable but
stylised portraits. We feature his
‘Shiba Tsukimi’, a female samurai.

Ksenia Yakushina
www.yakushina.com
Ksenia has worked digitally for two
years, using Painter, PS, Illustrator
and Corel Draw. We feature ‘Stop
This!’, which took her just five hours.

Yasmine Putri
mischievousmartian.deviantart.com
Yasmine loves creating a mix of
realistic and decorative elements, as
seen in ‘Blush’, which started as
some simple anatomical practice.

Cintia Gonsalvez
undinecg.deviantart.com
Cintia loves to paint to the sound of
music as seen in ‘Walking on Air’,
her homage to King Crimson.

Georgios Xanthos
Shiba Tsukimi 2009 Photoshop
weirdink.deviantart.com
Georgios creates anime-style
vectors with a fantasy twist, set in
their own weird little world…
Shiba Tsukimi is a Phoenix Clan
Daniela Uhlig champion, a strong woman with a mature
www.du-artwork.de
Daniela is a professional illustrator.
Her image ‘Red Ink’ let her combine appearance, yet still beautiful. She has
her favourite subjects to paint!
powerful presence, matched by her skill at
Jeremy Reston
bigjobbie.deviantart.com
combat. Tsukimi dreams of a world of
Illustrator Jeremy works in a variety
of styles and completed ‘The Low
peace, where the trivial bloodshed of
Road’ as an experiment. the samurai is ended, but until that
day comes she will lead the
Phoenix to enforce peace
Get featured… where it does not exist.
Want to see your art on these pages? Mario Wibisono
1. Register with us
Check out the website below and click on Register.
Choose a username and password..
www.digitalartistdaily.com
2. Upload your images
Once registered, you can upload images to your gallery –
there’s no limit on numbers but check the size criteria.

3. Tell us about them!

Have an image you feel passionate about? Drop editorial
an email at digitalartist@imagine-publishing.co.uk

You’ll be missing out on a thriving community,

Email or post

but if you’d rather submit your work by email or

post, here’s how. Save your work as a maximum
quality JPEG or zip it up as a TIFF and email it to
the address below. Please include your contact
details! You can also send your images on CD.
The addresses are:
digitalartist@imagine-publishing.co.uk
The Gallery, Digital Artist, Imagine Publishing, Shiba Tsukimi, Legend of the Five Rings CCG 2009.
Richmond House, 33 Richmond Hill, Legend of the Five Rings and Shiba Tsukimi
Bournemouth, Dorset, BH2 6EZ copyright Alderac Entertainment Group.

10 Digital Artist © Imagine Publishing Ltd

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010-017_DAR_01 Gallery.indd 10 10/11/09 18:18:33

 The Gallery

“I love how Mario has blended

the
realism of the focal elements
- her face,
the armour - with the softness
that
bleed s from the background.”
Ross, Head of Design

© Imagine Publishing Ltd Digital Artist 11

No unauthorised copying or distribution

010-017_DAR_01 Gallery.indd 11 10/11/09 18:18:44

 The Gallery

Stop This! 2009 Painter

This illustration shows a young,
beautiful woman – Nature – near
nuclear waste. And it’s killing her…
Can we stop it?
Ksenia Yakushina

“I love the textural contrast between the rusting

drums of toxic waste and the silky look of the
dress - it’s a complete juxtaposition, but Ksenia
makes it work by using complementary tones of
blue-green and orange-red.”
April, Deputy Editor

12 Digital Artist © Imagine Publishing Ltd

No unauthorised copying or distribution

010-017_DAR_01 Gallery.indd 12 10/11/09 18:18:56

 The Gallery

Blush 2009 Photoshop

Keep your eyes and your
mind open – the eyes to get a good
look at reality and the mind to
twist it silly.
Yasmine Putri

“I like the canvas texture, dripped paint and the stencils

contrasted with the shadowing on the body and the
amount of detail and highlighting in the hair.”
Carly, Designer

© Imagine Publishing Ltd Digital Artist 13

No unauthorised copying or distribution

010-017_DAR_01 Gallery.indd 13 10/11/09 18:19:10

 The Gallery

“Clouds are always a favoured

subject of mine and I love the soft,
fluffy nature of Cintia’s. I wish I
could live on these clouds!”
Jo, Editor in Chief

Walking on Air 2009 Photoshop, Painter

This painting is a tribute to a song by King Crimson called
Walking on Air, which I find very relaxing and comfortable. It is
a sample of my way of working with digital paintings, since I
really think that music is one of the best sources of inspiration
around. Not all my works are inspired by music, but a lot of
them are. This one just reflects how the song makes me feel
while listening to it.
Cintia Gonsalvez
14 Digital Artist © Imagine Publishing Ltd
No unauthorised copying or distribution

010-017_DAR_01 Gallery.indd 14 10/11/09 18:56:40

 The Gallery

White Matrix 2009 Illustrator

The White Matrix is the wisest of all its
siblings; it is also kind-hearted and fair. It
leads a peaceful life along with the other
Matrices. Each Matrix specialises in a
certain task. The White Matrix is the one
that keeps the wheel of life rolling in the
Mystery World.
Georgios Xanthos

© Imagine Publishing Ltd Digital Artist 15

No unauthorised copying or distribution

010-017_DAR_01 Gallery.indd 15 10/11/09 18:20:02

 The Low Road 2009
Photoshop Elements, Manga Studio

This image is a style

test more than anything. I
did a series of books a few
years ago about gypsy
kids having adventures in
Cromwellian England. I
really liked the style I did for
that project, but haven’t
had the opportunity to bust
it out professionally again,
so I took a swing at
applying it to an SF/
Fantasy take on Orpheus
in the Underworld.
Jeremy Reston

Red Ink 2009 Photoshop

The story to this painting is
simple. At first I had the title of
the picture, ‘Red Ink’, because
I have a new big tattoo on my
left arm and there is a lot of red
ink in it. For the rest of the work
I just assembled things I like
(red hair and freckles).
Daniela Uhlig
16 Digital Artist © Imagine Publishing Ltd
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010-017_DAR_01 Gallery.indd 16 10/11/09 18:20:19

 The Gallery

“I’m a huge fan of the anime Akira, so anything

manga on a motorbike is up my street!”
April, Deputy Editor

© Imagine Publishing Ltd Digital Artist 17

No unauthorised copying or distribution

010-017_DAR_01 Gallery.indd 17 10/11/09 18:20:34

 news tools resources events inspirational artists

Apple’s iPhone
incites a
fingerpainting
revolution One of Susan Murtaugh’s
iPhone creations: www.flickr.
com/photos/suzi54241
Could the iPhone painting community
herald a new art medium?
Apple’s iPhone is becoming one of the from the website to output your images at
hottest digital art resources around. resolutions up to 1920 x 2880, and even
With various apps providing users with export them as QuickTime movies.
frighteningly good painting possibilities, Despite the obvious restrictions that
more and more people are ‘fingerpainting’ come with the iPhone’s size, people have
while they are on the move. embraced the portability it gives them. We
And if you think that you couldn’t spoke with various members of the flickr
achieve much on such a small screen, Brushes group, and this was the
think again. Lots of communities are resounding benefit of using it (see the box
springing up to celebrate the work being opposite). The flexibility also resonates,
produced by these mobile artists. with Jason Smith commenting, “It allows Tim McEvoy has captured
One of the most prolific is the Brushes you to virtually paint in any style or colour some great landscapes:
Gallery flickr group, with over ten thousand at any time inspiration strikes.” www.timmcevoycreative.com
examples of iPhone art all created with the Susan Murtaugh is a firm advocate of
Brushes app. There’s everything here from painting on the iPhone, being a regular
quick sketches to fully realised paintings, contributor to the flickr Brushes group and
and pretty much every art style is present. also joining forces with other
So why are people turning to this tiny ‘fingerpainters’ to launch a new website.
canvas? One member of the flickr group, Follow how Susan and her merry band of
Tim McEvoy, loves the ease of use painting iPhone artists get on by heading over to
on an iPhone gives. As he explains, “The thefingerpainters.com and also catch up
great thing about it compared to traditional with Susan at an iPhone blog she helps
painting is that it’s relatively inexpensive, edit – fingerpainted.it. If you’d like to create
it’s scalable and there’s no cleanup.” some of your own Brushes videos,
Brushes is the app enjoying the most download the Brushes Viewer software at
press after Jorge Colombo used it to brushesapp.com/viewer. Please note that
create an image that graced the cover of it’s only Mac-compatible.
The New Yorker magazine (the first time an With more and more artists letting their
iPhone image appeared on a magazine fingers do the artistic talking, the iPhone is
cover), and David Hockney has waxed moving from a communication device to a
lyrical about it in various interviews. The bona fide art medium. If you are part of the
Brushes app costs a mere £2.99, and you iPhone revolution, drop us a line at
can also download the Brushes Viewer digitalartist@imagine-publishing.co.uk.

Find out more online… Right: The iPhone

has instigated a
Brushes flickr group new wave of artists
Web www.flickr.com/groups/brushes/pool who are painting
on the move
Jorge Colombo’s The New Yorker blog Artwork © Cédric
Web www.newyorker.com/online/blogs/fingerpainting/ Philippe

18 Digital Artist © Imagine Publishing Ltd

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018_025_DAR_01 Community.indd 18 10/11/09 18:58:46

 Community

Other iPhone
Paint in any style painting apps
or colour at any time In addition to Brushes,
there are plenty of
Each issue, Fiona Hooley
inspiration strikes other products to whet
your whistle. Unless from deviantART will
otherwise stated, all can bring us news, trends and
be snapped up from
Apple’s Appstore updates from this creative
Colors online institution
£2.99
No-nonsense We’ve seen an increase in
painting application
that’s easy to use.
the number of artists
Paintbook 2.5 developing their own style
£2.99 At deviantART, we’re proud to be the premier online
Vector-based location for the top digital artists from around the
drawing and
world. Over the past few months we’ve been rolling out
painting app,
boasting infinite testing stages of our hotly anticipated Groups platform,
undo and zoom. which is going to revolutionise the way that artists
interact and collaborate on a global scale. Groups
Petite Peinture currently house top art collectives such as depthCore
£1.19 (http://depthcore.deviantart.com) alongside Resurgere
(Lite version is free) (http://resurgere.deviantart.com), which is a must-have
Supports layers as
resource point for any digital artist.
well as brushes with
transparency. Can I’m delighted to have the honour of featuring some of
also import images. the most beautiful pieces of art that can be found on
deviantART. In this, the first of a regular series, I’d like to
Artist’s Touch focus on some of the more vibrant pieces that have
£2.99 caught my eye over the past few weeks.
A cloning program
As we approach the end of the
loish.deviantart.com

that lets you turn

your photos into year and the seasons change,
digital paintings. many of our artists are inspired by
nature’s palette, and Crimson
And for really pro results…
Petals by Lois van Baarle is a
Pogo Stylus gorgeous example of what you
$14.95
can achieve with a little help from
Don’t worry if you
have sausage Mother Nature.
fingers – this device Of course, with the Halloween
crisvector.deviantart.com

gives you more celebrations just a month or two

control over your ago, and TV shows like True Blood
creations, just as if bringing bloodlust back to the
you were using a
fore, who can resist being inspired
graphics tablet!
www.tenonedesign.com to indulge the darker side of their
creative mind? Blood Glamour by
Cristiano Siqueria hits the vampric
spot for sure!
Many people assume that digital
Where do you art is mainly a collage of
paint yours? photographs, textures and other
pre-made resources. Recently,
we’ve seen an increase in the
We asked Brushes fans number of artists who try to break
where they indulged in
their painting pleasure from this mould and focus on
developing their own unique style.
toinjoints.deviantart.com

“With my family, near the TV at

By using traditional techniques
night. They watch, I paint.”
combined with a digital
Susan Murtaugh, suzi54241
“Usually while I am in environment, artists have much
the cab of my work truck.” more flexibility and success in
Jason Smith, smithmastajay developing a unique style. Bear
“Anywhere! On the subway, High by António João is one of the
on the street, waiting in line cuter examples found in this
at the post office and exciting style.
© Cédric Philippe even lying in bed at night.”
Cédric Philippe has fantastic iPhone Tim McEvoy, timmcevoy Fiona Hooley,
illustrations on display at his site “EVERYWHERE except Director of Community Operations,
www.flickr.com/photos/41631388@N02 the shower or driving a car.”
Lea Hernandez, divalea deviantART.com | fiona@deviantart.com
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018_025_DAR_01 Community.indd 19 10/11/09 16:50:04

 news tools resources events inspirational artists

Express yourself
Artist reaches over 200,000 people
with web challenge
It started as a simple idea – create a for people to be both good at drawing
challenge from a little sheet with different expressions, and to keep the
room for a few sketches and then character constant throughout the
make it available as a download. Now different expressions,” she says.
fast-forward a few months and you have After posting the challenge sheet on
tens of thousands of people taking part. her deviantART page, Nancy thought
Nancy Lorenz’s 25 Essential nothing more of it. That was until it started
Expressions Challenge asks people to spreading around the site. “I get so many

A series on life
sketch 25 different expressions. The idea messages about it, I can’t answer them
was born from artistic frustration: “I have all, which in all honesty makes me feel
long found a few things niggling in the terrible! But the creativity and joy people
comic art world, namely the lack of
diversity in facial characteristics and the
take in the exercise is something that
always makes me smile.”
Columbian artist traces his life
fact that in some cases, characters and If you fancy having a go, download the through regular art posts
their facial features would shift during a file from Nancy’s deviantART account and It isn’t unusual for an
single comic book, even a single page. also check out her other images. artist to take their life
The point of the Expressions Challenge is www.napalmnacey.deviantart.com experiences as
inspiration for their art,
and one artist has gone
even further by arranging
a whole series of images
around his life. Jean
Zapata began his Life
series after spending time Zapata has used his daily
in hospital. The 31 images experiences as inspiration
depict people he has met,
his experiences and also had to articulate numerous
his moods. Jean explains: “I pictures that were a sonnet
was looking for a way of for today’s society as well
making art to symbolise the as my own life.”
feelings and moments in See all of Jean’s Life
the life around me.” Jean series at his gallery, and if
has already created images you have created your own
around a central theme, but artistic record of your
found this task a challenge. experiences, let us know!
The Baroness and Solitariuum are just two people who have got involved “This was more difficult, as I jeanzapata.deviantart.com

Explore the metropolis Creative products

Online social network and community site Hungry for Just out!
celebrates the art world
Anyone looking for a an exhibition, an interesting knowledge? Advanced
Photoshop Premium
healthy dose of inspiration
should head over to My
product or campaign – pretty
much anything you like.
Check out Collection vol 4
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You can also link with other
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other artistic tutorials, features, interviews
and reviews all presented in a
from links to events and
galleries, to individual blogs
mini communities. It’s a great
site to visit to get a quick blast
products glossy package.

where members share their of what other artists are up to. 3D Artist Advanced Photoshop
opinions and thoughts about Our sister title is Photoshop Creative
the art world. full of information Get a monthly Creative projects
Unlike a lot of other and inspiration fix of tutorials, for Photoshop
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you make have to be about interviews. professionals. manipulation.
something that inspires you,
whether it’s a piece of art, www.mymodernmet.com All available from www.imagineshop.co.uk
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018_025_DAR_01 Community.indd 20 10/11/09 16:50:47

 Community
Artist

Yasemin Baran
spotlight

Each issue we shine a light on one artist

who we think is destined for art greatness

Yasemin is currently
studying Illustration
at Art Center College
of Design in
Pasadena, CA and
has already built up
a promising portfolio
of work. She works in all mediums,
from traditional through to Photoshop
and Painter, and has always loved
drawing, “I’ve been drawing since I
could hold a pencil. I need food, water
and to draw to survive!”
Yasemin is still finding her distinctive
style. She explains: “It’s a bit all over the
place for me. I love loose dynamic
brushstrokes as well as realistic
paintings.” And it follows that having a
love of different styles means that she
also mixes up her own work. “I try to
experiment with different styles myself. I
would very much like to loosen up my
brushstrokes and create dynamism
through that.”
We think Yasemin shows great
promise. Her character development is
strong, with examples of original
thought and good execution. She
eventually wants to create concept art
for movies and videogames, and we
won’t be at all surprised if you see more
of her in the future.
web www.artofyasemin.com
email brikhamira@gmail.com

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018_025_DAR_01 Community.indd 21 10/11/09 16:51:22

 news tools resources events inspirational artists

Be.ez La robe Tablet

Studio 2 £24.95
Web tinyurl.com/yhjmfz8
A snugly padded sleeve for
medium-sized Bamboo and
Intuos tablets on the move, this
case from be.ez looks chic and
provides plenty of protection.

Under Water
Colours £100
Web tinyurl.com/ykc62ah
Enjoy stunning watercolours by
2006 Designer of the Year, Reflect $2.99
Tank Girl artist and Gorillaz co- Web tinyurl.com/mxy9c6
creator Jamie Hewlett as he A great app from artist Joshua
documented a trip with Oxfam Davies, to randomly generate,
to flood-prone regions of swirl and save his retro pattern-
Bangladesh. Six limited edition based designs on your iPhone.
prints are available, £100 each. Remix your chintz.

Upper Playground The Late Fauna of

Web tinyurl.com/yhdjsou
A small chain that features the
Early North
work of artists exhibiting through America £21.99
its San Francisco-based Web tinyurl.com/yhagdcv
Fifty24SF gallery on its clothes, A monograph of imaginary
toys, signature walruses, and in creatures from artist Scott
display spaces in some of its Musgrove, this coffee table treat
stores. There are seven across is a kind of alternative version of
the US, one in Mexico and one Audubon’s Birds of North
in London, UK. America. On acid.

“This
glorious
collection of
Penguin and
Puffin books’
covers is an
absolute
delight”
Penguin By Illustrators £20
What’s hot
November – December 2009
Web tinyurl.com/yh8n4hu
When our review copy of this came in, it had to go into protective
custody. This glorious collection of Penguin and Puffin books’
Seventies retro covers is an absolute delight, and scarcely five minutes went by
without it being lovingly molested by passing members of staff
Serif fonts Orange while it sat on our desk. In a picture book format and clad in the
Freaky creatures warm, soft, middling-cheap paper stock of the iconic Penguin
paperback, this 50 years’ worth of classic illustrations brings
Recycled paper textures
back a sense of fuzzy, school-library nostalgia and a new
Patterns Engravings appreciation of the illustrators’ art. There are interviews and
Watercolours essays from well-known classic Penguin illustrators like Jan
Pienkowski and Quentin Blake, which reveal the secrets behind
Fingerpainting on some of the most famous book covers and illustrations of the
touch screens past half-century. An inspirational essential for any artist.

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018_025_DAR_01 Community.indd 22 10/11/09 16:52:21

 Learn in style

iPad Kindle
Printed full colour large format book

The TM

Series
Discover more with the Book series’ expert, accessible tutorials for
iPad, iPhone, Mac, Android, Photoshop, Windows and more
Also in this series Now available on
Bookazines HIGH
eBooks • Apps ST.
BUY IN STORE

www.imaginebookshop.co.uk High street Kindle Store ImagineShop.co.uk App Store

 Win a
news tools resources events inspirational artists year’s
subscription
Community
to the
magazine!
Impressionism
challenge

Learn about an art style and win prizes to boot!

