Editor’s letter

to something different
This issue is a celebration of the unique.
The quirky. We’re in the thrall of artists
who take the road less travelled – perhaps
they work with a well-versed genre,
painting style or technique and add their
own fresh spin. It doesn’t have to be a
huge sweeping change. Take our cover
artist Han-Yuan Yu. By adding in
beautifully detailed Taiwanese aboriginal costumes, he’s given his
manga art a distinct look that’s unmistakably his own.
Elsewhere in the issue, Christopher Moeller’s workshop takes a
different direction. While most comic art is now created digitally,
Christopher is going against the tide by painting comics in a
traditional way (page 106). He also reveals some great brush tips and
advice on using acrylics – ideal for those taking their first steps
traditionally. Artist Serge Kolesov paints a mermaid from a
breathtaking new perspective (page 64), and the internet-shy Wayne
Reynolds tells us how he turned a boring art job into something fun
by putting in a few surprising elements (page 42). There’s even a
workshop on how to use Photoshop in a new way by animating your
art (page 72), and a beautiful traditional FXPosé submission where
the artist adds gold leaf to her paintings (page 100).
So, what I want to know is, how do you breathe new life into your
art? What do you sprinkle on your work that gives it that edge? What
do you add to your art that makes it definitely yours? I’d love to see
what you’re painting. Let us know.

Our special cover for

subscribers this issue.
Claire Howlett, Editor
claire@imaginefx.com

Contact us
Email: mail@imaginefx.com Tel: +44 (0) 1225 442244
Art submissions: fxpose@imaginefx.com
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@imaginefx www.facebook.com/imaginefx

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Subscribe and save! See page 32.

April 2014 3
 Now you can read the digital version of ImagineFX
on a range of devices! Find out more on page 32

Contents
FXPosé
8 Reader FXPosé
This month’s artwork includes
42

a female warrior, the undead, a

Disney antagonist, X-Men, sci-fi
insects, faeries, an ice queen
and a man with a wolf’s head.

ImagineNation
20 Spectrum Fantastic
Art Live 3
SFAL 3 is attracting artists to
Kansas City from all over,
including Wayne Douglas
Barlowe and Frank Cho. We
talk to Greg Manchess about
the event’s continued success.

28 Forum winners See page 8 for the best new art

30 Letters
34 Artist Q&A
34
Features
42 Master of art
Wayne Reynold’s love of fantasy
has served him well throughout
his career – all the way from
pub signs to his own art book. “I spent a lot of time in worlds
48 Sketchbook that never were”
Scribbling in it between Fantasy and comics artist Wayne Reynolds
Q&A: an alien family
the artist’s international
exhibitions, Fernando Forero’s
sketchbook is crammed full of 48 38 39
his elegant pencil work.

52 Studio profile
KARAKTER, the team behind
some of Game of Thrones’ most
memorable scenes, create
ambitious virtual worlds,
built on style and substance.

Reviews Sketchbook: Fernando Forero Q&A: fur Q&A: dreadlocks

90 Hardware
94 Books 20 26 40
97 Training

Regulars
3 Editor’s letter
6 Resources
32 Subscribe today
63 Back issues Spectrum Live Lindsey Look’s studio Q&A: jumping
82 Next month

4 April 2014
 Issue 107 April 2014
Download resources Turn over the page for
this issue’s art assets

Workshops 58
Advice and techniques
from pro artists…
58 Six key steps
to manga magic
Han-Yuan Yu creates a
manga-style mystic.

64 Adopt an unusual
angle in your art
Sergey Kolesov captures
an extraordinary image.

66 Kick-start
your manga art!
Grab attention from a
distance, with Genzoman.

72 Animate your
digital paintings
Paul Tysall introduces
Photoshop’s motion tools.

76 Depict a classic
male manga face
Cris Delara creates a
charismatic visage.

80 Improve your
comic lettering
PJ Holden spells it out for
you in Manga Studio.

84 Tell a story
with an image
Crowgod on creating art Paint a manga magic mystic
for Legend of the Cryptids.

104 114

Inspiration and advice from

the best traditional artists
Subway Sketching
100 FXPosé Traditional
104 Creative Space
Subway Sketching: Toronto. 112
106 Paint comics
With Christopher Moeller.
112 Anatomy advice
Chris Legaspi draws a head.
114 First Impressions
We talk to Patrick J Jones.