01 Follow our primer
to get to grips with the
Impressionistic style
Each issue we will be using these
pages to teach you about an art style,
give you tips on how to re-create the
style and then challenge you to send
Colours Colours should be unmixed,
us your efforts! We kick the proceedings loosely blended and vibrant. Colours
off with a look at Impressionism, which that are painted side-by-side will be mixed
started out in the 19th Century as a radical in the eye of the observer, which achieves a
new artistic style. Paintings from earlier vibrant effect. Try techniques like scumbling
(mashing together thick paint) with oily brushes
genres usually consisted of sharp, detailed to create the effect of optical mixing. Look
figures, well blended colours and posed close up at an Impressionist painting and you’ll
subjects. Impressionism turned to the see the flakes of pure colour seem to sparkle.
outdoors, using relatively unmixed colours
and rendering texture through short
strokes. Some premier artists of this period
are Renoir, Monet and Degas, and it was
Monet’s Impression, Sunrise that is
commonly credited with naming the style.
The subject matter is usually ordinary
objects, and people doing normal tasks.
The focus of the painter is to depict how
light hits the subject, not the lines and
Lighting Identify your light source
details of the subject itself. Many artists and how it changes the tones and
painted the same subject or view, but at colours of the objects in your composition.
different times of the day. Brushstrokes are Observing the behaviour of light is incredibly
thick and are laid down without waiting for important. The original name for Impressionism
was Luminism, which expresses the style’s
the previous layer to dry. This wet-on-wet fascination with shifting light and how it
technique allows for soft edges, and changes visual perception in terms of colour,
colours are left unblended. saturation and shading.

Reflect your colours in water and

portray how colours bounce off
Composition The subject Brushstrokes Brushstrokes should
matter should be an ordinary event. be visible and blending of colours the objects. Notice the blue tones
Impressionism doesn’t use complicated, posed
subjects, and the paintings don’t try to convey
minimal. Oil paints will naturally blend together,
so you don’t need to blend colours, and many of the reflected trees and the
a deeper message or story. Landscapes and
outdoor scenes are common, as are water
painting programs offer a ‘dirty’ or ‘wet’ look
that allows you to paint as if you hadn’t cleaned orange tones scattered throughout
scenes because they gave the artist the
opportunity to explore the play of light on water
your brush, just wetted it. Don’t get caught
up in the details. Instead, paint your overall
the water.
and experiment with the spread of local colour. impression through short, loose brushstrokes.

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018_025_DAR_01 Community.indd 24 10/11/09 16:52:48

 Community

Top five characteristics of Impressionism

Natural light is really important Everyday scenes feature in Short, choppy brushstrokes Vibrant colours, made up of Painter has an Impressionistic
in Impressionism, so grab your Impressionist works, so focus are the order of the day. Keep pure pigment, are a good way brush that’s an excellent
notebook and camera and get on landscapes or people going the style loose and soft – no of re-creating the style. Make starting point for this – you
out to study it! about their business. harsh edges should be seen. the colours sing! could also create your own.

Brushstrokes are kept short, thick, and lack

02 Now use the
blending. I used Corel Painter’s Impasto brushes on a
sketch from the CD to
Canvas Paper texture to help mimic this style. Some start your masterpiece
other useful tools are the Impressionist and Palette
Knife brushes in Painter.

We’ve shown you how to get to grips with the

Impressionistic style of art – now is the time for
you to have a go yourself. On our disc you’ll find
the sketch for this image, supplied by artist
Leslie Nivison. Open it up in the program or
programs of your choice and start painting, or
create your own original artwork in the style
showcased here. You can use whatever painting
program you like, and if you’ve got a tip to share
on creating this style in your favourite software,
be sure to include it in your entry.

03 Email your entry to

digitalartist@imagine-publishing.co.uk
We’ll publish our favourite submissions in
upcoming issues of Digital Artist, and the
overall winner will receive a very special prize – a
year’s subscription to the magazine!
The main focus of the piece is the The fisherman is small compared Email your entries to digitalartist@imagine-
publishing.co.uk in JPEG format if they’re under
vibrant oranges of the lantern, to the size of the painting, so I 2MB. Alternatively, pop larger images on a CD
which are accentuated by the kept the figure loose and focused and send it to:
Community challenge
reflection in the water. Create more on the silhouette and lighting Digital Artist, Imagine Publishing Ltd

this effect by using a saturated than the details. Believable Richmond House, 33 Richmond Hill
Bournemouth, Dorset, BH2 6EZ. UK
colour, and then work your way up features aren’t key to the style; (Sorry but we’re unable to return any CDs.)

towards white. an impression of pose is. Closing date:

28 January 2010
© Imagine Publishing Ltd Digital Artist 25
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018_025_DAR_01 Community.indd 25 10/11/09 16:53:11

 Digital art styles
explained

April Madden looks at Fantasy Vector

the genres and painting
styles currently popular
in digital art

M
y name’s April, and I’m an art
historian. Or at least I was.
Since I went digital, I’ve
discovered that the regular art
world and this one couldn’t be
more different.
For a start there are people Actually Painting – can
you imagine? You know we live in a messed-up world Vexel Manga
when everyone is surprised at a ‘real artist’ painting
but thinks it’s normal for a software user to do so. But
while the contemporary art scene has continued to
be fascinated with meaning, digital artists have kept
to the nuts and bolts of what painters do best –
produce artwork that’s aesthetically pleasing. This is
what I’m interested in, and in art historical terms that
probably makes me a rebel, which is a good start.
In this feature I’ll look at some of the key styles in
digital art right now. It’s by no means an exhaustive
list, and it veers between genre-based movements
such as fantasy, sci-fi and manga – all genres that
dare the artist and viewer to dream – and technical Photo-
movements like vexel and photo-manipulation, which Anime manipulation
hark back to the deep-rooted artistic impulse to mess
with your tools and find a better or more interesting
way of making marks and expressing ideas.
I think digital art is the best showcase of both kinds
of art movement, and I’d like to show you why. From
fantasy and sci-fi to the ways contemporary illustrators
push their software to the limit – then a little further –
the genres and styles shown here reflect some of the
most creative artwork being shown, and perhaps
more importantly, commissioned and bought, today.

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026-039_DAR_01 Feature .indd 26 10/11/09 16:38:24

 Digital art styles
explained

Sci-Fi Type

Artwork by Mario
Wibisono. Hand of the
Jade Dragon, Legend of
the Five Rings CCG 2009.
Legend of the Five Rings
and Hand of the Jade
Dragon copyright Alderac
Entertainment Group

© Imagine Publishing Ltd Digital Artist 27

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026-039_DAR_01 Feature .indd 27 10/11/09 16:38:51

 Digital art styles
explained

Fantasy
explained
Digital art styles

Myth, magic, swords and sorcery

F
antasy has its roots in fairytales, legends and
mythology. It’s about painting the fantastic, so it’s a
genre every artist should try at least once – if not for
the ability to let your creativity run rampant, then for the
hefty pay cheque it can command! Fantasy is hugely
popular among print and poster buyers, to say nothing of
the potentially lucrative market in book jacket designs.
There are a lot of sub-genres within fantasy. On these
pages are examples of mythical and fairytale-based
images. Orientalism is a popular style – the ‘otherness’ of
ancient Asian buildings, clothing and armour, together with
the visual richness, appeals to consumers who grew up on
videogames and Saturday morning cartoons.
Over the page are examples of traditional high or heroic
fantasy and its earthier equivalent, swords and sorcery.
These styles allow artists to explore the creation of a
consistent, believable, yet fantastic world and its denizens.

Mah Feeeeet!
Amber Hill, 2009
Painter/real media. The
emerging genre of
fantasy wildlife

Amber Hill
http:///vantid.deviantart.com
Tell us about this painting...
You’ve seen it. Baby animals start scratching behind
their ears or something, and then WHOA!!! They see Small Geisha, Svetlin
that they have a FOOT and oh my gosh, it’s amazing. Velinov, 2008
Photoshop/Illustrator.
Historical fantasy
What genre do you primarily work in? What based in ancient Japan
interests you about it?
Fantasy wildlife is a new genre of art that is gaining
popularity. The focus is on creatures of myth and
legend instead of swords and sorcery. I try to make
them appear as though they exist in the wild, almost
like wildlife art. To me there’s nothing more epic-looking
than a dragon flying through a tumbled cloudscape
with rolling countryside below, or a gryphon perched
on a snow-covered pine tree at sunrise.

What other genres interest you and why?

Traditional wildlife art is my favourite. It’s my personal Fantasy has its roots in fairytales, legends
goal to move into this genre with my body of work yet
still maintain that element of fantasy I love so much.
and mythology. It’s about painting the fantastic,
so it’s a genre every artist should try
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026-039_DAR_01 Feature .indd 28 10/11/09 16:39:17

 Digital art styles
explained

The Bitter End,

Erin Kelso, 2008
Photoshop. A fairytale-
based image with
Oriental overtones

© Imagine Publishing Ltd Digital Artist 29

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026-039_DAR_01 Feature .indd 29 10/11/09 16:39:35

 Digital art styles
explained

Fantasy
Art genres in
a nutshell

Consumed by
Beetles, Svetlin
Velinov, 2009
Photoshop. Copyright
Paizo Publishing. An
example of a heroic
fantasy composition

Svetlin Velinov
www.velinov.com
How would you describe your style? Tavern Brawl,
It’s hard for me to describe my own style. I know it’s Svetlin Velinov, 2009
Photoshop. Copyright
something that will never stop changing and transforming. Paizo Publishing. This
image shows how swords
What genre do you primarily work in? What interests and sorcery is an action-
packed genre
you about it?
My primary genre is fantasy. It’s an entire new world without
the limits of imagination and senses. It gives you the
freedom to create a whole new universe of fantastic
creatures, unique landscapes and heroic battles.

What other genres interest you and why?

I’m interested in sci-fi and horror art. It is a great
combination, which makes an entirely new genre if you mix
them together.

What would be your advice to other artists working in

this genre?
Keep your originality and personal style, and never forget
where you have begun. Be true to yourself, and when
you finish one work enjoy it within an hour. Then start a
new one.

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026-039_DAR_01 Feature .indd 30 10/11/09 16:40:11

 Digital art styles
explained

Vectors
explained
Digital art styles

RED Fever, Svetlin Svetlin

Velinov, 2009 Illustrator/
Photoshop. A good example of
how vector-based artwork is
Taking stylisation to a new level developing a grungier look

V
ector and vexel art both have their roots in
editorial illustration, which requires clear
delineation to get its point across. The
difference between them is that vectors are created
using vector-based programs (which rely on shapes),
while vexel art is created in raster-based programs
(which rely on pixels). Traditionally vector artwork
has always sported a clean, pure and stylised look.
Shapes can be drawn freehand or traced over an
image to create smooth, stylised ‘primitives’ which
are then worked up with colour fills and gradients.
However, many artists working in this field have
recently been introducing elements which make their
artwork look deliberately rough and handpainted. It
demonstrates the technical skills these artists have
with their chosen tools and programs.

Vexel
Parrot, Dennis Gonchar, Fields and Firebirds,
explained

Klarizza Jose, 2009

Digital art styles

2009 Illustrator/Painter. A
combination of vector and Photoshop. Vexel artwork
raster-based programs done in a raster-based
created this vibrant and program with the intention
colourful composition of creating a smooth,
vector-like appearance
Tool-based trickery

V
Vector and vexel art both exel images mimic the look of traditonal vectors; they’re often clean

have their roots in editorial and precise with crisp colour shifts and strong lines. So it might
surprise you to discover that they’re created using raster-based
illustration, which requires clear programs: the ones that are designed to blend colours and create real-media
delineation in order to get its effects. The term vexel is a portmanteau of ‘vector’ and ‘pixel’. Vexel artists
use layers, textures, lines and fills to create the smooth look they want,
point across. typically in Photoshop. Why not Illustrator? That would be entirely too easy...

© Imagine Publishing Ltd Digital Artist 31

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026-039_DAR_01 Feature .indd 31 10/11/09 18:04:25

 Digital art styles
explained Carrot Cuisine,
Laura Ebbenhouse,
2009 Photoshop. An
example of a vexel image
done in kawaii (cute)
manga style

Manga
explained
Digital art styles

Stein Louisse &

Stephanie Wetmore
Japanese comic art http://uberkut.deviantart.com http://cusd.deviantart.com

M
anga and its animated equivalent, anime, are Tell us about the painting… with Paintchat, then colouring and
styles with a strong visual hook which Stein: It’s a character Stephanie created finishing something with OpenCanvas.
originated in Japan but are increasing in an oekaki-based program we both
dramatically in appeal worldwide. With a distinctive like to mess around in. I took it into What genre do you primarily work
cartoonish look and Zen-like purity of line, they require Photoshop and gave the piece a rather in? What interests you about it?
patience and skill to master, despite the fact that different vibe. Steph: Anime is the basic style and
‘manga’ means ‘whimsical pictures’. Fantasy and sci-fi structure of any work I do. It’s an art
are common in manga art, but other sub-genres include How would you describe your style? type you can find all over the place in
cute or ‘kawaii’ and ‘shoujo’ or ‘for girls’, which often Stein: Cartoon, although it does depend different forms: comics, television, video
feature real-world settings and storylines. Manga is on the mood I’m in. For instance, this games, toys, cards, posters and even
often monochrome in transparencies of grey or screen- picture I’d say would be some kind of CD covers. How many art styles really
tones. The distinctive visual style is also used in mutation of Art Nouveau. reach that far?
videogames and packaging designs here and in Japan. Stephanie: I categorise it as anime.

Manga and anime are styles What software and media do It’s a character
with a strong visual hook which
you use? created in an oekaki-
originated in Japan but are
Stein: Photoshop mostly.
Steph: I use the poor man’s digital art
based program. I took
increasing in appeal worldwide tools; usually sketching and designing it into Photoshop
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026-039_DAR_01 Feature .indd 32 10/11/09 16:40:56

 Digital art styles
explained

Anime
explained
Digital art styles

Art derived from animation

A
nime may sometimes feature simpler character
design but it’s richer in colour and the
background detailing is often lavish. In Sea Stories,
Japanese it means ‘animated’ but in the West the Stephanie Wetmore and
Stein Louisse, 2009
term has come to refer (rightly or wrongly) to the PaintChat/Photoshop.
visual style of Japanese cartoons and some Produced using collaborative
manga-drawing web services
videogames. Like manga, its European popularity called oekaki boards
started in France before branching out across the
continent and eventually to Canada and the US.

© Imagine Publishing Ltd Digital Artist 33

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026-039_DAR_01 Feature .indd 33 10/11/09 16:41:14

 Digital art styles
explained

Photo-
explained
Digital art styles

manipulation
Over a century old, it’s still going strong now it’s digital

P
hoto-manipulation has been around specifically for photo-manipulation that believability is the key to making it
since the inception of photography, and has dramatically increased work. Whether the image is designed to be
but the digital revolution has brought its possibilities. viewed as a photograph or as a piece of
it new life. Adobe’s market-leading image- Photo-manipulation can be subtle or digital art, the composition requires a high
editing software Photoshop, was designed obvious, but its inherent realism means degree of precision.

Pegasus Divided,
Teodoru Badiu, 2009
Digital photography and
Photoshop. An example of
how photo-manipulation can
explore Surrealism

Teodoru Badiu
www.apocryph.net
Tell us about your images... Photoshop. Once I have all the parts I need, I approach allows me to touch the viewer in a way
They are surreal works where I create a link start working on the image using Photoshop. they don’t expect, because when they look at
between life and death. Once I get an idea I these images, the message in their mind says
think for a few days about it until I have a clear How would you describe your style? this is dark, cold, depressive, but the eyes have
vision of the way the image will look. Then I start I have an obvious bent for Surrealism. I like to something totally different in front of them and
preparing the parts I need to create it. I always show how things could be and not how they are, they say it is warm and pleasant. This
use digital photos that I shoot myself using my and try to give them soul and meaning. I also contradiction makes the image interesting and it
Nikon D70 and I create all the textures using like to use a relatively warm colour palette. This catches the mind and the attention of the viewer.

34 Digital Artist © Imagine Publishing Ltd

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026-039_DAR_01 Feature .indd 34 10/11/09 17:46:46

 Digital art styles
explained

Trophy,
Teodoru Badiu, 2009
Digital photography and
Photoshop. The photo-realism of
this image makes the eponymous
trophy look like a real artefact

When they look at

these images, the
message in their mind
says this is dark, cold,
depressive, but the eyes
have something different
in front of them

© Imagine Publishing Ltd Digital Artist 35

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026-039_DAR_01 Feature .indd 35 10/11/09 16:42:03

 Digital art styles
explained

Environment 3,
Svetlin Velinov, 2009
Photoshop. The fluid lines
and dramatic scale of
futuristic space opera sci-fi

Sci-fi
explained
Digital art styles

Looking into the future

S
ci-fi, like fantasy, is primarily stations which often echo elements of Art tones and rough textures. A spin-off from
concerned with imagined realities. Deco and Modernism in their design. It also cyberpunk that has dramatically gained in
Unlike fantasy however, sci-fi looks to offers opportunities to conceptualise alien popularity recently (especially with digital
the future rather than the past – apart from beings and landscapes vastly different from artists) is steampunk, which imagines
in one unique case. An abbreviation of the our own. The look is typically clean and historical eras embracing technology early.
term ‘science fiction’, sci-fi art offers similar airbrushed in order to display complex It’s characterised by steam and clockwork-
technical opportunities to the artist in that technical details. powered devices, from computers to cars,
it allows you to imagine alternative worlds Dystopian sci-fi and cyberpunk tend to often combined with a 19th Century setting
and possible futures. The ‘space opera’ style look at dark, imagined futures; cyberpunk and figure characterisation. Like traditional
of sci-fi features stunning starscapes on a is particularly concerned with technology. sci-fi art, it’s typically clean and precise
truly galactic scale, and spaceships and Both feature a gritty, urban style with dark in appearance.

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026-039_DAR_01 Feature .indd 36 10/11/09 16:42:23

 Digital art styles
explained

Bang! Alex Martinez,

2009 Photoshop/pencil.
A great example
of action-based
cyberpunk sci-fi

Sci-fi, like fantasy, is primarily concerned with

imagined realities. Unlike fantasy however, sci-fi
looks to the future rather than the past – apart
from in one unique case
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026-039_DAR_01 Feature .indd 37 10/11/09 16:42:37

 Digital art styles
explained

Steampunk Gentleman,
John Malcolm, 2008
Photoshop. Steampunk
sci-fi uses Victorian motifs
and imagined technology

John Malcolm
www.johnmalcolm1970.co.uk

Tell us about your artwork...