106
Drawing heads Patrick J Jones

April 2014 5
Comics
 Resources

Resources
Getting your hands on all of this issue’s essential over
resources is just a few clicks away. Just go to our 13 hours
dedicated web page at http://ifxm.ag/cool107manga of workshop an
Q&A video to d
watch and
Cover video learn from!

Six steps to
magic manga
Watch and learn how to paint a
magical manga lady in Taiwanese
aboriginal clothing, guided by Han-
Yuan Yu and his Noble Six-Fold Path.
Plus WIPS and brushes

how to get
your files
How to find the video and
workshop files in three
simple steps…

1 Go to the website
Type this into your browser’s address
bar: http://ifxm.ag/cool107manga.

2 Find the files you want

Search through the list of resources
to watch or download.

3 Download what you need

Click the asset download button
or watch the videos online!

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6 April 2014
 Issue 107 April 2014

Exclusive video tuition!

Watch our videos to gain a unique insight into how our artists create their stunning art

WORKSHOP videos

Paul Tysall Cris Delara Christopher Moeller

Use Photoshop’s range of motion tools Learn how to depict a charismatic male Find out the traditional media techniques
to animate your digital paintings. face with a touch of the manga style. needed to create a page from a comic.
Plus WIPs and final image Plus WIPS, final image and brushes Plus WIPs and final image

video sample Q&A videos

Dominic Qwek Peter Stapleton Therese Larsson

View a clip from Realistic Skin with How to keep the anatomy correct when Discover how to paint a realistic and
ZBrush and KeyShot, where the artist depicting someone’s legs buckling. “multi-coloured” version of a grey wolf.
brings characters to life layer by layer. Plus WIPs and final image Plus final image

Tony Foti Pacco Rico Torres Viktoria Gavrilenko

From smouldering cigars to forest fires, Learn effective artistic tricks for painting Use shadows to add depth and a three-
learn to depict different types of smoke. realistic-looking dreadlocks. dimensional appearance to your paintings.
Plus final image Plus final image Plus final image

PLUS Videos on effective techniques for painting light glowing through fur as well as “tasty” but realistic molten metal, accompanied
by WIPS and final artwork from Therese Larsson and Peter Stapleton, and WIPs and final artwork from this month’s workshop artists.

9 CUSTOM BRUSHES, including…

smoothly blur brush spatter 14 pixels sampled brush 5 5
B.c.N.y. applies this to the Smudge Cris Delara uses this brush to Crowgod’s Legend of the Cryptids
tool for smoothly blending colours. quickly create natural-looking hair. image benefited from this brush.

April 2014 7
the place to share your digital art

Murat Turan
Location: Turkey
1
Web: www.designtu.deviantart.com
Email: designtu@hotmail.com
Software: Photoshop

Murat creates art that blurs

the line between fact and
fiction, a fusion between
what he observes and what
he imagines.
“Nature is a big inspiration,” Murat
says, “and I also enjoy depicting my
dreams. I’m an avid fan of cinema and
music. All of these elements find their
way into my work.”
The freelancer from Ankara is an art
graduate, but digitally he’s completely
self-taught. He’s worked in everything
from animation and video games, to
book illustrations and album covers. It’s
from his personal work, however, he
takes the most pleasure.
“I mostly create surrealistic fantasy
and minimalist work for myself, without
worrying much about selling them.
I take pride in following my passions
and spending time honing my craft.”

1 Secret Way “This picture was

inspired by Jack and the Beanstalk.
When I was child, I wanted to go into the
sky. So I drew it. The character finds
rabbits in the sky’s cloud plant. I was
keen to create a strange atmosphere.”

2 A journey to the tale “I wanted

to paint an intense scene in this
picture. It’s about a little boy and his
friend Bruin escaping from monsters
on a fairytale journey, in which they ran
into in the secret forest. It was really
fun working on this piece.”

Artist of the month

Congratulations Murat – you’ve won
yourself a copy of Exposé 11 and
d’artiste: Character Design! To find out
more about these two great books, go
to www.ballisticpublishing.com.

8 April 2014 FXPosé submissions to: fxpose@imaginefx.com

 2

Illustrator Corey Godbey likes the tone that

Murat’s achieved in A Journey to the Tale
“It’s certainly an atmospheric piece, yet
I’m drawn to the area of strongest contrast
– the tall creature’s face; not the main
‘story’ of the piece, the kid and bear.”

FXPosé submissions to: fxpose@imaginefx.com April 2014 9

 Jerico Inanuran
Location: Philippines
1
Web: www.artofjeks.com
Email: jerico_inanuran@artofjeks.com
Software: Photoshop

Jerico plies his trade as a

2D artist at Filipino
company Ladyluck Digital
Media, specialising in game
art services for publishers
like Electronic Arts, Activision and
Ubisoft. “Once I get home,” he explains,
“I start my hobby as an illustrator, and
get to draw whatever I want.”
This freedom sees the artist turn his
hand to everything from warrior queens
to twisted visions of the Disney
princesses. “My illustrations start from
greyscale sketches,” Jerico says.
“Usually I draw on a black background
in order to create the right lighting,
adding details such as textures and
finally application of colours.”

1 Bellator “This is my first character

design. I was inspired by brave
warrior girls I found on the internet. The
character began as a queen with flowers
and lots of colour, but it ended up as a
warrior. I wasn’t expecting that. The
term Bellator means warrior.”

2 Coldhands “I’m a fan of Game of

Thrones. I read the books’ Wiki page
and became interested on the undead
characters. I saw a warrior and was
inspired to paint him.”

3 Maleficent “I always see fan art of

Disney princesses, and I wanted to
try something different. I illustrated
a powerful antagonist in a cartoon style,
at the same time maintaining the dark
feel of her aura.”

2 3

IMAGINEFX CRIT
“Sometimes it’s the
bad guys who come
out on top, and
while the heroic Bellator
hits all the right notes,
I’m drawn to Jerico’s
striking take on Disney’s
Maleficent. The mad-
looking crow completes
the dastardly duo.”
Cliff Hope,
Operations Editor

10 April 2014 FXPosé submissions to: fxpose@imaginefx.com

 1 Tey Bartolome
Location: Philippines
Web: www.teygraphy.cghub.com
Email: teybartolome@gmail.com
Software: Photoshop

Tey is leaving electrical

engineering to pursue his
dream of being an artist.
Based in Manila, he’s
immersing himself in both
local and online art communities.
“I join every art group I can find, and
follow every artist I admire online. I’ve
learned so much just by watching them
work and asking questions.”

1 Clamara and Teyto “This piece is

about a knight and a princess. They’ve
escaped from a cave and want to return
to a place of safety.”

2 Samurai Time “This private

commission was for a fantasy
illustration. I wasn’t given specifics so
I painted something new to me: a
samurai. It was supposed to be a knight,
but then I changed my mind.”

3 We are Back “The same knight and

princess have returned to their
castle. The character design and painting
style changed, but not drastically. This is
because I wanted to create an image
using every technique at my disposal.”

FXPosé submissions to: fxpose@imaginefx.com April 2014 11

 Dmitriy Eremenkov 1
Location: Russia
Web: http://ifxm.ag/wasteland3d
Email: 3dwasteland@gmail.com
Software: Vue, 3ds Max, Photoshop

Russian digital artist

Dmitriy works in game
development – an industry
that he says enables him to
indulge his love of “natural,
dynamic sci-fi environments.”
Under the moniker Wasteland-3D,
Dmitriy creates expansive worlds
characterised by his flair for lighting. His
work often depicts futuristic landscapes
juxtaposed with natural elements, forces
of nature such as meteor showers,
thunder storms and tornadoes.
The Russian’s work benefits from
multiple viewings, too, with elements
crucial to the story often hidden or
partially obscured.

2 3

12 April 2014 FXPosé submissions to: fxpose@imaginefx.com

 IMAGINEFX CRIT
“Dmitriy really
captures a dramatic
navy disaster. Using
a monochrome feel and
small ships exaggerates
the force of nature and
magnitude of the weather.
I like how the use of space
and swirls leads your eye
around the painting.”
Daniel Vincent,
Art Editor

1 Cataclysm “In this piece, a new

climate weapon was created. In a
little bay, the navy and scientists began
experiments to control the weather. But
something goes wrong… If you look
closely, there’s a helicopter in the left
bottom corner and a cruiser just to the
right of the whirlpool. In a few seconds
it’ll fall into the hole. Hell yeah!”