Steampunk Gentleman is a mixture of photo-manipulation and digital What genres do you work in?
painting. The character is based on an old friend who loved steampunk Fantasy, science-fiction, steampunk. Alternate history. I love the
before the genre was named. He had the honour of naming the freedom these genres give to the artist. The only limit is their
weapon: The Cuthbertson & MacAndrews Mark. IV ‘Yeti Cannon’. imagination or perhaps the imagination of viewers (who can read into
images things the artist never even considered). I like the fact that even
What software and media do you use? a standalone image, created just for fun or practice, can seem like a
I use Adobe Photoshop CS4 and Corel Painter X along with my Wacom snapshot from a complete story.
Intuos4 Large. I find I’m using Painter more and more these days, but
Photoshop is still utilised in all stages of an image. They complement
each other well. If I don’t try to use Painter like Photoshop and instead
I love the fact that even a standalone
keep my layers down to two or three at a time, I find I can work much image, created just for fun or practice,
faster (instead of one Photoshop file with 70+ layers I end up with a
folder full of sequentially saved files from Painter).
can seem like a snapshot from a story

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026-039_DAR_01 Feature .indd 38 10/11/09 18:10:44

 Digital art styles
explained

Type

explained
Digital art styles
The classic art of lettering

T
ypography is another older artform, like photo-
manipulation, which has been changed by
digital tools. Like vector-based artwork a lot of
font design is done in programs like Illustrator these
days. This offers artists the opportunity to push the
boundaries of font design with illustrated
illumination. A popular market for typography is in
product design, particularly in clothing and album
art. The ability to create a snappy corporate logo or a
decorative form of a buzzword makes it attractive to
advertising agencies. Font design’s history, first in
calligraphic lettering and then in engraved and later
moveable type makes it the oldest genre, apart from
painting itself, to have gone digital, and many font
studios will still refer to themselves as ‘foundries’.

Parade Armour,
Aleksander Rostov,
2004 Photoshop. An
older example of the
steampunk genre before
it developed into what we
see today

Imagination,
Klarizza Jose, 2009 Photoshop/real media. Digital tools
have allowed typography to develop further as a
commercial artform

Tools
explained
Digital art styles

Software for digital art

M
uch of the artwork in this feature makes use of
two excellent programs, Corel Painter and
Adobe Photoshop. These two programs are at
the heart of digital painting and each offers its own unique
features. Painter emulates real media, while Photoshop’s
strengths lie in image manipulation. Both are raster-based
programs. Adobe Illustrator is a vector-based program
used for creating shapes and lines. It gives a clean and
precise look but many artists like to add
texture to their Illustrator artwork. Oekaki
boards meanwhile are
online drawing boards
(the name comes from
the Japanese term for
scribbling) used primarily
for creating manga art.

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026-039_DAR_01 Feature .indd 39 10/11/09 16:43:49

 Painter/Photoshop Flawless portraits

Flawless
portraits
Digital painting

On the disc
Portrait Painter 2009 Corel Painter and Adobe Photoshop Sketches

Decide what part of the portrait you wish to focus on…these

Digital artists explain the
techniques behind their should be the brightest and most refined parts
amazing artwork
Anne Pogoda Freelance artist
Artist info

hen thinking of figurative paintings most most refined, sharpest parts, and this technique usually
consumers like to see pretty girls, so a lot works best when you arrange them in a triangular shape,
of artists paint portraits of girls nowadays. for example eyes, nose, lips and a part of the front section
Sadly, most painters just make general of the hair. This lets you bring the focus of the painting
paintings of pretty females without adding anything else to straight onto the face, and it’s the reason most facial
Anne Pogoda
make the portrait more interesting. portraits are painted from a straight-on angle. Not only
Personal portfolio site Character can be brought out in even the most does it pack in all the information the viewer wants to see, it
www.darktownart.de traditionally styled image. Cool make-up or accessories also focuses their gaze on the face.
Country Germany
can make the whole thing so much more interesting and It’s also important to know you don’t need to paint every
Software used Corel
Painter, Adobe Photoshop tell the viewer something about the character: what they hair and eyelash by hand. Painter and Photoshop both
The idea behind this like, what they do or where they’re from. Throughout the offer good brushes to achieve a detailed but painterly
painting was to create a history of art, painters have used symbolic objects to tell result. Speckled (Photoshop) and RealBristle (Painter) can
timeless portrait of a female
figure with just enough of a viewers about the people in their paintings. In this image be used for just about everything. Not only to give your
modern edge to make it I’ve kept symbolic images to a minimum, and instead image a handpainted look, but also to save you work!
look both classic and
contemporary. The focus is
focussed on the character’s facial expression to tell the Over the next few pages, we are going to look at the five
on beauty – limpid eyes, viewer more about her personality. main factors needed to make a successful portrait. It isn’t a
clear skin, soft hair and You might also want to decide what parts of the portrait step-by-step as such – more a collection of ideas and
pouting lips.
you wish to focus on. This should be the brightest and advice for making your portraits the best they can be.

Style
School Master portraits
Art genres in
a nutshell
See how great painters managed perfect portraits

Leonardo Da Vinci
1452-1519 Johannes Vermeer William Bouguereau
Mona Lisa 1503-1506 1632-1675 1825-1905
● The Mona Lisa is one of the most famous Girl With a Pearl Earring 1665 Self Portrait 1879
portraits that was ever created. Until today it is not ● Vermeer’s Girl With a Pearl Earring shows a ● To add a man to this collection, we have a
known if Da Vinci really painted a woman or if he beautiful yet unknown girl who was portrayed with portrait of William Bouguereau that he painted
made a painting of himself. Like the other two much dedication and care for detail. Besides its himself. It shows him as a serious man looking
examples, the Mona Lisa looks right at us and emotion, it also communicates a perfect straight at us. The light is, compared to his usual
catches our eyes with her gentle look. understanding of colours and light. work, stark and dramatic.

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040-046_DAR_01 Portrait.indd 40 10/11/09 16:45:27

 Behind the scenes: Anne Pogoda Painter

Working
Progress
Flawless portraits can
soon be yours

Step 5, Airbrushes for skin

Step 12, First highlights

Step 18, Adding highlights

Step 26, Warm light

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040-046_DAR_01 Portrait.indd 41 10/11/09 17:54:29

 Painter/Photoshop Flawless portraits

Use backgrounds effectively

Don’t detract from the main focus of your portrait

Blue background Blue is usually Red background Red stands out

Grey background In a portrait such as this, grey 02 a cool colour, but as our colour palette
03 in this painting, because of the bluish
01 is a good choice for background colour. Because it is built around bluish and violet tones enriched colour palette used for the face. This leads
is desaturated, it retreats into the background and doesn’t with reds, it adds a lot to the portrait and helps the eyes towards the frame and away from
compete for attention with the main figure. the whole image feel more complete . the portrait, making red a bad choice.

Paint skin
Learn how to make use of skin colours and textures

04 Textured
brushes To avoid
Shadow skin looking like plastic, you
might want to use some
colours textured brushes to add
The portrait in our example detail. When you’re working
was made with a colour with Photoshop, any kind of
palette consisting of pinkish Speckled brush works best
and reddish tones for the
skin. This gives the skin a for this kind of texture, and
05 Airbrushes for smooth skin When you like it
warm look, but to make the in Painter I would suggest soft and don’t want to use any of the textured brushes,
skin more interesting it’s a
good idea to have shadow you stick to the RealBristle you might want to work with airbrushes. In Photoshop the
colours that are of a different brush category. Round Soft Airbrushes, Opacity between 30 and 40%, will
tone. Since the background create this very smooth-looking skin, like I’ve painted here.
is of a bluish colour, it
suggests that the light is of a Painter offers airbrushes too, such as the Soft Airbrush 50, but
bluish colour as well. So we they still create texture and should be used at a rather large size,
have two bluish tones for the with around 5% Opacity.
skin shadow, but also some
violet tones to add darker
accents and a colourful touch
to the hair.
A different
One often-used phrase is
‘warm light, cool shadows;
07 skin colour
cool light, warm shadows’, so In both Painter and
bear this in mind too when
choosing your palette. If you Photoshop you can set
have a really strong blue light, layers to Color mode. This
you can use orangey shadow allows you to experiment
colours. Purple light is a bit
trickier as the shadows will with different colour types.
need complementary yellow Since the original portrait
tones. In this case, go for
golden colours rather than got lots of blues added to
green-yellows. it as shadow colour, I have
painted red on the skin with
Freckles Freckles add a young and
06 cheeky touch to the girl. They also give
an airbrush that was set to
100% Opacity to give the
more detail to the overall face. If you want to give face a different feeling. It
it a really cute feeling, I would suggest that you looks much warmer now,
give the girl blonde or red hair, which is bright but this also makes the skin
and youthful. a different type.

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 Behind the scenes: Anne Pogoda Painter

Make-up variant
08 A The Color mode
also allows you to experiment
with different kinds of make-
up. Is your girl of a classic
type or is she more trendy
or even outré? The yellow
make-up type looks a bit outer
space, but it also makes the Make-up variant B Here we have more of a fantasy
portrait look more interesting.
09 make-up design. The eye colour was changed to brown,
The blue of the eyes was the eyelashes were enhanced, and brown and blue were added
enhanced as well to achieve to lips and eyes. This make-up also has a rather modern touch,
an even stronger effect. but isn’t quite in the same crazy league as the previous one!

Painting eyes
Paint eyes in seven easy steps

11 Basic shapes Now pick an eye

colour. Is it going to be brown or green
Sketching the eye The skin around the eye is First highlights In PS or Painter you
10 based on a midtone, while darker tones should be used
or blue? When painting eyes, I wouldn’t
suggest starting out with midtones. Since a lot
12 can do this using an airbrush to sketch
to give the upper part of the eye some basic shape to start out. of highlights need to be worked in on top, it’s highlights and add bright blue to the lower part
Now all you have to do is sketch some basic lines for the eye better to start with the darkest colour possible of the eye. The light is straight, so all catchlights
itself. Remember that the eyeball is a round shape. – for instance dark blue. are in the upper part of the pupil and iris.

Changing
shapes
When painting eyes, always
remember the shape of the
eyeball. Its round shape can
easily be modelled by adding
highlights and shadow
Adding more highlights and make-up The Shadow for the eyeball Use the Speckled brush colours to it that follow the
13 girl in the portrait has a lot of black eyelashes with blue
14 or RealBristle brush to refine the eyelashes and the eye round form of a ball. When
painting an eye from the side,
mascara on the tips. You can paint this all in by hand or use a make-up even more. Since the lower and upper eyelids are remember that this round
Speckled brush (Photoshop) or RealBristle brush (Painter) to both casting shadows on the eyeball, you can work these in by form will cause the shape of
the pupil to distort in
paint several lashes at once. Then you can paint some highlights adding a thin dark line to the lower lid and a dark wide area that perspective, so from some
into the pupils using these very same brushes. adds shadow to the eyeball under the upper lid. angles it can look oval.

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 Painter/Photoshop Flawless portraits

Final
16 refinements
Reduce the dark shadow
line of the lower lid so that it
doesn’t look like an outline
any longer, and add some
highlight colour to give the
impression of a round shape
and make it pop. Refine the
eyelashes and pupil carefully,
and if some of your dots
More detail for the iris To add more detail to the look too dominant, you can
15 iris, all you need to do is add some more highlights in carefully take them back a bit
order to suggest the detail. by using an eraser.

Style your hair

Learn which brushes and techniques to use to achieve the best results quickly
Setting up a base
17 for the hair With both
Painter and Photoshop you can
paint a solid base for hair using
whichever airbrush you like best.
For hair it also works best to pick
the darkest colour possible to
begin with, and work your way
through in midtones
to highlights.

Adding highlights Create a new layer and use

18 the Speckled brush (Photoshop) or a RealBristle brush
(Painter) to randomly paint in some solid strands of highlights.
Don’t be afraid that it might look silly – just take this opportunity
to experiment.

Don’t paint
20 every hair by
Highlight hand To make it look like
your hair the hair contains more than
just strands and is actually
When you paint hair and are
unsure how to shape it, a collection of many single
always remember that it will hairs, you can pick a
be hit by light on the top of
the head and on the tip of hard-edged brush (doesn’t
each curl, which creates matter which, because you
shiny, lovely highlights. Working over the strands Select have to set it to around 3
Dealing with these highlights
first will always create a
19 the Eraser – it must be set to an Airbrush pixels in size) and scribble
convincing base that you setting with soft edges, or this step won’t work some single, bright hairs in
can then work from quickly.
very well! The key is to carefully pull back the on a new layer. Now copy
Photoshop users will also
be happy to know that they bright strands that you have just painted, keeping and paste this layer, then
can use Sharpening filters most of the new bright colour somewhere in the flip and rotate and adjust
to make strands pop and
add more detail to the middle of the strand to create a highlight which them with the Transform
overall styling. will automatically suggest shape. tools until they fit.

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 Behind the scenes: Anne Pogoda Painter

Shadow colours
21 The little hairs need
some shadow colours to
make them pop. Make some
of them look like they are
actually on top of the others to
create depth. When some of
the newly added hairs do not
seem to match with the shape Last refinements For this step, all you have to do
of the styling, simply push
22 is create a new layer and paint accents on some of the
them back with the Eraser single hairs that seem to be on top of the others. This highlight
where they are supposed to colour should be almost white and must be added with care to
look darkest. the most interesting parts of the hair style.

Light your figure

Different types of light can create many different moods

Front light The first example shows light that hits Dramatic light From the viewer’s
23 the figure from the very front. With a light source
24 point of view, this light comes from Suspense light Lower light adds
like that, you’re on the safe side when you want to paint the upper left. It’s more dramatic and should
25 more drama and suspense to the
something that looks pretty, appealing and innocent. It’s also leave strongly cast shadows. Because it painting. It can accentuate the dark sides of
called ‘beauty lighting’ from a photographer’s point of view, adds a rather dark touch to the subject it’s a character pretty well, leaving detail aside
because it’s mainly used on women as it makes the face look more often used in male portraits, which and creating stronger shadows, which
soft and pretty. can get away with a lot of contrast. makes it all look much more mysterious.

Warm light There

26 can also be light
sources that are of certain
colours, such as a flaming
torch next to the figure,
which would not only give
the light a certain direction
but also add a lot of
yellowish shimmer to the Cold light Cold light uses basically the same
figure’s skin. You can easily
27 principles as warm light. Cold light sources are often
add this shimmer with a found in scenes that take place during the night – cast onto
soft airbrush by using the the figure by the moon, for instance. You would therefore
Set To Color function in the have to add some bluish tones to the brightened areas of
Layers window. the face.

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 Painter/Photoshop Flawless portraits

There are so many different

ways to paint skin – but
1 always remember that it
2
shouldn’t look like plastic
5 3

Portrait in-depth
Behind the images
1 Hair The styling your figure has tells you
about her. Does she have shining soft hair
or does it look ruined? Do you want a lot of
detail and accessories as part of the styling
or will you keep it simple, adding blur to
some strands to focus on the shape?

2 Eyes and make-up Most girls love

make-up and accessories, so think about
finding good make-up solutions when
painting a portrait, and add things like
earrings to create more detail and tell a
story about the character you’re portraying.

3 Skin There are so many different ways

to paint skin – but always remember that
it shouldn’t look like plastic. Therefore use
brushes that help you get this result, such
as the Speckled brush in Photoshop or the
RealBristle brushes in Painter.

4 Lovely lips Lovely girls need lovely lips.

Think of the type of lips that fit best with the
Whatever style you work
girl you’re painting. Big, soft and cute lips in, our five-point system
are often used, but designing them a bit
longer and thinner or adding a dark lipstick will improve your portraits
can give the portrait more character.

5 Light Pay particular attention to the light

that you add. In this portrait we have a
classic beauty light, which makes the figure
look pretty and appealing. Experiment with
different light sources and play with drama
and shadows.

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It’s a jungle out there.
Swing through it

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 ArtRage Paint skies in ArtRage and Painter

Digital artists explain the

techniques behind their
amazing artwork
Artist info

Simon Dominic
Personal portfolio site
www.painterly.co.uk
Country UK
Software used Corel
Painter X, ArtRage 2.5
In this tutorial I concentrate
on atmosphere, both literally
and figuratively, in order to
create an overall impression
of dramatic beauty, at the
same time emphasising the
grand scale of the heavens
and showing how small we
are in comparison.

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048-051_DA-01_skies.indd 48 10/11/09 17:38:12

 Step-by-step: Simon Dominic ArtRage

Digital painting

Paint skies in
On the disc
Nine Painter brushes
Color Set
Sketches

ArtRage and Painter

Working Soar 2009 Corel Painter X, ArtRage 2.5
Progress Sky and clouds are very important… they play a key role
in setting the mood of your piece and also influence lighting
Apply colour in layers
for the best results Simon Dominic Freelance digital artist

he sky is never the same from one At every stage you must be clear about where your
moment to the next. The infinite variety of light is coming from, where your shadows should be,
skies means that an artist can freely and remind yourself that clouds are three-
express themselves in terms of form, colour, dimensional objects floating in space and not just
dynamism and mood. You could say there is a sky marks on a canvas backdrop.
for every occasion! I’ve chosen two painting packages, both excellent
When painting a landscape, the sky and clouds in their own right. I start painting with ArtRage 2.5 and
are very important. Not only do they play a key role in later swap to Painter X, although initially I do use
setting the mood of your piece, they strongly Painter briefly to create a custom colour palette. I find
Step 4, Block in the clouds influence the colour choices for your landscape and ArtRage superb at laying down rich colours that
the nature of your lighting. Remember that clouds are behave just like oil paints, while I use Painter to blend
subject to the same laws of physics as everything out any roughness and also work on fine detail. You
else. They can be lit directly by the sun and by diffuse could also use Photoshop or stick within ArtRage.
light reflected from the environment. They cast Once I’ve exported the image from ArtRage and
shadows onto the ground and onto other clouds. gone to Painter, I don’t use ArtRage again for the
They have length, depth and breadth. duration. The ArtRage file format includes extra
In this tutorial I’ll be painting a dramatic cloudscape information such as paint thickness, which is lost on
at sunset. The method I use is to block in coloured export. This leads to unexpected results when trying
forms and refine those forms into cloud and sky as to work on a previously exported piece, although I’m
the work progresses, using only the canvas. It sounds hopeful that the upcoming ArtRage 3.0 will make
Step 7, Define the reflections simple, and it really is – if you bear in mind one thing. such transitions easier!

A dramatic sunset over water

Integrate sky and landscape to create atmospheric artwork

Step 10, Finalise those clouds

Make a colour palette In Painter I display

01 the Mixer and Color Set palettes. I dab my colours Create the ArtRage canvas I now move
onto the Mixer, and in the Color Set menu pick New Color
02 to ArtRage. The final image is going to be 2835 x
Set From Mixer Pad. This creates a palette of 256 colours 3661 pixels (A4 @ 300dpi), but initially I don’t need to work
which I order by Level, Hue, Saturation (LHS). I resize the that big so I create a canvas that’s proportionally smaller:
Step 11, Ripple the water
palette and use a screen capture tool to grab the swatches. 708 x 915. I make it a dull tan, as white can be too dazzling.

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048-051_DA-01_skies.indd 49 10/11/09 17:38:35

 ArtRage Paint skies in ArtRage and Painter

Block in the
04 clouds I place the
horizon line low to emphasise
the vastness of the sky, and
start to block in the clouds
using a wide brush. I paint
the clouds slightly elongated
towards the top of the image
Set up palette and brushes I load my captured
03 swatch file, which I created in step 1, as a reference
to demonstrate depth and
give the impression they are
image. I then select the Oil Brush tool and set the Pressure, soaring over the viewer’s
Thinners and Loading to 100%, 33% and 40% respectively. And head. Remember that the sky
that concludes the setup – we’re good to go! is a three-dimensional space!