2 Waterfall Valley “This was

created using Vue, and the piece
was a finalist in the Vue 3D Environment
Competition in 2011, which I’m very
proud of.”

3 Babylon tower “The religious

inhabitants of the planet Sear II
constructed the Babylon tower to help
them find God. But thanks to its huge
deposits of minerals, an asteroid belt is
about to be explored…”

FXPosé submissions to: fxpose@imaginefx.com April 2014 13

 Josh Mills
Location: US
1
Web: www.comicbookculture.com
Email: artistjoshmills@gmail.com
Software: Photoshop

Inspired by his childhood

heroes Todd McFarlane,
Jim Lee and Greg Capullo,
Josh recently returned to
school to study visual and
performing arts at the University of
Colorado, Colorado Springs. While he’s
embraced digital art, Josh still enjoys
exploring more traditional techniques.
“My art is a reflection of what
interests me,” he says, “namely comics.
Whether using a Wacom tablet or
traditional comic tools, I like to explore
the various ways that artists can develop
the form.”
While working a day job, Todd is a
busy freelancer by night, which has
taught him an important lesson: “Draw
what you like,” he says, “not what you
think others will like.”

IMAGINEFX CRIT
“The action and
drama of Josh’s
Witcher is so much
fun to see. The mass of
alien bodies behind bring
the hero to the fore, and
it’s cool that this is a pin-
up piece. I’d love to see his
take on horror art!” 3
Beren Neale,
Digital Editor

1 Witcher “There was a contest on

deviantART some time ago for the
Witcher game, and contestants were
tasked with making a pin-up. I had some
time on my hands and it looked fun. I
didn’t win, but it was fun nevertheless.”

2 Steamroma Splash Page “This

is a page from the book I’m working
on called SteamRoma for Glenn Palmer.
This is one of the coolest books I’ve
been fortunate enough to work on. It
has a lot of historical reference
requirements, which I like.”

3 Astonishing X-Men “This

work was done for Marvel Comics
as a submission. I worked off a script
© Steamroma

they sent me. I drew this page in about

six hours using reference as needed.
I like playing with varying shading
techniques. I kept the page very rough.”

14 April 2014 FXPosé submissions to: fxpose@imaginefx.com

 1 Amélie Hutt
Location: US
Web: www.smirtouille.com
Email: smirtouille@gmail.com
Software: Photoshop

Amélie describes herself as

a “strange Belgo-French-
Amerithing dozing from
one world to another,”
having left her native
Belgium to pursue a career in the
creative industries. From illustrations
and graphic art, to concept art and
character design, and even writing,
there isn’t much that Amélie can’t turn
her hand to.
“The majority of my work comes from
imagination,” she says, “using little or no
references unless it can substantially
enhance its liveliness and credibility.”
Amélie’s artwork is all digital, her
tools of choice being Photoshop and a
Wacom Intuos3. She creates her own
custom brushes to achieve the effects or
textures she imagines.
“I seek to use my imagination and
varied interests,” she adds, “to create
concepts that will challenge social and
cultural conventions.”

IMAGINEFX CRIT
“You can see
Amélie’s many and
varied influences in
her work. But painting
without reference means
2 each piece has a really
unique feel, with lots of
interesting stuff going on
beneath the surface. An
artist to keep an eye on.”
Gary Evans,
Staff Writer

1 Off My Chest “This digital

illustration was created for
SlashTHREE Exhibition 16: New Era and
published in an artbook of the same
name, art directed by Saad Moosajee
and Diego L Rodriguez.”

2 Repossession “This is another

Digital illustration for SlashTHREE,
this time for exhibition 20. SlashTHREE
is a non-profit art collective that
organises exhibitions and online books.
The collective is invitation-only, but
anyone can apply.”