Get that colour down I’m eager to get the

05 canvas covered in colour. I don’t paint a background
blue gradient for the sky, I rather add the blue in the same Resize up The canvas is now fully coloured so it’s time
manner as the clouds. Later we’ll see how this helps to simulate
06 to rescale the painting to full working size. This will make
Where thin, high cloud. The sun is located rear right, so I colour the
clouds accordingly – salmon pink lower right and underside,
the image blurry, but because I haven’t yet applied detail that’s
perfectly okay. Of course, there’s nothing to stop you starting big
should the desaturated blue shadow above and upper left. – I just find it quicker to block in the colours on a small canvas.
reflection
be placed?
The rules of how light reflects
are complex. It can be tricky
to understand where to paint
a reflection. A quick method
is to imagine that the object
being reflected falls until it
reaches the level of the water.
Measure the same distance
again below the ‘impact
point’, and that’s where the
reflection should begin. For
objects already at water level,
such as the mountains in
this picture, the reflection
starts immediately.

Shape the clouds Now in Painter, I use a medium

Define the water reflections It’s a good idea 08 sized brush with pressure-dependent opacity and
07 to block in the reflections in the water early on. The water resaturation to add form to the clouds. I apply small circular dabs
has no colour of its own. It simply reflects its surroundings, which to distant clouds and more elongated strokes to those overhead.
in this case comprise the blue sky, the sunlit clouds and the I press harder on the cloud edges than their centres. This helps
distant mountains. Save the file and open Painter. mould and define the raw strokes I painted in ArtRage.

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 Step-by-step: Simon Dominic ArtRage

Style
School The sky in art
Art genres in
a nutshell
The importance of sky in
landscape paintings
All the great landscape and seascape artists knew only
Don’t skip too well the importance of skies. Look at an accomplished

ahead
piece and you can’t imagine it with a different sky.
Talk of dramatic skies in art often brings to mind the
paintings of JMW Turner, whose Impressionist style
It’s sometimes tempting
to start detailing a piece seascapes are recognisable worldwide. Turner’s skies are
too early, and this can lead so integrated with the other elements in his paintings that
Blend the sky and clouds I use a medium
to awkward composition,
time-consuming reworking
09 sized blending brush to soften the main bodies of the
it’s impossible to describe them separately.
One of my favourite artists, Albert Bierstadt, also used
and inconsistent results. skies to great effect in his paintings of the plains and
Make sure all your major
clouds while leaving their edges slightly sharper. I also blend
mountains of the American West. Bierstadt was a master of
elements are in place the blue shades of the sky. The imperfect blue gradient I atmospherics, his skies and landscapes working in perfect
and that you’re completely created in step 5 helps suggest that above the main cloud harmony to create the mood he wanted.
happy with the composition
before you progress to the mass there is a patchy layer of thinner, higher cloud. I Another master of atmospheric skies was Martin J
detailing stages. enhance some of these areas as they become apparent. Heade, whose skies were often understated yet hugely
effective in helping define the emotion in his work.
When examining the work of these masters, it quickly
becomes apparent that a sky is so much more than a
simple backdrop to a landscape.

The masters
Great inspiration for your skies

Finalise those clouds I repeat steps 8 and 9

10 using smaller brushes, sometimes emphasising a
cloud formation and sometimes smoothing the transition
between colours in a cloud. I work at a magnification of
40% to 100%. This step should not be used for adding new
elements but refining what is already on the canvas. Albert Bierstadt
1830-1902
Gates of the Yosemite 1882
● Bierstadt was a German-American painter who
garnered much attention for his landscapes of the
American West. His skies often included subtle clouds
that helped set the tone of the piece. His work shows how
the sky can be understated, yet powerful.

Ripple the water

11 In step 6 I created
the basic reflections. Now
I create a distressed effect
to simulate ripples on the
surface. I do this by laying
down repeated dabs with
a hard Artists Oils brush.
For the distant water I just JMW Turner
tickle the surface, but as the 1775-1851
ripples grow closer I make Tidy up I spend a little time refining the foreground Chichester Canal c1828
sure they extend horizontally 12 rocks with the Oil brush. Because the beach and ● Turner is one of the foremost artists to turn to for some
sky inspiration. Often called ‘the painter of light’, Turner’s
to show perspective. The rocks are in the shadow of the distant hills, they aren’t lit work boasts incredible realism without seeming to try too
colours I use are already on directly by the sun. Therefore they are illuminated only by the hard. His work will give you lots of ideas for how to
the canvas so I colour pick diffuse blue light from above and the diffuse yellow glow rear incorporate colour for impact.
from the water’s surface. right. I also soften the ripples a little with the small blender.

© Imagine Publishing Ltd Digital Artist 51

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048-051_DA-01_skies.indd 51 10/11/09 17:39:14

 Artist Retrospective

Lois van Baarle Personal portfolio

site http://loish.ne
t
s

Artist info
nd
Country Netherla and Oekaki Paint
BBS
otoshop, Painter out seven years
Software used Ph can rem em be r. Ab
for as long as I drawing
I’ve been drawing let, and put all my artistic energy into for five years,
tab on
ago I got my first ating high school, I studied animati , I also spent a
ng
digitally. After gradu rn the skills necessary for animati lls. As a result,
y artistic
We discover if an pboard
lea wing ski
and while trying to pro ving my dra
digitally and im rrently live in the
lot of time painting th a digital artist and animator. I cu hope to
the cu bo college,
skeletons lurk in most exciting
I consider myself du ated from
being recently gra coming years.
Netherlands and, an animator or concept artist in the
of some of today’s G community
r as
develop a caree

names in the C

Braided Girl, 2002

Scarf, 2002
“I was also trying to figure
out Photoshop, evidenced by
the way I blended colours
with the Smudge tool.”

Lace and Ribbons, 2003

Autumn Fairy,
2003 “I finally had
my own tablet and
was experimenting
in Painter a lot. I
was very drawn to
the way the colours
blended organically,
just like they do with
real paint.”

Powder Cloud, 2004

Bony Fish, 2004

Braided Girl Scarf Autumn Fairy Lace and Ribbons Powder Cloud
2002, PaintBBS 2002, Photoshop 2003, Painter 2003, Photoshop 2004, Photoshop
● Back when I drew this image, ● I drew this image during art ● It was around this time ● This was a doodle that ● With this image I wanted
digital art was completely new class in high school. The school that I finally had my own I drew during school, and to break away from my usual
to me. I was also drawing with had just purchased some tablet and was experimenting which I was determined to cel-shading techniques and
a mouse. I was determined to drawing tablets which I thought in Painter a lot. I was very jazz up with some digital create something that looked
create a colourful and detailed were incredible, so I spent drawn to the way the colours colouring. This was the first more painted. I was also quite
drawing. I’m not sure what my free time there, doodling. blended organically, just like time that I tried shading the inspired by the imagery and
direction I was heading in I was also trying to figure out with real paint. I tried to focus image by putting a Multiply costuming of online role-
style-wise, but I’m sure I was Photoshop – evidenced by the on creating more believable layer over the base colours playing games, particularly
inspired by a combination of way I blended colours with the lighting and shadows, as with the shadows, which Ragnarok Online.
Art Nouveau and costuming Smudge tool. well as making the image enabled me to experiment
for Padmé in Star Wars (I was a decorative with the leaves more with gradients and
huge fan). in the background. different colours.

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052-3_DAR_01 Retrospective.indd 52 10/11/09 17:49:58

 Artist Retrospective: Lois van Baarle

Pet Fish, 2006

“I intentionally avoid
candy colours like pink, to
try and give my work a
more serious touch.”

Vespa, 2007

Perspective, 2009
“I wanted to draw an
image with stronger
perspective and more life
than my older work.”

Octipack, 2009

Bony Fish Pet Fish Vespa Octipack Perspective

2004, Photoshop 2006, Photoshop 2007, Photoshop 2008, Photoshop 2009, Photoshop
● Again, this image was ● I drew this during the ● Around this time, I was ● My primary motivation ● This image started as a
based on a rough sketch that summer and wanted to pushing my artwork in a with this image was to simply rough doodle, which I ended
I drew during biology class. capture a summery feel, more organic direction. Rather create a drawing to print and up turning into a finished digital
I wanted to draw a fishy, but also with an underwater than draw the line art digitally, mount on the wall of my new painting. Like many works I
mermaid-like creature as I feel. I was always fascinated I scanned in pencil line art room, but I ended up being create today, I avoided using
always pictured them – kind by the blue reflective light and painted over that. I also determined to push myself line work and just painted freely.
of pale, slimy and with a post- given off by swimming pools started using deeper, more further by working harder I also try to use fresher, brighter
apocalyptic steampunk look. I and water, and wanted to brownish hues. I basically on the detail and colouring. colours after such a long time
also intentionally avoid candy capture this in my drawing. wanted to find a way to make Again, the line art was drawn of using dark shades. Finally, I
colours like pink, to try and give I also have an affinity for fish, my drawings look more with a pencil and the image wanted to draw an image with
my work a more serious touch. so I couldn’t help but add a three-dimensional. was digitally painted over stronger perspective and more
few of those. the lines. life than my older work.

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052-3_DAR_01 Retrospective.indd 53 10/11/09 16:57:48

 Photoshop Cutting-edge lighting effects

Digital artists explain the

techniques behind their
amazing artwork
Artist info

Photo-
manipulation

Elena Savitskaya
Personal portfolio site
www.elenasavitskaya.com
Country England
Software used Photoshop
Coming from a marketing
management background,
Elena Savitskaya is a
graphic designer from
London who has been in
the field for five years.

Featured tutorial
This featured tutorial
appears courtesy of
our sister magazine,
Advanced Photoshop.
Look out for issue 63,
on sale now.

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054_59_DAR_01_LightEffects.indd 54 10/11/09 16:59:59

 Behind the scenes: Elena Savitskaya Photoshop

Cutting-edge
lighting effects Working
Progress
Aura 2009 Photoshop
Follow the creative
The inspiration for this lighting tutorial came from the theory that process over 5 pages

all people have a colourful aura that is invisible to the human eye.
Elena Savitskaya London-based graphic designer

n this tutorial we will try to show you how to create This is a great way to learn how to use all those tools
striking yet smooth lighting effects. You will also find even if you’re not at a professional level yet. We will also
a new use for the Liquify tool, learn to create explain why the Pen tool is the best to use when cutting
pseudo-abstract 3D effects and experiment with out objects. This will give you some ideas on how to
blending modes. You will not need a graphic tablet for create abstract 3D effects in your projects without using Step 3, Prepare the final cutout
this tutorial, which is good news for those who still any actual 3D programs.
haven’t bought one! We’ll also use just one stock image The inspiration for this tutorial came from the theory
– again, great for those on a budget. We will not use any that all people have a colourful aura that is invisible to
plug-ins, but instead will stick to Photoshop’s standard the human eye. So let’s get started on creating your own
filters, tools, brushes, layer styles and blending modes. aura artwork with a pinch of magic and 3D.

Selection Liquifying light Step 14, Create a deep red light

techniques Learn to make it work for you
Everyone who works with
Photoshop will have their Cut out the
own favourite selection 01 model To start
technique. Some use the
Lasso, some even use the the tutorial, open up your
Magic Wand. But nothing chosen model image. Now
can beat the precision you
get when using the Pen pick the Pen tool and make
tool. When working with sure it is set to Paths in the
the Lasso tool you can get top Options bar. Next, click
jagged edges, while the Step 23, Repeat the effect
Pen tool lets you almost once in order to create a
literally cut pixels in half, starting point, then click
and it puts transparency
on the bit of the pixel that’s and drag, following the
outside the selection. body lines as accurately as
Once you understand how possible. Once you have Fine-tune your selection Make sure that your
to use it you’ll never want
to come back to other closed the path, Cmd/Ctrl-
02 selection is accurate and you’re not leaving any white
ways of selecting objects. click on it and then choose bits of the background. Duplicate the model layer (click the
The secret of the Pen is the Make Selection option, layer and hit Cmd/Ctrl+J), then create a new layer beneath
predicting where it’s going
to go next. Click once to ensuring that the Feather the model layer and fill it with black. Now you’ll be able to see if
create a starting point,
then click somewhere else
value is set to 0. there are any background leftovers. Just as you can see in the Step 28, Adjust dust, add glow
and drag your mouse screenshot, there is a small white line on the model’s hair.
about. The additional
curve that you see will Prepare the final cutout Next up, blur
show you where your third
curve will be heading.
03 out the edges of the model and make her blend
Unfortunately, a lot of with the background slightly more. Now go to Layer>
people neglect to use the Matting>Defringe, setting it to about 3 pixels, and then click
Pen tool, considering it too
complicated, but it only OK. You will need to make the model blend with the dark
takes a little practice to background a bit better, so to do this, first pick the Burn tool
master it. And once you
do, you will be asking and then set the Exposure value in the top Options bar to
yourself why you’ve never around 40% as well as setting Range to Midtones. At this
used it before. point, you have almost prepared the model cutout.

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054_59_DAR_01_LightEffects.indd 55 10/11/09 17:00:33

 Photoshop Cutting-edge lighting effects

Final preparations Pick a big soft- Create a warm background

04 edged brush and start painting along the
05 Create a new layer behind the model, fill it
edges of the model where her body parts need with a soft brown colour (‘#3b2a27’) and set the
to be a bit darker in order to look real on a dark blending mode to Color. Create another new layer
background. If you want to darken the highlights underneath the brown one. Pick the Gradient tool,
on the model, set Range to Highlights. Basically, set it to Radial, pick the default black-and-white
just set Range accordingly to what you want to colour for it and create a gradient similar to the one
appear darker: Shadows, Midtones or Highlights. in the screenshot to imitate studio lighting.

Create soft light Create a new layer

06 behind your model. Pick a big, soft-edged
round brush and a bright orange colour, then paint
a big colour blob, setting the blending mode to
Overlay. Go to Filter>Liquify. This is where you
will shape your light. Pick the Twirl Clockwise
tool in the left-hand menu, and start clicking and
dragging your mouse in and out of the blob.
Create an abstract shape similar to the one on the
screenshot, then click OK.

Give the light more definition Create a new

07 layer on top of your blob layer. Set the blending to Pin
Light. Hold Cmd/Ctrl and click on the blob layer’s thumbnail.
This will select everything on that layer. Make sure you still
have your new layer active, then go to Select>Modify>
Contract. Set it to 40-50px and hit OK. Using the same soft
brush, paint all of the selection area with the same colour.

Linking
layers
To link a few layers
together, hold down Cmd/
Ctrl and click on your
layers one after another.
Once you have selected all
the layers you want to lock
Purple two-colour light You are going to use
together, click on the Link
layers icon in the bottom 08 the same technique for this one. Create a new layer
left-hand corner of the
underneath your model and then set the blending mode to
Layers palette. This helps
a lot when creating layers Overlay. Next, pick a big soft round brush, find a dark purple
that work together but are colour and then paint a medium-sized blob behind the model.
spread apart in your
artwork’s Layers palette to Now pick a much brighter purple colour and paint a little
achieve a particular effect. inside the main blob.

Shape the purple

09 light Now go to
Filter>Liquify. Play around
with the shape of this light,
too. You can also try to use
the Forward Warp tool instead
of Twirl Clockwise tool, as on
the screenshot. Try setting
different brush sizes while
using Liquify (using [ and
] shortcuts to increase or
decrease the size of the brush).

Create sub-light Take a step back from your composition and return to it after five
10 or ten minutes with fresh eyes. This is important in keeping track of how the effects you
apply are working overall. Next, in order to add a bit more depth to the light, we’re going to use
a little Photoshop trick. On top of your purple light, first create a new layer and then set it to
Screen. Select a fairly bright purple colour and a soft-edged round brush, then just click once
to create a shiny blob close to the model’s elbow.

56 Digital Artist © Imagine Publishing Ltd

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054_59_DAR_01_LightEffects.indd 56 10/11/09 17:00:53

 Behind the scenes: Elena Savitskaya Photoshop

Give highlights to the purple light

11 Duplicate your big purple blob layer and
drag it on top of your model in the Layers panel.
Pick the Eraser tool and a big soft round brush,
then erase the edges of it a little. Drag it on top of
the model so that the part behind the model will
now create a highlight on her arm. Link it with your
two purple layers so you can easily move them
about together later. Refer to the ‘Linking layers’ tip
boxout on the far left for more.

Purple light on the shoulder Give highlights to the shoulder

12 Create a new layer on top of the model,
13 light Create a new layer on top of the first
and paint a big purple blob. Now select a slightly purple shoulder light. Pick a bright pink colour
brighter colour and paint a smaller blob inside it. and paint a big round blob with one click over her
Select an even brighter colour and paint an even shoulder. The best way to imitate the coloured
smaller blob inside. Erase the edges to create highlight on her shoulder is to position your brush
some peculiar abstract shape as shown in the directly over natural photo highlights on her
screenshot. Once done, set the layer’s blending shoulder – it will look more natural and blend in
mode to Overlay. better. Now set the blending mode to Overlay.

Create a
14 deep red
light Next up, create
a new layer behind
your model, setting
the blending mode to
Saturation. Now pick a
bright red colour with a
Blending
soft-edged round brush secrets
and then paint a big If you really want to master
blob behind her naked blending modes,
shoulder, making sure concentrate on steps 24,
25 and 29. Experiment as
that you overlap it with much as you can. The
the purple blob a little idea is that by naming the
layers according to the
to create a nice mixed- blending mode, you will
light effect. Once this is see how it affects the
done, shape it up with colours and the way they
work together. Move them
the Eraser tool and a about, duplicate Overlay
large soft brush. layers on top of one
another and see what
happens. This can lead to
Create highlights for the red light Create
15 a new layer on top of the red light layer. Link them
inventing new techniques
for yourself to use in future
projects, as well as a
together. Using a small round soft-edged brush and the deeper understanding of
same colour, paint a smaller blob or a few of them. Then go to how blending modes
Filter>Liquify, pick the Twirl tool and try creating something work. When it comes to
image manipulations,
similar to the screenshot. If you are not happy with the result blending modes are the
once you hit OK, you can always hit Cmd/Ctrl+Z to go back a most powerful yet easiest
step and try again. tools to use. It is also a
good idea to keep your
layers organised while
working with light effects;
at some point, you will
have so many layers that it
will be too hard to manage
if you don’t use groups,
relevant names and
linking. To make it easier
for yourself, associate
groups with body parts.
For example, name a
Make adjustments to the red light
16 highlights layer Drag the red highlights layer
group ‘Left Hand Lights’,
‘Right Shoulder Lights’,
etc. This will make your
on top of the model. Now you can play around with your workflow much more
highlights a little and you can fine-tune them using the optimised and you
Smudge tool. Set it to about 50%, pick a small brush and drag won’t spend ages
looking for that little
some colours onto your model’s shoulder so that the light purple blob among 300
blends in with the model. Use the screenshot as a reference. unsorted layers.

© Imagine Publishing Ltd Digital Artist 57

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054_59_DAR_01_LightEffects.indd 57 10/11/09 17:01:13

 Photoshop Cutting-edge lighting effects

Create the green light Create a new

17 layer behind your model, just on top of
the orange light’s layers. Pick a big soft-edged
round brush and paint another blob of colour
behind the model’s arm. Next, go to Filter>Liquify.
Using the same techniques that you used before,
create an abstract shape similar to the one on the
screenshot and then hit OK.