FXPosé submissions to: fxpose@imaginefx.com April 2014 15

 Abe Taraky
Location: Canada
1
Web: www.abetaraky.blogspot.ca
Email: abetaraky@gmail.com
Software: Photoshop

Abe’s work is nothing if not

ambitious. Not only does
his portfolio look to
incorporate as many
different techniques as
possible, but each piece is also hung
on a “unique idea and story”.
The Quebecer, who produces art for
the game, film and animation industries,
works exclusively in digital software –
although he’s recently reintroduced
pencil sketching to his daily routine and,
when he has time, he cracks out the oils,
watercolours and pastels.
It’s this adaptability that Abe values
most: “In my own work I try to be very
flexible about which styles I can paint.
The goal is to be able to paint anything
the client asks for, right?”

IMAGINEFX CRIT
“I love it. Upon
seeing one piece of
work from an artist,
I can quickly zoom out
in my mind’s eye and
visualise the world setting
that they’ve only hinted at
in the scene. Such is the
case with Abe’s A Duel of
Wits. It’s a cracking piece!”
Cliff Hope,
Operations Editor

2 3

1 A duel of wits “For this piece I

wanted to show the aftermath of a
duel between two gentlemen. To add
a bit of humour, I made the victor bow
while being equipped with a Tesla-coil-
powered fusion rifle. A dramatic camera
angle and the addition of a crowd add
intensity to the piece.”

2 Mantis “I was researching insects

and was fascinated by the preying
mantis’s head. The colours and lighting
in the piece were specifically chosen to
mimic the exotic and mysterious
qualities of the insect.”

3 The Baron and the Vagabond

“This is a poster that I did for a
stylised short film project that has yet
to be released. I was very eager to
participate in this project as it motivated
me to adapt and work in a new style.
The focus here was contrasting shapes.”

16 April 2014 FXPosé submissions to: fxpose@imaginefx.com

 1 Irina French
Location: England
Web: www.ameryn.deviantart.com
Email: irina@mustang.plus.com
Software: Photoshop

Mother by day and artist by

night, Irina French enjoys
painting female portraits.
Her aim is to create
“emotional and symbolic
scenes,” art that hints at a narrative that
runs deeper than images we see. While
her work began in traditional media,
Irina was attracted to the flexibility
digital art offers.
“I began by drawing pencil portraits,”
she says, “but after discovering digital
art became determined to make this
medium my prime choice. I love the
freedom of working in Photoshop and
the endless possibilities of digital
painting, and aspire to become a full-
2 time professional digital illustrator.”

1 Summer’s Goodbye “The faerie

represents summer, nature and life.
She is uneasy when she finds a dead
butterfly, when the life around her is
so vibrant – a sign of what is to come.
How sad it is that no season, no living
creature, in fact nothing, lasts forever.”

2 Bride “I painted this portrait as a

wedding present for my friend,
aiming to depict a beautiful young bride
on a very important day of her life with
so much ahead. Perhaps she’s taking
one last look in the mirror before she
walks down the aisle. I loved working on
the detail of the facial features, sparkling
jewellery and soft veil.”

3 Winter’s Temptation “The cold,

reserved Ice Queen is intrigued by
the warm glowing fire she encounters.
Tempted by her curiosity, she reaches
to explore the new sensations only to
find this destructive, as her icy fingers
begin to melt. I aimed to create a lot of
contrast through the colour scheme.”

FXPosé submissions to: fxpose@imaginefx.com April 2014 17

 Eva Maria Toker 1
Location: Canada
Web: www.evamariatoker.com
Email: evamariatoker@gmail.com
Software: Photoshop

Eva’s art is characterised

by a willingness to learn
and explore new
techniques. Whether
commissioned work or
personal pieces, every new painting is
designed to test and hone her skills.
The Vancouver-based artist likes
to begin with a selection of rough
thumbnail sketches, often on paper.
When she has something she’s happy
with, drawings are scaled and work can
begin in Photoshop. “Once I have a
good block of my ideas and colours in,”
Eva says, “I bring in references to help
me fix mistakes or add in details.”
Eva says posting her work online is
central to her development as an artist.
She takes on board all critiques. “This
step is very important,” she says. “I
always consider suggested fixes.”

2
IMAGINEFX CRIT
“Whether creating
a striking fantasy
environment or
an intimate character
portrait, it’s clear that
Eva is capable of turning
her hand to a range of
composition styles. That’s
a valuable skill in today’s
competitive art market.”
Claire Howlett,
Editor

18 April 2014 FXPosé submissions to: fxpose@imaginefx.com

 3

4 1 The White Cloak “In this image

I wanted to push my visual narrative
skills. It went through a long stretch of
‘ugly time’, when I didn’t like where it
was going, but I kept working on it, and
in the end I learned a lot from it.
Depicting a scene with a mirror without
proper reference isn’t an easy task. Next
time I’ll take some photos first!”