Create green highlights Now create

19 a new layer on top of your model. Link it with
More work on green light Here’s a the two other green layers. Pick a bright yellow,
18 different trick. Create a new layer on top of slightly green colour, and draw a shape similar to
the green one and set the blending mode to Color in the screenshot. The screenshot has other green
Dodge. Using the same colour, paint along the layers switched off to give you an idea of what sort
model’s arm using a big soft-edged round brush. of shape you’ll need to paint, but you don’t need
This will bring up the colours in the light and create to switch them off, you can just paint over. Set the
a nice gradual light effect. blending mode to Screen.

Smudge the highlight in Now pick

20 the Smudge tool set to a medium size and
smudge the yellow highlight on the model’s elbow
in. Refer to the screenshot to get the shape right.
Once this is done, create a new layer underneath
it, pick a bright green colour and set the blending
mode to Color Dodge. Paint a big round blob to
give the light more definition and brightness.

Lights behind the model’s head

21 Create a new group below all the layers and Create fire Create a new layer on top of
call it ‘Head Colours’. Create a new layer inside it,
22 all other layers in the Head Colours group.
painting one big orange blob behind the model’s Pick a bright orange colour and paint a big colour
head and one purple one on the side overlapping blob. Now go to Filter>Liquify and create a shape
the red area. Set the blending mode to Pin similar to the one in the screenshot. Make sure you
Light. Create another layer on top, set it to Color have pointy edges in your abstract light, as that’s
and paint a big red blob on top of the red area. what gives it this fire-like look. Hit OK and set the
Experiment a little with colours or the Eraser tool. layer’s blending mode to Linear Dodge.

Repeat the effect

23 When you have
completed the fiery lighting
effect, all that you then need to
do is just repeat the previous
two steps for other parts of
the model. Additionally, you
can also use techniques from
other steps. Don’t be afraid
to experiment with different
colours, shapes and different
Liquify brushes, and take a
look at what you can come up
with. Also, remember that you
can always tweak the effects
you applied with the Eraser
tool and the Transform tool
(Cmd/Ctrl+T) if you want to
add to the composition
by turning them around,
flipping them horizontally or
vertically etc.

58 Digital Artist © Imagine Publishing Ltd

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054_59_DAR_01_LightEffects.indd 58 10/11/09 17:01:39

 Behind the scenes: Elena Savitskaya Photoshop

Liquifying abstract elements

Explore an abstract world
Add abstractions
24 to the image Next,
you will want to create a
random selection on the
dress overlapping the light
areas with the Lasso tool.
Press Cmd/Ctrl+Shift+C
(Copy All Layers) and Cmd/
Ctrl+V (Paste) and then
erase the edges of the shape.
Now apply the Liquify tool
and create an abstract swirl
out of your shape. Once
you are completely happy
with the shape, click OK and
then set the blending mode
to Lighten.

More abstract shapes Create a

25 random selection over the model’s dress,
copy and paste it then set the layer blending to
Luminosity. Select all on the layer (Cmd/Ctrl+C on
the layer thumbnail) and hit Cmd/Ctrl+Shift+C.
Delete the selection layer then hit Cmd/Ctrl+V for
a new layer. Use the Liquify tool to create another
abstract swirl and set the blending to Vivid Light.

Play around with swirls Using these Magic dust Find and open an image
26 techniques, you can create numerous
27 of a desert or beach for a grainy, sparkly
abstract swirls and place them on top of one sand effect. Pick the Magic Wand tool, setting
another. Try setting the blending to Hard Light, Tolerance to 20. Start selecting and deleting parts
or use the Polygonal Selection tool to create of the sand as shown. Once done, pick the Lasso
a random edgy selection over it and erase the tool and create a random selection similar to the
selection. For a 3D effect, give some layers Drop screenshot, then hit Cmd/Ctrl+C to copy.
Shadow styles. Use the screenshot as a reference.

Adjust dust and add glow Paste the Finishing touch

28 layer on top of your abstract swirls. Open
29 It’s time to experiment
Brightness/Contrast and bring the Brightness with blending modes. Using
value to the maximum. Repeat the step until the all the colours you used in
dust turns white/bright yellow. Bring up the Layer previous steps, paint colour
Style box, tick Outer Glow, set the blending mode on the model according to
to Color Dodge, Opacity to 100%, Spread to 0 and the lights behind her. Create
Size to 24px. a few layers, give them the
following blending modes
and name them accordingly:
‘Color’, ‘Color Dodge’,
‘Screen’, ‘Overlay’ and ‘Hard
Light’. Hold down Cmd/Ctrl
and click on the model layer
thumbnail. Paint different
colours within the selection
on different layers according
to the background colours.
The more you experiment, the
better the outcome will be.

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054_59_DAR_01_LightEffects.indd 59 10/11/09 17:02:04

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 Painter The secret of aerial perspective

Working
Progress
Improve landscapes
with aerial perspective

Step 3, Colour wash hue shift

Step 8, Detailing

Step 14, Dark upright tree branch

Step 18, Touch of the blues

62 Digital Artist © Imagine Publishing Ltd

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062-067_DAR_01 Aerial Perpsectiv62 62 10/11/09 17:05:37

 Step-by-step: Darren Yeow Painter

Digital artists explain the

techniques behind their
amazing artwork

Artist info
Darren Yeow
Personal portfolio site
www.stylus-monkey.com
Country Australia
Software used Painter
Darren works as a concept
artist for videogame design,
so is well versed in the tricks
needed to create realistic
backgrounds. He is also a
dab hand at using Painter,
and combines both of these
talents in one tutorial.

The
secret
of aerial
perspective By selectively
subduing background
elements you can pull
objects into varying
planes of existence,
On the disc giving some depth to
Compositional sketch
your image…
© Imagine Publishing Ltd Digital Artist 63
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062-067_DAR_01 Aerial Perpsectiv63 63 10/11/09 17:05:53

 Painter The secret of aerial perspective

In the Distance 2009 Painter

I wanted to illustrate a peaceful country scene from an elevated position to give a
sense of freedom. From this height, due to lack of visual obstruction, the use of aerial
perspective in image composition is also effectively demonstrated.
Darren Yeow Concept artist

he human brain doesn’t like mess. It probably another piece rather than decipher the mess. Aerial
harks back to our caveman days, when being in
a visually disruptive environment like a jungle
perspective is a naturally occurring phenomenon that can
be used subtly to allow the viewer some visual respite. By
Simplify
would cloud our senses, making us susceptible to selectively subduing background elements you can pull objects
becoming a sabre tooth tiger’s dinner. It’s the reason most objects into varying planes of existence, giving depth to In illustrating high density
people don’t like living or working in squalor… whether they your image. objects such as trees, resist
the temptation to over-render
do anything about it is another question! Aerial perspective is essentially airborne particles in the every leaf and branch. This
Illustration is no different. We’ve all viewed artwork that’s atmosphere, eg smog, smoke, mist, haze, rain, snow and will take inordinate amounts
so full of vibrant colour and contrast in the foreground and fog, that catch and scatter light sources. The further the of time, be unnecessarily
tedious and draw far too
background that the eye really has no place to rest. This distance, the greater the effect. In this tutorial we’ll see how much attention to unimportant
overwhelms the viewer, causing them to move on to to use aerial perspective to help create an image with depth. things. Instead, subvert
the details and create a
representation of a tree,

Using aerial perspective

so that when the viewer sees
it they complete part of the
picture themselves, involving
them in the piece to a much
Create depth in your images and give a sense of space greater degree.

Sketch Receiving the design brief, I had

01 in mind a simple countryside landscape
with rolling hills in the background and a fairly high
vantage point from which to view the distant horizon.
I chose daytime, as the effects of aerial perspective
are more pronounced because of the abundance
of skylight. I use an Oil Pastel brush and apply some
lines depicting the extent of the scene objects.
Colour wash hue shift Following
03 on from the previous step, bring up the
Adjust Color dialog box by going to Effects>Tonal
Colour wash Using the Paintbucket, I Control>Adjust Colors. Drag the Hue Shift slider
02 apply a wash of colour. I don’t mind which towards a sky blue. Staying on the same Multiplied
colour I use, as I prefer to see how the wash looks on layer, pick a darker shade of blue. Using the Digital
canvas and then do a hue shift in a subsequent step. Airbrush, spray the colour onto the portion of the
This allows me to visually gauge the wash in real-time image intended to be reserved for sky. At the top
rather than guessing which colour I’d like to use. I left of the canvas, spray some white to approximate
then set the layer to Multiply. where the sunlight will be coming from.

Add sharper
05 details We
now have the main
areas blocked out in
broad strokes, so we
can begin to detail. At
this stage we’re still
blocking in information,
but we can switch to a
Palette Knife for sharper
details. We begin with
the foreground hills,
Approximate landscape colour Using the and also allude to the
04 colour wheel, choose some greens that would suit the mountain range on the
land and paint them on using large swathes of colour. You’ll horizon. Use a dark
notice that the underlying blue of the colour wash still shows blue hue sourced from
through in a lot of places. This underlying colour will tie the image the canvas to paint the
together, and you can also reduce its impact later if needed. distant mountains.

64 Digital Artist © Imagine Publishing Ltd

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062-067_DAR_01 Aerial Perpsectiv64 64 10/11/09 17:06:05

 Step-by-step: Darren Yeow Painter

Trees, mountains and town

06 Style
Continue adding information to the
piece, targeting the small foreground hill left School Aerial
of the canvas, keeping the contrast between
shadow and body colour low. Using orange,
Art genres in
a nutshell perspective
place a few marks in the foreground depicting Turn to the masters and discover
the roofs of the town houses, and increase the
how they tackled aerial perspective
detail on the background mountain range. Add
a road that snakes into the distance – this will
in their own paintings
give the image more depth. Sharpening the details Brush
07 more white into the sky with the Digital
I never had the opportunity to go to an art school, but I
have always been fortunate enough to have access to
Airbrush. Use the Cover Pencil to work some very good art galleries and the internet. With these two
white into the water behind the hills – this serves tools, you have at your fingertips a plethora of references
from amazing artists who have come before you, and
to draw the eye. The surrounding landscape
from whose work you will be able to learn an enormous
also gently curves towards this area. Using amount. Aerial perspective is one of those things that
the Palette Knife, add more details to the you can observe in fine art, and the following all make
sloping land to the right of the midground. good examples.
Detail the houses with a darker brown to break
up the roofs. The masters
Aerial perspective – the master way
Detailing Using
08 the Cover Pencil, start
adding trees to the image,
sharpening the edges of the
hills and the background
mountain range. Add a light
yellow in slivers to the shores
– this will help to break up the
image and give it scale. Next,
darken the peak of the closest
hill to provide some contrast
to the whites behind and in
front of it.

Colouring Adrien Manglard

1695-1760
distance ● Adrien Manglard’s piece depicts aerial perspective
beautifully by ramping up the haze. This subverts
Aerial perspective is not a background information, pulling the viewer’s gaze to the
difficult concept to grasp; tension between the wrecked ship and the crew upon the
mindful of the basic rules, rocks. Due to the sun’s low position, the aerial perspective
it becomes second nature. is in an orangey tinge. Although aerial perspective tends to
The basic premise is that be blue, it needs to reflect the sky colour.
objects close by are not
affected by atmosphere:
colours tend to be bright and
vibrant, the shadows crisp
and dark. As you move into
the distance, the atmosphere Trees and water meadow Give more form
picks up light and obscures 09 to the trees by indicating cast shadows beneath and
the visual clarity.
around the back of them. Using the Cover Pencil, zoom into the
Foreground water meadow area. Using the surrounding green hue, draw
Objects should be high the embankments and detail the water surface with the Digital
contrast and vibrant.
Shadows will generally Airbrush. Give the paddy water some differences in hue and Adrian Ludwig Adam Elsheimer
reflect the hue of the sky tone to add visual interest. 1803-1884 1578-1610
in a subdued way. ● Adrian Ludwig’s ● Here we have a more
painting depicts a quite subdued example of aerial
Midground Colours Detailing the
and contrast are more 10 village Using a
peaceful moment
between a mother and
perspective. Although a large
portion of Adam Elsheimer’s
subdued. Details are still child. The enormity of image is in the foreground, the
combination of the Digital the environment is effects are nevertheless
quite apparent, although
they are tending towards Airbrush and Cover Pencil, enhanced by the aerial noticeable on the midground
the sky hue. detail in the roof planes, perspective of the trees, and a lot more apparent
receding mountains, on the distant hills. Again, this
bearing in mind the direction
Background where they seem to fall alludes to a world beyond the
Details are replaced of the sun. Paint the walls back forever. There is a canvas, without overwhelming
with flat colour, reflecting of the buildings white, with feeling of serenity the senses with unnecessary
the hue of the sky. created by the wide contrast and detail. It’s all about
Silhouettes are the a tinge of blue from the open expanse. leaving teasers for the viewer.
extent of their definition. reflected light of the sky.

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062-067_DAR_01 Aerial Perpsectiv65 65 10/11/09 17:06:33

 Painter The secret of aerial perspective

4 5

2
3
11
Town wall Next, we’ll block in the Add more buildings and
11 basis for the town wall. This is done with
12 trees Using the Color Picker, select
the Palette Knife, using a light grey. The rear the same colours as before to detail the
3
of the wall, the side facing away from the sun, remaining buildings, and also add some other
should have a darker, bluish hue to reflect the
sky colour interacting with shadows.
houses and buildings around the area, keeping
to the same roof colour. Use the Palette Knife
Dissect an image
to rough in the trees around the buildings Art structure explored
and behind the town wall, bearing in mind the
direction of the sun to determine your shadow 1 Focus Determine the area of focus,
making sure to subdue information in
and lit areas.
competing areas by reducing the detail or
decreasing the contrast. This ensures the
Fallen branches Use the Pastel viewer’s initial read of the image is guided
13 brush to create some branches, painting gently into the world you’ve created.
them a lighter, redder tone than the previous
step. Done in this order, an illusion of depth is 2 Compose your image You have
total freedom in choosing compositional
created of the fallen twigs and branches. elements to include. Use the elements you
include as visual guideposts around the
image, being mindful not to overdo this or
it’ll end up feeling unnaturally staged.

3 Keep the contrast for nearby

objects Keep objects close to the viewer
in high contrast, but find a way to link them
to elements in the background. The easiest
way is to add a pervasive sky colour tinge
to the shadows of nearby objects.

4 Light affects aerial perspective

Remember that aerial perspective takes
on the ambience of light. If the sun is low,
the distant fog turns more orange; when
it’s bright daytime, it turns bluer; at night it
takes on the hue of distant lights.

5 Less defined The further an object,

the less defined it is. Think in terms of a
mist through which objects disappear.
The further into the mist, the less objects
around you hold their internal detail, and
Dark upright tree branch Using the Pastel brush again, add an upright branch
14 devoid of leaves. Use a dark tone for this step.
are defined by their silhouette.

Yellow upright tree branch Picking a light desaturated

15 yellow, paint over the dark upright branch of the tree.

Rocks and plant In order to give the piece more depth,

16 we’ll add some rocks and a small shrub to the foreground. On
the rocks, make sure to render the body colour with a warmer grey, and
define the shadows with a cooler hue. You can do this with the Digital
Airbrush and the Fine Round Gouache brush.

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062-067_DAR_01 Aerial Perpsectiv66 66 10/11/09 17:07:13

 Step-by-step: Darren Yeow Painter

The further into the mist, the less objects More blue is
added to the
around you hold their internal detail, and background
are defined by their silhouette mountains to
make them
recede

The midground has small amounts

of blue added, but not as much as
the background

Foreground objects have the

most definition. They are
closest to the viewer

Touch of the blues Colour picking the background

18 mountain range blue, create a new layer set to Color,
and dust a light coating of blue over the nearby hills and faraway
mountains, allowing some of the blue to bleed into the sky.

Darken fallen twigs Create Detail the houses Go back to the

17 a new layer set to Multiply. Use the
19 houses, and using the Cover Pencil,
Digital Airbrush and a dark desaturated green colour pick the existing colour from the houses
in order to darken the area around the fallen to render the remaining houses. This maintains
twigs and branches. a certain level of consistency across the town.

© Imagine Publishing Ltd Digital Artist 67

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062-067_DAR_01 Aerial Perpsectiv67 67 10/11/09 17:07:31

 Evolution of an image

Alex Getty Personal portfolio

site home.messia
h.edu/~ag1280/

Artist info
Country USA
otoshop
Software used Ph ic design major at
y a sophomore graph
Alex is curre ntl
Grantham, Pe nnsylvania. He
e in
the Messiah Colleg Photography and Digital Studio as
is taking Darkroom spare time up with various
w they built classes, and filling
his
Artists explain ho finest work. freelance projects. age caught our eye not only for

up some of their us how he

im
Alex’s self-portait ld typographical style, but also
om its clean lines and bo idea for a self portrait!
lls tdaily.c
Here Alex Getty teortrait image
Digitalartis use it is just a cool
cientist33 beca
Username: TheS
created his self-p

01 The start trace 02 Eyes first 03 Size for shading

04 Text texture 05 Establishing tonal values 06 Sticking your neck out

About the image 01

I used a photograph as a
02
I decided to start with the
I created this portrait in the spring semester of my freshmen reference in order to create eyes and work my way out.
year for a typography class. I was very excited about this this work. Since the final work
is only black-and-white type,
I thought it would be a nice idea
to use the word of the body
project because I love working with type in unique ways. It I wanted the picture to have part that I was tracing for
lots of contrast, and colour that specific area, and also
took me about a week playing around with different styles wasn’t an issue. Instead I had to added in lyrics from songs
before I decided how I wanted to proceed. This is a pretty build it up using the type.
I had the greyscale
relating to that specific part
of the face. I decided to use
common way that I start projects. I don’t like to rush in before photographic image on a layer
that I could turn on or off and
Myriad Pro because it is a basic
font, and looks good both large
I know exactly what I’m doing. used type to ‘trace’ it. and small.

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 Evolution of an image: Alex Getty

The shirt had incredible detail and I didn’t want to leave that out… To say it took
a while to create this
shirt would be a big
understatement!

On reflection
Overall, I had a lot of fun with this
project, despite the huge amount of
time required to complete it. I would
love to build on this style of tracing
with words, and possibly incorporate
colour and value into future projects.

Starting on the hair

was a daunting task.
It seemed so
monumental at the
beginning. I wanted to
capture all the nuances

07 Small details

03
The dark areas of the image
04
Starting on the hair was a
05
Because using just black
06
I found the neck to be
07
I didn’t put much thought
were a lot easier to re-create daunting task. It seemed text made it harder to create another challenging part into the shirt when I was
than lighter areas. Since I could to be such a monumental task natural-looking lighter values, of this project. I had decided expecting the hair to be the
only use black text, I resorted to at the beginning. I wanted to I exaggerated the contrast to keep the background most time-consuming part.
using very small font sizes and capture all the nuances on the cheeks and the chin, white but this caused a problem The shirt had incredible detail
only placing text sporadically in in the hair, including the just creating the outline of the with the neck, as the edge is and I didn’t want to leave that
areas with very faint shadows. direction it was working in, so face with the jaw and the hair. very light. I discovered that it out. The smallest font size
This was the equivalent of I therefore spent a lot of By using this technique, light was difficult, and something of I used in the shirt was .75
using a lighter colour. Lips have time working on getting the values became blank, and a challenge, to get an edge that points. To say it took a while
always been a weak point of texture just right, before I the dark values dropped off to was noticeable and yet not too to create this shirt would be
mine when drawing, but I feel was happy with it. It was time- white very fast. This, and the dark. Once again, the variation a big understatement! It helped
they came out well in this work. consuming but worth it. font size, fixed the shading. of font size helped here. give shape to the neck, though.