2 Impstinger “This is part of a

poster I’m working on for a client
who’s running an awesome D&D
campaign based on the Iomandra
world setting. I had to do quite a bit
of research on ships for this, which was
really fun. I had to make sure that the
composition would still work when the
other poster elements – logos,
characters, maps – are added in, but
at the same time I wanted the image
to be able to stand alone.”

3 Beyond The Wall “I’m a big

Game of Thrones fan. This picture
started out as an environment sketch,
but I couldn’t resist adding the Game
of Thrones characters. And I think the
small burst of orange works well within
the composition.”

4 King of the Wolves “This is

based on Frank Dicksee’s Cleopatra,
but I added a bit of a Red Wedding
(from Game of Thrones) theme to it.
I wanted to keep it very idealised and
romanticised, and just have subtle hints
to the violence of the Game of Thrones
narrative. Chris Oatley’s Fancy Animals
assignment for his Magic Box course is
what originally sparked this project.”

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art to fxposé
Send up to five pieces of your
work, along with their titles, an
explanation of your techniques, a
photo of yourself and contact
details. Images should be sent as
300DPI JPEG files.

Email: fxpose@imaginefx.com
(maximum 1MB per image)

Post: (CD or DVD):

FXPosé
ImagineFX
30 Monmouth Street
Bath
BA1 2BW, UK

All artwork is submitted on the

basis of a non-exclusive
worldwide licence to publish, both
in print and electronically.

FXPosé submissions to: fxpose@imaginefx.com April 2014 19

 Artist news, software events

At the core of the fantasy art community

American illustrator Gregory

Manchess has been involved with
Spectrum Live since the beginning.

Spectrum Gregory Manchess and Irene Gallo had

curated Spectrum’s first exhibition at New

Fantastic Art
York’s Museum of American Illustration back
in 2005. But as Cathy and Arnie explain,
it was Bob Self at Baby Tattoo Books who
provided the impetus to take things to
the next level.
“Bob had been doing Baby Tattooville,

LIV
the first intimate convention for collectors

E
to spend time with artists, and he believed
Body of work Now in its third year, SFAL is again something larger and more inclusive was
set to attract artists worldwide to Kansas City – possible with a Spectrum event,” says Cathy.

and it promises to be better than ever! “So we got together with Bob to make it
happen, along with a group of friends and
volunteers including Carl Anderson,
Back in 1993, Cathy and Arnie Amanda Banion, Arlo Burnett, Jim Fallone,
Fenner established the John Fleskes, Lazarus Potter, Jeff Smith
Spectrum Annual, offering and Shena Wolf.”
creators of fantasy, sci-fi “We wanted to expand on the sense of
and horror art a regular community associated with the Spectrum
showcasing platform. A phenomenal Annual,” continues Arnie. “We felt the best
response to their first Call For Entries led way to do that was to provide a venue free
to a full-colour book, Spectrum 1, the of prejudice and elitism, where everyone
following year – and another has been was welcome, and which didn’t come with
released each year since. a high price tag. We’ve always believed that
Almost 20 years later, the first live event, the health of the fantastic art field relies on
Spectrum Fantastic Art Live (SFAL), quickly attracting more people to talk about it in a
established itself as a must-attend fixture for positive atmosphere, to purchase art and
creators and aficionados alike. A simple goal ultimately to become patrons.”
Comics art legend Frank Cho (who drew the above) is one of several great
was at its core: to grow the market for, and As it enters its third year, Spectrum
artists confirmed for Spectrum Fantasy Art Live 3, held in Kansas this May. appreciation of, fantastic art. Fantastic Art Live boasts an impressive haul

20 April 2014
 back in Full of having a
vogue dredd good look
Games artist Michael Comics artist RM Guéra American fantasy
Winterbauer created talks about the illustrator Lindsey Look
covers for cult-classic challenges of painting a cheerily opens the door
games back in the day. geriatric Judge Dredd. to her new studio to let
Now his art is finding a The superhero is us have a little peek
new audience among depicted in his 70s in a about at where the
retro gamers. new 2000 AD release. magic happens.
Page 24 Page 25 Page 26