© Imagine Publishing Ltd Digital Artist 69

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068-69_DA01 WIP.indd 69 10/11/09 17:09:41

 Illustrator Drawing from photos in Illustrator

Drawing
Vector

from photos
in Illustrator
Mother Nature 2009 Illustrator & Photoshop
Giving and receiving is an important principle for
all living things, and this principle is often taken for
granted. We have borrowed, taken advantage of and
robbed Mother Nature of her riches, leaving her to
beg for us to stop…
Cryssy Cheung US-based graphic artist

one are the days when Illustrator was

a program used solely by artists
looking to make crisp logos or
infographics and technical
schematics. These days, artists of every stripe turn
to Adobe’s solution for vectoring. Vector graphics,
unlike raster programs (that construct images by
storing information in rows of pixels) employ basic
Digital artists explain the geometric forms (specifically polygons, lines, points
techniques behind their and curves) known as primitives to assemble images
amazing artwork
for artists, designers, typographers and non-
Artist info

professionals alike. Vectors look clean and sparse;

that being said, there are a huge number of digital
artists out there doing very versatile things with the
vector medium. There are illustrators using vector
whose styles range from photorealism to retro naïve
approaches and painterly texture like this one.
I began this piece with a sketch and then took the
Cryssy Cheung necessary reference photos based on it. Importing
Personal portfolio site these photos into Illustrator, I then began laying out
www.cryssycheung.com the composition of the piece with the photographs.
Country USA The first thing I did was draw Mother Nature, and
Software used Photoshop
& Illustrator everything grew from her as the focal point. I’ll explain
Cryssy Cheung is an how I started this process on the next couple of
illustrator and motion
designer based in New York
City, USA. She has a
Bachelor of Fine Art degree
in Computer Art from New
York’s School of Visual Arts,
and has worked for a range
of clients including
Samsung and Nike. She Flexibility Illustrator, being
specialises in Illustrator and a vector-based art program,
Photoshop which she uses
allows you to head back and change
in conjunction to create her
simple but effective images your shapes, curves and lines at any
in shades of lilac and blue. time – just by clicking and dragging
on the control handles.

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070-73_DAR_01 Vector.indd 70 10/11/09 17:11:55

 Behind the scenes: Cryssy Cheung Illustrator

© Imagine Publishing Ltd Digital Artist 71

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070-73_DAR_01 Vector.indd 71 10/11/09 17:12:11

 Illustrator Drawing from photos in Illustrator

Before Blending vectors with textures After

Use Photoshop to rough-up your vectors
By default, vectors look smooth and precise,
as seen in the image on the left. Currently
A tour of the featured however, there is a trend among vector
artist’s past work… artists to create a rough, choppy look that’s
reminiscent of painted artwork. The easiest
way to do this is to overlay one or more
textures onto your vector using Photoshop.
There’s a selection of textures on the free
disc that accompanies this magazine.

pages, by tracing a basic facial vector and showing

you how I work with it.
Next, trying my best to keep organised, I utilised
the Layers menu and the Group function. Adding
elements to each layer and strategically placing the
layers helps a lot to stay organised. The Group
function is really important because it allows the user
to select certain grouped items in one click, instead
of clicking each path while holding Shift. Illustrator
Self Portrait CS4 has an awesome option that enables you to
2006, Illustrator, Photoshop
● This self-portrait image manages to leave the workspace and go directly into the grouped
look vibrant despite its pared-down object. Inside this little feature, you can add and
colour scheme in neutrals and pastels.
move shapes without it interfering with the rest of
your composition.
Lines and lines Viewed in Outline, even the
simplest artwork can look staggeringly complex.
I jumped to Photoshop after I finished vectoring the The benefit of this view, however, is that it allows you to
figure and the background elements, and I was locate and select the exact line you’re looking for.
satisfied with the amount of detail and the colourway.
Photoshop was used to tweak the colour palette as One tool shared by Illustrator and Photoshop is the
well as add textures to the vector, giving the Pen. It works similarly in both programs, so mastery
illustration a more organic feel. of this tool in one program ensures mastery in the
To begin, open Illustrator and create a new other. Like the Rectangle tool, if you click and hold
document (File>New). Inside the dialog box, choose the Pen tool icon on the toolbar, a small window will
Print under New Document Profile. Choose Letter appear next to it with four options. The other options
Size, and enter 400 x 400 pixels. Click OK. can be used to alter your line after it has been made.
Vectors can be created with several different tools. To create a shape, we will need to use the Pen
These tools include the Pen tool, the Pencil tool, tool. By default, you will have a fill of white and a
Paintbrush tool and Rectangle tool (by clicking and stroke with black. Get rid of the fill to easily trace.
holding the Rectangle tool you can find the Rounded Here I’m making an outline of a woman’s face in a
When the Clock Strikes 12...
2006, Illustrator, Photoshop Rectangle tool, Ellipse tool, Polygon tool, Star tool photo, exactly the way I started my Mother Nature
● The Baroque elements in this and Flare tool). All the tools grouped inside the image. Drag the photo into your workspace and lock
depiction of Cinderella contrast well Rectangle tool can be customised. For example, the layer. Now create a new layer. Putting different
with the contemporary colour scheme.
select the Star tool and simply double-click anywhere elements on different layers will help organise your
in the work area. A dialog box will open and ask you file. With the Pen tool selected, click on the edge of
for the desired number of points, the centre radius the face to create an anchor point. Continue around
(radius 1) and the outer radius (radius 2). The Pencil the face creating an outline; click and drag to create
and Paintbrush tools are free-form, so they’re great other anchor points to make the shape. Continue on
for use with a tablet. for the details of her face such as eyes and nostrils.
Using the Paintbrush tool will help in the detailing
of the hair. You can access different brushes by
going to Window>Brushes. Also, anything with a

Spectacle Colour consistency You can easily ensure

2008, Illustrator, Photoshop
● The restrained colour harmony that you stick to the correct colours across your
based on lilac and eau-de-nil adds to artwork by making use of Illustrator’s Swatches palette.
the impact of these pastel shades. Use the Eyedropper tool to select the colour and then just
click the New Swatch icon at the bottom of the palette.

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070-73_DAR_01 Vector.indd 72 10/11/09 17:12:26

 Behind the scenes: Cryssy Cheung Illustrator

Tracing a
photograph
Illustrator is ideal for
personalising stock

The mighty Pen Drag your photograph onto

01 Illustrator’s canvas and start working around it
using the Pen tool, as explained in this feature’s text.

Blending modes Just like stroke can have a brush applied to it, altering the
Photoshop, Illustrator allows you
thickness of the lines.
to handle how objects and colours on one
layer interact with the layers below. Next, I finish my vector and prepare it for
Photoshop. On the bottom of the toolbar you will find
the Stroke and Fill colour boxes. Add colour as you Build it up Work around the image, carefully
see fit by double-clicking on the Fill box. Shade the 02 tracing as much as you’d like to convey in your

Pen tool
The Pen tool can be
face by using tones from your reference photo.
Choose the same colour as the face colour and draw
artwork – keep the shapes strong and basic.

difficult to use at first and the shadows. Once the shadows are drawn, select
takes a lot of practice. The the shadow shapes then go to Window>
idea is to use as few
anchor points as possible, Transparency, and inside the blending modes select
creating a very smooth Multiply to create a quick shadow. Now we are ready
line. The handles will aid in
your next curve. Click and
to export for Photoshop. Go to File>Export and a
hold to create the anchor dialog box will open. Choose a location to save your
point and then drag file to, and on the bottom where it says ‘Format’, go to
directionally to create
the handle that helps the drop box to select Photoshop (PSD). When you
in the next curve. click Export, an additional dialog box will appear.
Select CMYK, 300 ppi and Flat Image. Make sure
that Anti-Alias is checked, to ensure that all your lines Fill it in With the basic shapes completed, start
and colours stay sharp at 100% magnification. Now 03 applying a fill colour to block in the form – here’s
close Illustrator. where you’ll find out if your level of detail is correct.
Open your new Photoshop file and crop your
image as necessary. Applying a texture gives the
vector a more organic finish. To employ a texture, we
must find a texture. You can take photos, scan or find
one on the internet. When in a pinch, my favourite
source for textures is Mayang’s Free Texture Library
(http://mayang.com/textures/). Drag textures into the
file. The next bit takes a little experimentation. With
the texture layer on top, find your Layers window and
cycle through the blending modes until you find
Export to Photoshop Saving something you like. You can combine different
a file from Illustrator directly into
textures and blending modes to create interesting Shades Once you’re happy with the basic
a PSD allows you to carry across each
individual layer, giving you an immense textures. Also play with the opacity of the layers to 04 forms, start building the depth by adding very
amount of creative control over modes. create the desired effect. simple shadows and highlights.

© Imagine Publishing Ltd Digital Artist 73

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070-73_DAR_01 Vector.indd 73 10/11/09 17:12:43

 Reviews Index

Reviewed
this issue
76
Hands on with...
Acrylicana on Etsy
Artist Mary Winkler explains
why she uses Etsy for sales

78
Wacom Bamboo Fun
Multi-touch comes to the
mid-range graphics tablet

80 Hands on
with...
Acrylicana
Spyder3Studio SR
A complete colour calibration
kit for professional use

81
on Etsy
Manga Studio 4
The Debut edition of this
comic-creation program

82
Book reviews
From fonts to fairies, we look
at some essential art books Artist Mary Winkler explains why she uses Etsy
84
Featured software
to sell her cute artwork and spin-off products
Launched in July 2005, Etsy was designs and find out what she thinks
Paul Cartwright explains why the brainchild of Rob Kalin, a painter of Etsy’s service.
he loves Corel Painter 11 and photographer. Finding that other
e-commerce websites of the time, such Tell us about your artwork... My
This issue, artists explain what as eBay, were swamped with gadgets work is bright, poppy pieces, mainly
and gizmos, he wanted to create a place digital, done in a fashion or kids’
they like about art sales site Etsy where artists and crafters could sell illustration style. I aim to appeal to the
and painting software Corel photography, prints, paintings and
handmade objets d’art.
sense of childlike wonder in all of us,
filling the page with colour and fun.
Painter 11, plus we look at the Artist Mary Winkler, aka Acrylicana, When did you decide to sell your
latest colour calibration kit, an has been selling her wares through Etsy
for quite a few years now. We wanted to
artwork-based products online? A
couple of years ago. I needed a job while
easy way to plan manga comics get the lowdown on her super-cute I was in art school, but I was taking too

and some of the most useful art

books on the shelves at the
moment. We also take the new Mary Winkler
Artist info

www.etsy.com/shop/acrylicana
Wacom Bamboo Fun Pen and Personal portfolio site www.acrylicana.com

Touch out for a spin and give Country USA

Products Posters, prints, jewellery and bags
you our verdict on its multi-touch Mary’s eye-catching designs are available as posters and
prints, but she also sells spin-off merchandise including
and gesture-based capabilities. jewellery, bags and more from her Etsy online store.

76 Digital Artist © Imagine Publishing Ltd

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076-77_DAR_01 Review Interview.i82 82 10/11/09 17:15:06

 Hands on with… Reviews

Hideaway Screen printing

Necklace Etsy offers a screen printing
Based on a large
service, which makes it
poster design
easier for artists to mass
produce designs on a wide
range of products

many credit hours and had such a

workload that my best solution was to
sell my artwork online.
How easy did you find it to set up
an online store through Etsy? Very limited edition glass pieces or
easy. It was simply a matter of taking framed jewellery). Etsy helps as
photos of my work, creating a little much as eBay does – it’s just a place
header for the shop, and listing items. to sell goods.
What kind of products does it let Have you made a profit using
you create? Most anything handmade. I Etsy? Yes. It’s become a large portion of
specialise in jewellery, accessories, art my income, since I’m a full-time artist.
prints and original paintings. Sometimes I Do you think that you would have
go for custom clothing too. made a comparable profit running an
Could you have created these individual online store through your Lapel pin and learn. Two, security. It’s easier to
products without Etsy (such as own website? Would you have found assortment handle buyers who place an order and
printing posters or making earrings that as easy to do or would it have These cute designs either don’t pay or are late in doing so. It
sell well on Etsy.
yourself) or do you sell things that taken up too much design time? I’m They’re created keeps you organised. Three, the
are entirely handmade? Absolutely. not sure, since I didn’t go that route. I in Illustrator community is rather helpful, especially
I’ve expanded my business in such a think, in the beginning of my shop, that and Photoshop for new sellers.
way that not everything I produce has having an Etsy store helped with sales What are your best-selling
been printed or cut by me any more. and buyers feeling secure on the site. products? I think my rings sell rather
Assembled and designed, absolutely, Much like creating any site, the time to well. Perhaps it’s the ability to wear ten at
but the further this goes the more design is a big thing. Especially since I a time that entices buyers.
unreasonable it is for me to make things mostly just want to draw and paint. What do you like most about
that are strictly handcrafted. How much on average do you pay the Etsy brand image? It has that
What do you have to do to design in fees or profit shares to Etsy? home-grown feel to it. Indie, handmade,
a product like a badge or jewellery? Similarly to eBay, Etsy’s share is $0.20 small business.
Does Etsy help you in any way? per listing and 3.5% of each sale. Do you think it enhances the way
Sketch it out, bring it into Illustrator or What do you think are three you want people to see your work?
Photoshop and finish the piece. From advantages of using Etsy? One, if Does it have a corporate image that
there I either send files to my printers (for you’re new to having an online shop, it meshes with yours? I’m not completely
acrylic jewellery) or print it myself (for gives you a good base to experiment sure. I think a lot of people view Etsy as
being a home for crochet and felt things
made by little old biddies in the mid-west.
So while there are positive points to
What is Etsy? having a shop on there, this point of view
has been a major drawback.
www.etsy.com Set up in 2005, the aim of Etsy was
to create an online marketplace similar to eBay but where Do you think you’ll use other
art and craft was the focus rather than being buried under online services like this in the future
listings full of old gadgets and toys. The site allows artists and or will you stick with Etsy? I’m
crafters to sell a wide range of products; the emphasis is on a cottage-industry
style of production to create limited-edition or unique items. These can range from
planning on having an online shop on my
prints and posters to jewellery and accessories, and even clothing and toys. Etsy website in the new year to test the waters
works in a similar way to eBay, so it’s easy to use if you want to sell your products. and see how it goes.

© Imagine Publishing Ltd Digital Artist 77

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076-77_DAR_01 Review Interview.i83 83 10/11/09 17:15:42

 Reviews Wacom Bamboo Fun Pen and Touch Medium

3 reasons to buy…
✔ Pressure-sensitive pen and tablet
✔ Multitouch technology
✔ Includes Painter Essentials, ArtRage
Bamboo Pen Multi-touch
Slightly larger and capable
2.5 and Photoshop Essentials heavier than previous Two sensors picking Built-in

Wacom
Bamboo models up pen and hand pen-holder
movements allow Not as good as the
you to navigate and previous design as it
control the web and feels less secure and
documents using a offers nowhere to
range of gestures store stylus tips

Bamboo Fun Pen and

Touch Medium £169.99
Touch technology and gesture recognition arrive on your desktop in style
Manufacturer Wacom | Web www.wacom.com reproduction through a film of greasy handers has been improved; you can
fingerprints isn’t easy. flip the tablet around and ensure
It’s all very touching. Since Apple gave Graphics tablets are one of those comfortable use.
consumers the strokeably smooth products for which touch and gesture The little red tag, by the way, is not
iPhone, and even before, when technology is a natural fit. They already some kind of designer label – it’s the
videogame Black and White pioneered make use of variations on these pen-holder. This is our biggest bugbear –
‘mouse gesture’ commands, movement technologies to read the shapes we our old and much beloved Bamboo Fun
recognition and touch control have been make using a stylus and the pressure we came with a proper little pen-pot that
hot topics among manufacturers and use to sketch, draw and scribble. kept our stylus upright and out of the way
buyers. Maybe we all want to live in the Building in the ability to use fingertip and even featured a sneaky secret
world of Minority Report, or maybe touch controls on a graphics tablet is a logical compartment to store stylus heads in.
and gesture controls really are more progression. Enter Wacom’s new Pen Admittedly, Wacom has produced a
intuitive than poking lozenges of plastic and Touch ranges. We’re taking a look at great variant on this with the multi-tipped
around our desktops, jabbing at icons the mid-range consumers’ perennial Intuos4, but there’s no need to leave
and links. favourite, the medium-sized Bamboo, Bamboo users out. Besides, we can
Touch technology can have benefits updated with touch technology. reliably inform you that a shiny stylus
and pitfalls, like most developments. It’s Gone is the Apple-like white livery, dangling just-so off the edge of your
ergonomic, or comfortable to use – it replaced with something shiny, silvery desk in its little hammock is an almost
taps into the way we use our hands to and sci-fi. The pen is a bit more rounded, irresistible temptation to cats.
point and to move things. On the minus a little heavier – nothing that throws it off- Appearances aside, this tablet does of
side, the new touch screen technology in balance, just enough for it to make its course contain all the features you expect
Windows 7 can result in monitors that presence felt. Like the newer Intuos4 from Wacom. It’s smooth and easy to
look a little worse for wear. Colour range, support for both right and left- use; its multiple levels of pressure

78 Digital Artist © Imagine Publishing Ltd

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078-79_DAR_01 Reviews.indd 78 10/11/09 17:16:55

 Wacom Bamboo Fun Pen and Touch Medium Reviews

Gestures and touch

Learn how to navigate in comfort
Multi-touch capabilities and gesture recognition put navigation at Swipe
your fingertips. If you’re used to a laptop’s trackpad or to using an Swipe across
iPhone, you’ll find that controlling a device by touch is remarkably the tablet with
intuitive already. If you’re new to this kind of control interface, two fingers
learning how to use it is a breeze thanks to the interactive tutorial
included with the tablet or viewable on Wacom’s website. In
documents, programs and folders you can open, close, select,
scroll and more, all with the flick of one or two fingers. Using multi-
touch technology has distinct physical advantages for people (like Pinch
digital artists) who spend a lot of time at their computer, because it Spread two
places less strain on the wrists and shoulders. fingers apart, or
pull them
Multi-touch technology has together, to
zoom in and out
distinct physical advantages for of images

people (like digital artists) who spend

a lot of time at their computer Rotate
Twist your fingers to rotate images

sensitivity allow you to create delicate ever, the pen is battery-free for lightness of the mouse. If that sounds a little
digital pencilling or more visceral scrawls and convenience. That’s all perfect – so intimidating, there’s an interactive tutorial
of ink and paint. Wacom is considered let’s get on to the exciting stuff! to help you learn the gestures and get to
the best manufacturer of graphics tablets Two motion sensors cover both pen grips with them. You’ll soon discover how
in the business for a reason, and the and touch controls. If you’re used to relaxed and intuitive this feels, minimising
Bamboo Pen and Touch is certainly an navigating programs with radial menus at the RSI (repetitive strain injury) that
example of what we know and love from the flick of your stylus, the single-finger frequent mouse users can suffer, and
the company. The lightly textured surface navigation is something you’ll be making navigation a breeze.
feels much more natural than a completely at home with. But you want
Features ........................... 9/10
Our verdict

completely smooth or, worse still, plastic- more than that for your money – how
covered drawing area. Four ExpressKeys about gestures with multiple fingers? Ease of use ...................... 9/10
(which can be mapped to your needs) These gestures let you control and Quality of results............ 10/10
put frequently used commands, menus navigate around programs and folder Value for money .............. 8/10
or windows at your fingertips, and as structures that were previously the realm
Great update: makes
navigating easier and
more intuitive while
Get a range of art software for free retaining the features
Register your Bamboo on the Wacom and Painter Essentials may be pared
site and you’ll get a download bundle of down compared to their pro-quality sister of a leading tablet

9
free art software to try out with your new software, but they’re ideal for getting
tablet. The package includes Photoshop
Elements, ArtRage 2.5 and Painter
started with digital art, as is ArtRage.
The bundle is provided on the web, so Final
Essentials. This is a great selection of
software for photo-manipulation and
digital painting. Photoshop Elements
unfortunately it is a lot of downloading,
but it’s eminently worth it: you’d pay well
over £100 for these products in stores.
Score /10
© Imagine Publishing Ltd Digital Artist 79
No unauthorised copying or distribution

078-79_DAR_01 Reviews.indd 79 10/11/09 17:17:07

 Reviews Spyder3Studio SR

3 reasons to buy…
✔ Match multiple displays to one target,
unifying colour experience
✔ With custom ICC printer profiles you
get real-world colours
✔ Customise RAW white balance in one
click with SpyderCube

Spyder3Elite Colorimeter
Reads colours from your screen and
checks them against the software

SpyderPrint SR
SpyderCube Spectrocolorimeter
The one-shot solution for calibrating your RAW software for photography For calibrating your printer using the accompanying guide and software

Spyder3 Studio SR £410

We experiment with this next-gen calibration hardware’s Validate Calibration is a great option. It
measures and confirms what you’ve set
new colourful option sets Spyder3Elite to do, taking measurements
Manufacturer Datacolor | Web www.datacolor.com and productive benefits. It has a smaller and comparing them to target values. It
footprint than previous models, displays how close calibrated white point
economising on desk space, and is to the targets, letting you decide
he Spyder3Elite is the latest accommodates a tripod mount – ideal for whether ReCal is applicable.
colour calibration unit from photographers on the go using laptops. In the Tools set is the new Display
Datacolour (www.datacolor. The functionality of the Spyder3Elite is History command. This monitors your
com) and it promises to be the discreet yet extremely productive. Firstly display’s degradation, specifically the
most accomplished type yet. With state- calibration is impressive, with best results LCD backlights. It can be addressed by
of-the-art optical design, this upgraded in just over five minutes. The new ReCal resetting your backlight controls, but
hardware includes over a dozen new and option complements this process. This eventually monitors grow dimmer even at
improved features, producing precision takes previous calibration data and full capacity. This offers a good way to
calibration for LCD, CRT, projector and adjusts it in just over half the time of initial see when you need to replace the screen.
notebook display technology. setup. It’s extremely useful for
Features ............................7/10
Our verdict

It’s aimed at pro users, so it sports an photographers looking to quickly re-

enhanced makeover. Its cosmetic appeal calibrate before a photoshoot, or in Ease of use ...................... 9/10
will attract users who are aesthetically designers’ post-production phases. Quality of results.............. 8/10
conscious. With the Studio SR package Enhanced option sets are available for Value for money .............. 8/10
supplied in a steel replicated case with this second-gen hardware, some
stylish charcoal foam lining, this is exclusive to the Elite, including Actions The Spyder3Studio SR
technology with an authoritative edge. and Tools at the top of the interface. provides an efficient
The unit reinforces this appeal with a Activate Calibration Off then select Profile
similar replicated metallic gloss finish with in the Action options, recording an ICC
calibrating solution. It’s
blue LED lighting – very stylish. profile of monitor characteristics. This is not only stylish but
But this machine isn’t all show, and the useful when you don’t want to calibrate highly functional

8
improved design provides ergonomic your monitor but still need a profile to use

The functionality of the Spyder3Elite

colour managed apps such as
Photoshop. You can revert and
Final
is discreet yet extremely productive compare the correct rendering of
on-screen images at all times.
Score /10
80 Digital Artist © Imagine Publishing Ltd
No unauthorised copying or distribution

080-81_DAR_01 Reviews.indd 80 10/11/09 18:33:29

 Manga Studio Debut 4 Reviews

Manga Studio 4 Debut

$49.99 Get started with this manga-authoring software the easy way
Manufacturer SmithMicro | Web www.smithmicro.com A sort of cross between Adobe black and white, and even if you’re
InDesign and a digital painting product, planning a full-colour comic, we really
Manga Studio lets you set up pages in recommend having a play with this.
anga Studio Debut 4’s terms of resolution and dimensions as Learning how effective and quick this is
box art takes no well as panel rhythm. There are a decent can be a real benefit to any comics artist,
prisoners. It’s a fuchsia- number of presets for this, although whether you work in manga or not.
pink manga chick with a they aren’t very easy to find, as many More add-in templates are available in
knowing smile painted by Stanley Lau – are stored in extra add-in content. the shape of character basics.
an open invitation to create something Rhythmically, the panels are based more Manga Studio 4 certainly makes
similarly crisp, colourful, comic-like and on Asian comics than traditional Western creating effects easy, but the software’s
culturally Japanese. ones, but the templates can be adapted interface is a learning curve for new
Manga Studio 4 is available in two – just ensure they read the right way users, so if you haven’t used it before,
flavours: Debut and EX, or Expert. Don’t (Japanese manga is read from right to there’s no shame in picking up the Debut
go thinking that as an artist you left; Western comics from left to right). edition instead of EX.
automatically rate the Expert version. This The Sketch tab has a good selection of
Features ........................... 8/10

Our verdict
demarcation is more about the immediacy mechanical-pencil-type tools for roughing
and usability of the software, not your out artwork. It’s this that Manga Studio Ease of use .......................7/10
ability to create manga. We took a look at focuses on, as you can add speech and Quality of results.............. 9/10
the Debut version thought bubbles without drawing them. A Value for money .............. 9/10
3 reasons to buy… because it provides
a tutorial-based
nice range of inky drawing brushes live
under the Draw tab, and let you achieve Useful for laying out
✔ Story format for building full comics
with double-page spreads
interface (which you the fluid line work and seamlessly variable comics in the correct
can switch off) line weight that’s a key signifier of manga.
✔ Variable-tip brushes for creating
while retaining the Colouring and effects brushes are even
print resolution as well
dynamic artwork
features that make more fun. The ability to splatter around as creating manga
✔ Great selection of screen-tone fills and
brushes for dramatic monochrome art Manga Studio ideal Superflat, stylised shapes like flowers and effectively

8
for its job. stars, colour with transparencies and

Don’t go thinking that as an artist you

screen-tones, and add focus and
action lines can give any artwork
Final
automatically rate the Expert version the feel of manga. By default the
program’s set up to use traditional
Score /10

Screen-tones
Manga is a pulp art
form – it may take years
to learn and days to draw,
but essentially it’s cheaply
produced and sold weekly. This
means that full colour artwork
is often impractical for anything
except covers. The way manga
artists got around this was to
use patterned screen-tones in
place of pre-separated colours
to add depth and visual interest.
In Manga Studio 4 you can paint
with screen-tones and use them
as fills. This allows you to create
your artwork in monochrome,
but if you end up wanting to
colour it, the different levels of
pattern and transparency offer
an excellent range of values.

© Imagine Publishing Ltd Digital Artist 81

No unauthorised copying or distribution

080-81_DAR_01 Reviews.indd 81 10/11/09 17:18:39

 Reviews Books

Painter 11 Creativity:
Digital Artist’s Handbook £29.99
An updated edition for the Painter A favourite among digital artists looking

Creativity series that’s packed to create a traditional look, Corel Painter

is the leading program for expressive
with information artwork. This is the fourth edition of
Author Jeremy Sutton | Publisher Focal Press Painter Creativity, updated by author
Web www.focalpress.com | ISBN 978-0-240-81255-7 Jeremy Sutton to accommodate the new
Painter 11 features and the Wacom
Intuos4 tablet.
It’s a mammoth book, 287 pages in
length, each packed with insight and
informative imagery. Aimed at beginners
to intermediate users, it mixes technical
know-how with step-by-step tuition and
painting theory. This could almost be
used as a substitute for the Painter
manual – one that’s more in-depth and
practical in approach.
Familar face April meets (and is Inspiration Take a look at the
drawn by) artist Jeremy Sutton extensive gallery of Painter artwork
If you’re a huge Painter fan but missed
out on the earlier three editions of the
book, this update is highly recommended.

Studio Culture: The secret life

of the graphic design studio £24.95
Discover the inner workings of the An insider’s look at 28 graphic design

world’s leading design studios studios from around the world, Studio
Culture is an intimate series of interviews
Authors Tony Brook & Adrian Shaughnessy | Publisher Unit Editions with leading designers and artists.
Web www.uniteditions.com | ISBN 978-0-9562071-0-4 The book has a high-class feel to it,
with tasteful layout and typefaces. It
begins with a foreword by Ben Bos,
followed by a lengthy 13-page
introduction. The featured studio profiles
and interviews that fill the rest of the book
include Bibliothèque, Spin (designers of
the book) and 4Creative. Some of the
interviews took place in person, others
via email. All prove to be fascinating
reads. If you’re studying design or
Inside info Take a peek inside the Range of work Many kinds of
world’s leading graphics studios graphics are looked at in the book
planning a career as a creative
professional, this will prove to be an
insightful tome.

82 Digital Artist © Imagine Publishing Ltd

No unauthorised copying or distribution

082-83_DAR_01 Books.indd 82 10/11/09 17:20:18

 Books Reviews

This is a great book for anybody who

1000 Fonts £20.00 has to regularly choose fonts that will

match a particular piece of work or a
theme. It’s a collection of 1,000 fonts,
Essential reading for anyone with all of them displayed in their entirety,

an interest in font design the most popular including a showcase

with several examples of the typeface
Consultant Editor Bob Gordon | Publisher Ilex Press in use.
Web www.ilex-press.com | ISBN 978-1-905814-68-8 The book separates the collection into
12 categories to help you choose a
suitable font. Each category includes a
one-page description explaining where
the fonts would typically be found and
also explains where it would be used.
Towards the end of the book you will
find a list of classic and contemporary
font designers, each including a brief
summary of their work.
All in all, 1000 Fonts is a fantastic
Fantastic fonts See complete Suggested uses Find fonts that
iteratons of each featured font are appropriate for certain tasks
resource for anybody who may have
an interest in font design as well as its
range of uses.

Draw and Paint the The Complete

Realm of Faerie £14.99 Shoujo Art Kit £14.99
Delve into the world of faeries and fantasy Become a master of Shoujo manga with
with this practical how-to book this practical book
Author Ed Org | Publisher IMPACT Books Author Yishan Li | Publisher Ilex Press
Web www.impact-books.com | ISBN 978-1-60061-328-9 Web www.ilex-press.com | ISBN 978-1-905814-55-8
Focusing on the fantastical world of the Taken in its Chinese translation, Shoujo
fey and supernatural, this book aims to means ‘little/young woman’. In Japanese,
teach how to create traditional art with a it roughly translates to ‘aimed at girls’ and
faerie twist. is a wildly successful genre of manga.
There’s a brief introduction that covers It’s the latter interpretation that this
drawing and painting techniques, before book focuses on, teaching you how to
the book takes a detailed practical digitally produce manga imagery and
approach. It’s heavy on using characters. The author, Yishan Li, is a
photographs as reference, and much of professional manga artist and has
the art is pencil based. There’s nary a populated the book with fantastic artwork
mention of digital tools or tablets. Don’t and interesting characters. She also
let that put you off however, because sprinkles her knowledge of recreating
much of the tuition will help you to Shoujo manga throughout.
become a better artist. You’ll learn how to Included is a CD packed with line art,
depict the human (or elven) form, character designs with layered detailing
clothing, armour, hair and more. (making it easy to customise characters
For anybody with an interest in the and their clothing), and backgrounds. As
realm of faerie, this will prove to be a a result, it’s great for anyone fascinated
useful reference book. by manga and Japanese culture.

© Imagine Publishing Ltd Digital Artist 83

No unauthorised copying or distribution

082-83_DAR_01 Books.indd 83 10/11/09 18:35:00

 Reviews Featured software

Blenders
The Blender brushes in Painter are outstanding.
Here the Just Add Water blender has been used
on the background to soften edges and give the
effect of light diffusing through the water.

FX brushes
Painter has many FX
brushes for enhancing
a painting. Subtle use
of the F-X Glow brush
was made here to
effectively add shine to
the more reflective
surfaces such as the
trident and chest plate.

Brush Creator
Custom brushes can be
created quickly and easily
in Painter’s Brush Creator.
In this case, custom
brushes were made to
paint in bubbles and the
merman’s scales.

Featured
software
Corel Painter 11
Paul Cartwright introduces Corel Painter 11
Price £279 | Manufacturer Corel | Web ww.corel.com

About… When it comes to 2D digital painting, I

highly recommend Corel Painter. At first
They feel more natural than in a lot of
other painting programs.
complete my whole creative process in
Painter, from pencil sketch to final
A painting program
that focuses on real glance it looks pretty similar to As well as the hundreds of preset artwork, without having to switch to
media emulation
Photoshop in terms of layout and tools, brushes, I can use the Brush Creator another program.
Try it… but as soon as you start playing around feature to build custom brushes very I’d urge anyone who’s into digital art to
Pick up a 30-day with the brush types you realise how easily, and customisable brush palettes get hold of the demo and spend a few
free trial from
Corel’s website much potential it has of its own. make the whole painting process much hours familiarising themselves with the
It offers good image-editing tools, more efficient. Other things that make way the brushes respond and simulate
great adjustment options and layer Painter so attractive are the Paper Texture natural media – which they do so well.
blending modes – but the brushes are options, blending tools and the resizable Overall, Corel Painter feels great to paint
where Painter really stands out for me. colour wheel. I like how I’m able to in, and also has a very friendly price tag.

84 Digital Artist © Imagine Publishing Ltd

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084-85_DAR_01 Featured Software.84 84 10/11/09 17:23:37

 Featured software Reviews

Artist info
Similar software
Find other products that
are similar to Painter
Corel Painter is almost peerless in its
reproduction of authentic real media effects,
Paul Cartwright but it’s not the only digital painting software
on the market. Here we take a look at three
Personal portfolio site other products that could prove to be
www,zero9studio.co.uk potential rivals.
Paul Cartwright became a
freelance illustrator and
concept artist two years ago
after eight years in graphic
design. He works in a
variety of illustrative styles
and has created artwork for
many industries including
games, books, comics,
magazines and the web. He
uses a variety of programs
but favours Corel Painter for
its real media emulation and
configurable brush controls.
Photoshop CS4
www.adobe.com £615.25
● Adobe’s iconic product offers plenty of
image-manipulation tools but also sports a
good range of customisable brushes, with
users creating more every day. Many digital
artists like to use Photoshop or combine it
with another product. It produces a clean
and highly polished look suitable for a wide
range of CG styles.

Use Pattern Pen

for randomness and texture ArtRage
www.artrage.com $25 (£15 approx)
Pattern Pen brushes are excellent for kicking out random
● Cheap and cheerful ArtRage is primarily a
shapes to build up an image. This painting started off
painting program. With fewer brushes than
as an experiment in using the Pattern Pen, but it was Photoshop or Painter, it nonetheless
so addictive seeing all these cool shapes adding to the manages to hold its own among art
image that it gradually evolved into a finished painting. professionals thanks to its sleek interface,
The ability to load any black and white image into customisable tools, rich colouration and
your library for use with the Pattern Pen makes this a unique effects such as metallics – to say
remarkable creative tool. nothing of its bargain price!

The brushes are where

Painter really stands out
for me. They feel more
natural than in a lot of other
painting programs

Character concepts Twisted Brush Open Studio

Painter is great for character design. For this concept I
put together a handful of brushes in a palette as I worked www.pixarra.com FREE
– Sketchy pencil, Soft airbrush, Hard-edged brush, ● This free painting program from Pixarra
features real media type brushes, cloning
Blender brush – to make the process more efficient.
tools, blenders and patterning tools. You
Using a custom palette for your most frequently used can buy extra brush packs to add in to the
brushes can really speed things up. A custom brush was free version for around $15 a pack, or buy
created for the gorilla’s hair and enabled it to be painted the full version, Twisted Brush Pro Studio, for
in far more quickly than with a standard brush. $119 (approximately £72).

© Imagine Publishing Ltd Digital Artist 85

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084-85_DAR_01 Featured Software.85 85 10/11/09 17:24:07

 Pass our knowledge
off as your own

iPad Kindle
Printed full colour large format book

TM

Know more with world-leading features and tutorials on everything

from Mac OS X to War Of The Worlds
Also in this series
Bookazines HIGH
eBooks • Apps ST.
BUY IN STORE

www.imaginebookshop.co.uk High street Kindle Store ImagineShop.co.uk App Store

 Q&A Creative 101

Q&A
Creative

Creative 101 101 Index

87
Q&A
Your questions answered by
our team of art experts

94
Drawing 101
Learn and apply the first
Your questions answered

basic rule of composition

Unnatural colours
Use shades of green,
purple and blue on the
skin to add unnatural light
and shadows to suggest
the character is not
entirely human

Contributors
Leslie Nivison The power of suggestion
Leslie specialises
The stance of your character
in both traditional
and any accessories you show
and digital art
them with can add to the overall
techniques
impression. Metalwork and fur
makes this valkyrie look barbaric
Wen-Xi Chen
Qualified
pathologist Wen-Xi
is an expert on
human anatomy

Amber Hill
Wildlife specialist
Amber knows all
about painting
animals and birds

Sandra
Chang-Adair

Fantasy character
Sandra has a firm
grasp on modern
styles and trends

Sophie Elliot
Art teacher Sophie
spends her days
How can I make a fantasy character look
explaining how to
paint effectively
eerie but still attractive?
Jenny Barlow
All your creative A sense of ‘creepiness’ can Using an unnatural skin tone and eye
be achieved through a colour will also contribute to the eeriness
problems are combination of facial of your character. Blues, greens and
easily solved! expressions, body language and purples are good skin tones to use for
colour. The biggest thing to start with is undead and vampires. Just be sure to
your character’s stance and expression. I mix them with some neutral colours. Red
always like to make the stance and facial irises will convey a sense of evil, and

Send your questions to... expression of my characters slightly

predatory and aggressive. Their eyes will
bloodshot eyes will give your character
the appearance of being ‘unwell’.
digitalartist@imagine-publishing.co.uk be hooded as if they’re stalking their Do not make your character look
Digital Artist Q&A, Imagine Publishing Ltd, Richmond House, prey, or their shoulders will be hunched perfect. Part of their expression and
33 Richmond Hill, Bournemouth, Dorset BH2 6EZ, UK as if they’re about to pounce. colouring needs to be unnatural.

© Imagine Publishing Ltd Digital Artist 87

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087_093_DAR_01 Q&A.indd 87 10/11/09 18:29:58

 Creative 101 Q&A

Light
How do I manage Where is it coming from? The
a light source when most obvious thing to think about is where
the light is coming from. As with any other
the character in the light source, the direction of light interacts
with the objects in the pictures in unique
painting is carrying ways. Also, the shape of the light source
will affect the outcome, as a point of light
the light? will cast different shadows to, for example,
a long light sabre.
Larry Ferguson
Light has fairly mutable
behaviour patterns
depending on the other light
sources and colours around it. First
you need to decide how strong the light
source is: is it a flaming torch or a weakly
guttering candle, for example?

The source of light held by the

01 character might be strong enough to
overwhelm the atmospheric lighting. The Soft or harsh? Soft light
creates diffuse shadows that
areas surrounding the light source will be lit
have a large midtone range,
according to the colour of the light source. whereas harsh light creates
sharper shadows with small
midtone ranges. An example
of harsh light may be if your
character is holding a naked
flame, and soft light if they’re
holding a paper lantern.

Even when the atmospheric

02 light is a different colour, the held light
source may be enough to have a stronger
influence, and therefore the area lit by this
light source remains the same colour.

What colour is the light? Quite an

obvious one here. Think about the colour
of your light source and how it will affect
the objects around it. If there is another
light source somewhere else in the picture,
they will interact to produce different
colours. Think about which source is more
powerful in relation to the objects.
A change in the colour of the light
03 makes a huge difference to the feel of
a picture. You can use colours to tell viewers
about the emotional slant of the picture.

88 Digital Artist © Imagine Publishing Ltd

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087_093_DAR_01 Q&A.indd 88 10/11/09 17:26:36

 Q&A Creative 101

Fish scales
How do I represent the shimmer of fish scales
without painting each one individually?
Dave Elliott
Scales can be suggested scales are very reflective, so it’s
through the use of texture, important to figure out where your light
lighting and colour. Your eye source will be. You also need to
will naturally focus on the highlights first, determine whether your fish-like creature
Fish out of water
because there’s such a sharp transition is in water or not, because that will bend These fish are out of
between the light and darker tones. Fish light and add extra reflections. water so they reflect
local colour instead

Base colours Your first step will be 02 Adding volume Pick a spot for the light Details and reflections My light
01 to lay down your base colours – do not source and start shaping the fish to create
03 source is coming from above the viewer and
be afraid to use colours that are darker and more volume. The closer an object, the more saturated it’ll towards the right, so my reflections are focused on
saturated. You’ll be painting over them anyway, be. Suggest scales by using a Pencil brush (eg Real the top and right. Scales are suggested by creating
and those colours will all be blended into the Hard 4H Pencil) and holding it at an angle. The scales separate paint daubs that aren’t perfectly oval. They
final product. will reflect the colours of surrounding structures. shouldn’t be too uniform, or they’ll look unnatural.

Okami-style cats
My sister loves the game Okami and wants
me to draw her cat in the same Japanese kind
of style. How do I do this?
Marietjie James
Okami is a beautiful game and what they do have seems to float
that has a simulated Sumi-e between this world and the next –
style. The line work on the especially when you try to pick them up!
characters is graceful and simple. Take Their bodies curve and arc when in
a look at Japanese art, especially that action or at rest. Try to capture that grace
of Ukiyo-ye, or ‘the floating world’. with your stylus.
These works were often wood block The adult cat sports the celestial Floating world
prints or watercolours. Feel free to mirror (which in myth is said to have Take inspiration from
include your own stylistic tendencies lured Okami’s ’s lead the graceful lines
of Ukiyo-e art when
as well! If possible, take a look at the character, the sun trying this style
official art book for endless hours goddess
of inspiration. Amateratsu, from
Painter’s Sumi-e brushes are perfect her hiding place
for simulating the wonderful line weights. in a cave). The
The Watercolor tools are also ideal for kitten is too busy
simple diffused washes that just define frisking about to
the subject. Cats are the perfect subject! have earned his celestial
They don’t actually have much anatomy, weapon yet.

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 Creative 101 Q&A

Drawing wings
How can I draw and paint bird wings so
that they look believable and realistic? I want
them to look like they could fly...
Maureen Lang
Like most animals, birds other hand, need an awful lot of energy
aren’t one homogenous to keep them moving, and so their wings
species and they have are designed for rapid little movements
evolved in different ways that allow them to make small swoops Wing anatomy Bones, muscles, skin and feathers
that are suited to their environment and then flicker out of the way before give the wing shape. Feather tracts called pterylae
and diet. Birds of prey have wings they become a predator’s lunch! form rows on the skin and help with feather perspective.
which allow them to glide, dive swiftly Hummingbirds have arrow-like wings The flight feathers are located on the ulna and hand bones.
and provide enough strength for them to with a muscle structure that allows them Here’s the folded wing in its position at rest on a bird’s back.
carry their prey (which can be pretty to beat remarkably quickly so they can
sizeable) back to their nest or a quiet stay aloft while drinking nectar from
spot. Carrion-eaters such as crows and blossoms. Here are some tips to get you
ravens require the same physical started on the basic wing structure of a
strength. Smaller seed-eaters, on the range of well-known bird species.

In flight Ravens always have somewhere to be. The rough sketches are
exercises you should try out. Work from photos or life, and try to capture the
sweeping movements of the wing. The gestures will help your finished artwork to
have substance and life.

Paint feathers Corel Painter has some

excellent brushes for painting feathers

Feather anatomy The centre line is the rachis. In

the skin, the shaft is the quill or calamus. The very
innermost tip of the feather has a hole called the inferior
umbilicus. The broad part of the feather is called the vane and
is made up of barbs and barbules.

Texture techniques This feather was first sketched

with a Detail airbrush, then blocked in with the Round Oil
Pastel. Diffuse Watercolors and Eraser Salt add a speckled
texture. The Eraser cuts small nicks where the feather vane has
frayed a bit.

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 Q&A Creative 101

Coverts The smaller feathers that

lie on top of the larger flight feathers
are called coverts. They have
small after feathers at the base for
insulation and adding to the aerofoil
shape of the wing.
Shoulder volume
The shoulder feathers, or
scapulars, are prominent
and round. They cast strong
shadows and are made up of
three rows of large feathers.
These feathers are not
attached to the wing bones.

Primaries The primary

flight feathers attach to
the hand bones. They are
asymmetrical and twist in
flight. These feathers are the
distinctive ‘fingers’ of birds
Secondaries
The secondary flight
of prey and corvids such as
feathers are attached to
crows and ravens.
the forearm of a bird, on
the ulna. These feathers
point slightly toward the
body and tend to have
squared-off ends.

Wing shapes Bird wing shapes vary widely. The shape is based largely
on the wing’s function. Small birds such as sparrows have rounded broad
wings for flying between branches. Raptors have fingers to prevent stalling
when taking off. Study all kinds of birds to learn about the shapes.

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 Creative 101 Q&A

The
science
The skull The human skull is made
up of 22 bones, joined by sutures
except for the top half (cranium)

art
and bottom half (mandible).

Learn the structure of

of
the human body
from head and
shoulders down...

The head is a fundamental piece of anatomy as

it gives us physical scale and facial expressions
Skull structure is applications such as blinking an eye to
fundamental to the emotional gestures like raising your
appearance of a person’s eyebrows. The fat and skin lie above the
face, and as such, forensic skull and muscle, and contribute most to
anthropologists are able to build up a the superficial appearance of the face.
complete facial appearance from only I’m sure we all know how a slight
skeletal remains. The muscles in the change in these factors can make a
face are an intricate network that allows huge difference. Here I’ll talk about the
us to move our face in ways that are both major parts of all these components and
expressive and functional, from practical how they affect facial appearance.

Orbicul aris oculi This

muscle encircle Procerus This mu
s the eye and
acts to close it by scle draw s down the
lowering the medial angle of
eyelids. It is the the eyebrow by
only muscle on down the skin be pulling
the face capable tween the two ey
of doing so. to give the expres ebrows
sion of frowning
.
Zygomatic bone The Nasal bone The height of
zygomatic bone is commonly the nasal bone determines
called the ‘cheekbone’ and the height of the nose. There
is often mentioned in terms is significant difference in the
of beauty. Again like the width and height of this bone
nasal bone, the zygomatic in people from different parts
bone’s height and protrusion of the world. For example,
differs between different Asians generally have nasal
ethnicities to give them a bones that do not project as
distinct appearance. far as Europeans.

Skin tones
One of the first things
you notice about skin is
the skin tone. It’s very
easy to get it wrong,
but also easy to get it
right if you
understand the
science. Basically,
light refracts in skin
and resurfaces
across a wider area
than it first entered.
This is called Sub
Surface Scattering and
Occipitofrontal
between the eyes
i This goes from the gives skin a warm
and over the fro area
the skull. It draw nt/top of Orbicul aris oris The reddish tint. It’s also the
s the scalp back sphincter musc
the eyebrows an , which raises le around reason no hard shadows
d wrinkles the for the mouth. It clo
muscle is only a ehead. This ses the are cast on skin.
means to expres mouth and puck
s surprise etc. ers the
lips when it contr
acts.
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 Q&A Creative 101

Cheat Steampunk
fashion
guide: Sandra Chang-Adair contributes to Hustler
and Heavy Metal – so she’s the perfect
person to demonstrate some sexy
steampunk styles.

Study Victorian Old-fashioned hats Gears, cogs and

clothing Since steampunk are a necessity! Adorn clocks Metal gears and Corsets Where would our
denotes an era in Victorian England, your characters with top hats, mechanisms found in clocks steampunk lady be without her
you need to study fashion from this fancy women’s hats garnished with must decorate the clothing and corset? Decorate them with jacquard
same era. Using Google, search feathers, lace and flowers, women’s personal items. Attach them to hats,
patterns and lace (define your brush in
online for ‘Victorian Clothing’ or mini-hats, 19th Century helmets umbrellas and belts. Don’t forget
‘Steampunk Fashion’. and vintage leather pilot helmets. the jewellery! Photoshop), criss-cross ribbons, brass
buttons, ruffles or metallic gears. You
can delineate the boning on the sides
Long dresses, bustles or put a big oval picture in the middle.
and hoop skirts Victorian
women loved long skirts: hoop
underskirts, ruffles, bustles
(strings in the skirts that bunch
up the material when pulled).
Pantaloons can also be worn.

Boots with buttons

and buckles Fancy
footwear is important: Leather vests and trappings
granny boots with shoe Leather trappings will accessorise
laces, shiny buckles and
metallic buttons. Spats
steampunk. Be aware of different
can cover the shoes, textures: leather can be shiny or dull,
which should be high- but differs from velvet and cotton.
heeled platform boots or Study references to represent the
Mary Janes.
fabric. Don’t make leather too shiny
or it’ll resemble metal (which has very
bright highlights and reflected lights).
Scumbling can make leather look old.

Goggles The ultimate steampunk

accessory! They can be outrageous
with many gears or contain myriads of
lenses. Add studs for a low-tech look.
You’ll find many references for goggles
on the internet. Add specs on a woman
to make her look intellectual. Paint the
lenses on a separate layer and erase
selectively to make them transparent.

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 Creative 101 Drawing 101: The Rule of Thirds

Emphasis The bright white vanishing

point shows how contrast and scale are
two compositional elements that can
contribute to increasing the viewer’s Balance By changing the
engagement and reading of an image. balance of the elements in your
picture, you can increase the
visual interest. In this case the
asymmetry or imbalance creates
a dynamic sense of movement.

Space This image illustrates

an unexpected use of space. Try
not to think of space as a void
– it exemplifies the concept that
absence suggests presence.

Drawing
101:

The Rule of Thirds Welcome to Drawing 101. This session is designed to enhance
your compositional skills, and Sophie Elliot is your guide
Composition is a fundamental, be arranged within the grid in any given the sea and a third to the sky. We now
Artist info

essential component of a successful way. This means the whole picture space see this rather traditional approach as
visual image. It is used to great effect in is used and everything has a chance to somewhat formulaic and staid, and
film, photography, painting, design and escape the inevitable central focus. prefer to change the perspective and
architecture, to name but a few disciplines. You could arrange your key features in viewpoints to make them more visually
Good composition can make or break a diagonal line running along through interesting. But it is certainly true that
Sophie Elliot the interpretation and engagement of the from the bottom left to the top right. The applying the Rule of Thirds in any way
Country viewer. It can hinder and enrich the features could be aligned to the three creates a very aesthetically pleasing,
UK message that the artist or designer is diagonal boxes that lie corner to corner balanced and naturally appealing effect.
Media used
Water-based oils trying to convey. One of the most popular across the grid. The popularity of this It just seems to hang in the ‘right’ way to
About and effective types of compositional principle has been around for about two our minds.
Specialising in organisation is the structural Rule of hundred years. References were made to One last note is that the grid makes a
painting, Sophie
is an art teacher Thirds. It is a formal division of the picture it in the context of landscape composition. very easy and effective tool for enlarging
at a school for 12- space with an evenly spaced grid. The You should take care to apportion a third or shrinking an image, as long as the two
to 18-year-olds.
main subjects and points of interest can of the picture space to the land, a third to picture spaces are the same proportions.

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 Drawing 101 Creative 101
No action Nothing is
happening in the upper two-thirds
of the grid. This makes the viewer
lose interest, as nothing draws Missed
their eye around the image.
the point
Sometimes it can all go
horribly wrong
This composition demonstrates how
Position The car misuse of the Rule of Thirds can be
clumsily straddles two
central parts of the very unsuccessful. The main ‘action’ all
grid, while its over-the- takes place in one section and the use of
shoulder viewpoint is dull space does nothing to encourage the
and looks lifeless. eye to take in the rest of the space. The
sky is not used at all, and the
background overwhelms any sense of
depth or action. There is nowhere for the
viewer’s eye to travel to relieve the
monotony of this flat scene, and the
centralised vanishing point and over-the-
shoulder view of the car make the scene
look static. The viewer is unsure whether
the car is moving or parked, so there’s no
sense of visual dynamism either.

Right on target Applying the correct principles makes all the difference
The composition below clearly over the picture space. Significant speed and chase – and therefore Dynamism
demonstrates the ‘correct’ and elements are emphasised through the the composition has succeeded Use the grid to
work out the right
aesthetically pleasing use of the Rule use of scale, colour and dramatic in conveying the meaning of perspective and
of Thirds. It directs the viewer to travel all perspective. It is clear that the subject is the image. positioning

Perspective The angle of

the car makes the rear wheel
and driver’s seat sit neatly on an
intersection of the grid, drawing the
eye down from the cars in front.

Pole position The two cars

in front give more sense of the
scene. Note how they’re placed
on either side of one of the grid
lines instead of in the centre.

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 Creative 101 Drawing 101: The Rule of Thirds

Tool tip
Check that you
r grid

Point – counterpoint
has perfect righ
angles by usin t
square or protrg a set
ac
as well as a ruletor
r
We’ve looked at the basic sense of composition. Now we’ll look at a
more challenging idea of creating harmony with opposing elements
Counterpoint composition is a attempt creating a pleasing harmony and effective dynamic can be created by
personal, spontaneous reaction to the from opposing or contrasting elements aligning your main subjects near to or
picture space and can be a helpful such as tones, colour or location, upon these points. Think carefully about
concept to keep in the back of your consider this method of composition, breaking down the objects so they relate,
mind for more experimental results. which is safely built into the structure of showing a sense of scale, and perhaps
Don’t forget that rules are meant to be the Rule of Thirds. leaving one simply as space.
broken, so assess each image or scene Consider the grid on its own, note the Counter- This technique can be applied to the
to ensure your chosen compositional nine squares and within them note the point immediacy of photography (and is very
Opposing
technique is going to be effective. If four intersections where the corners of colours create popular) or to the imagined juxtaposition
you’re not feeling confident enough yet to the squares meet. A very even, balanced emphasis of collaged subjects like mine.

Contrast This area is

a great example of how
contrast – the difference in
a range of tonal values from
dark to light – can emphasise
a compositional dynamic.

Colour Here counterpoint is

achieved by the differentials in
terms of colours. Complementary
colours can do this very effectively
too. Here the blue acts in harmony
with the creamy orange.

Angles The contrasting angles in this image

are probably the most obvious examples of the
counterpoint principle of difference creating
harmony. The determined vertical of the windmill
enhances the horizontal stalk of the wolf.

Create a Rule of Thirds grid

Carefully measure the sides of your mark in pencil where these divisions
picture space. It’s not absolutely would occur. Then check with your ruler
Rule of crucial to use an A4, A5 proportion (before you draw them in) that you have
Thirds for the rectangle – any size can be straight lines; you can use a set square if
Divide your
paper into divided into nine easily. Divide each in doubt. Finally, draw them in lightly with
rectangles side measurement by three and carefully an H pencil so they are easy to remove.

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 Drawing 101 Creative 101

Portrait format
The Rule of Thirds can be applied
very successfully to a portrait format
image. Apply the same principles of
composition as we discussed with a
landscape image, page 94. First
consider how you want your viewer to
read the image. Is there a significant
element that will need emphasis, such as
the wolf? Bring it to the foreground. Then
allow the eye to travel down the road to
the next part of the story – the man and
the windmill, juxtaposed behind the
dominant image of the wolf. Plenty of
space in the right-hand quarter creates a
sense of distance and allows the windmill
to be clearly seen. Do not be afraid to
take asymmetrical risks in your
composition: it can lend mystery and
intrigue to what could so easily be an
average, boring composition. The
unusual is often more eye-catching.

The Golden Mean

The Golden Mean is also known as When any line is divided by the Golden
the Golden Section, or Golden Ratio, Mean (it can help to think ratio here), the
which explains the concept even larger part will have the same
better. The Golden Triangle and Golden proportional relationship to the whole as Golden
Rectangle are also products of this the small part does to it. Take a look at Mean
mathematical, geometric measure or classical architecture, particularly Greek The angles
here share
proportion. It reflects a repeated or temples, to see the principle in action. It a spatial
eternal relationship between two lengths. creates a sense of visual harmony. relationship

Portrait
format Divine
Exactly the
same as
landscape,
Proportion
just flipped!
The Golden Mean was seen as a
visual expression of natural, spiritual
and aesthetic harmony. Found in
Renaissance Italy, it can be seen in many
architectural, painted and sculptural
designs. The Renaissance’s greatest
motivation was to express the ideal to
reflect perfection, and they found this in
Divine the Divine Proportion. It can be seen in
Proportion all sorts of natural organisms, be they
This spiral
draws the eye vegetable, mineral or animal. Thus they
deeper in believed this was a planned natural motif.

Next issue
To continue this theme of using a
In our next lesson we’ll look at
figurative composition
theatrical compositional imaginations of the
mathematical or geometrical shape upon Classical Old Masters. We will look at the
which to hang and structure the picture arrangements and uses of:
space, next month we will look at hidden
geometry. The simplest shapes have been
01 Isosceles 02 Trapezoids
adapted to contrive and symbolise various
03 Scalene triangles 04 Curves
spatial relationships between buildings, We’ll investigate the potential of these shapes,
landscape and people in the perfected remembering the principles learnt so far.

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 Photoshop
lighting effects
Learn
to create all
this artwork
inside…

Dramatic skies

Draw from photos

in Illustrator

Anne Pogoda teaches you the

fundamentals of creating realistic and © Imagine Publishing Ltd
engaging portraits No unauthorised copying or distribution
Paint flawless portraits

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