Industry insight
Gregory
Manchess
On why SFAL has become
“the Sundance of illustration”

You helped curate Spectrum’s

first exhibition in 2005. Did you
ever think it would grow so big?
Actually, I entered my work into the
very first Spectrum Call for Entries
in the early 90s. So frankly, no,
I didn’t think back then that it
might get as big and beautiful and
competitive as it is now. By the time
Irene Gallo and I curated the show
in 2005, Spectrum had changed the
entire field for the better.
Why will SFAL 3 be special?
Spectrum Live entices and attracts
Does my bum look wondrous in this? Another Frank professionals from all over the art
Cho classic. Artists can learn from him at SFAL 3.
market – artists certainly, but art
Irene Gallo and Orbit’s Lauren Panepinto directors, film makers, gallery
are arranging some unmissable meet-up owners, animators and fine artists
opportunities with art directors from the too. It’s pros talking to pros, sharing
worlds of publishing, gaming and ideas and studying potential
entertainment. If that’s not enough, you projects. Without those artists,
could visit one of The Art Department’s gaming, film, publishing and
late-night life-drawing sessions and sketch comics would all be entirely
of special guests from all corners of the Wayne Barlowe, models side-by-side with the likes of Mark useless. This thing is going to grow
who has numerous into another place that people will
fantasy art world. There’s Wayne Barlowe, big-budget film credits English, Anita Kunz and Jon Foster.
whose creature design and concept art to his name – as well as The president of Flesk Publications want to make sure they attend –
this witty painting – will like Sundance. People thought
credits include Hellboy, Avatar, The Hobbit also be at SFAL 3. and director of the Spectrum Annuals,
and Pacific Rim; designer and sculptor Tim John Fleskes, will also be Robert Redford was crazy to get
Bruckner, who has created toys for the likes taking a hands-on role at this pros out of Hollywood, to Utah,
of DC Direct, Mattel and Hasbro; and comic year’s event, having played to talk about film. But that’s exactly
artist Frank Cho, whose work for the Mighty more of a background support what allowed those professionals
Avengers, Ultimate Spider-Man and Hulk role in the first two. to relax and get away from the fray
needs little introduction. “Our goal is to honour the artists and put to think about and discuss ideas.
Also paying Kansas City a visit in May is on a fantasy art convention that anyone is Who are you most looking
artist and graphic novelist Camilla d’Errico, forward to seeing at SFAL?
best-known for her self-published comic
Tanpopo. Justin Sweet will be there too; his
 Our goal is to honour I have many artist friends in this

clients include Walt Disney Studios, Wizards the artists and put on an field, from all over the world. I’m
excited to see the ones I don’t get to
of the Coast and Dark Horse Comics, and he
concepted for The Chronicles of Narnia, event that anyone is welcome talk with most of the year. We share
our thoughts, help each other
Snow White and the Huntsman, The
Avengers and many more fantasy movies.
to attend and enjoy express ideas or solve visual and
technical problems. New artists are
welcome to attend and enjoy,” he explains. gradually pulled into that circle,
fine-tuning the event “Fortunately, the Fenners got the ball rolling and the community widens in a
There are a few improvements in store for and had 20 years to build the Spectrum galaxial radius with a black-hole
the rest of the event: “We’re fine-tuning our name, so the momentum was already in centre that attracts us all back
programming to provide more focus and place. Starting a show from scratch without again. Put simply, creatives love
less overlap,” Cathy reveals. “It’ll have more a reputable name attached would be much being around other creatives.
of an educational approach, with various more difficult.”
panels and workshops to help students and Of course, the biggest convention in the The multi-award winning
professionals advance their skills and find States to cater to fantastic artists is San
American illustrator’s work
has appeared right across
new job opportunities.” Diego Comic-Con, which attracts a crowd of US popular culture.
Fascinating demos of both traditional and 120,000 each year. “But there are over 350
www.manchess.com
digital art are on the schedule, while Tor’s million people in this country, and only a

April 2014 21
 ImagineNation News
Musician, co-author,
designer, sculptor
and former
apprentice jeweller,
Tim Bruckner is
another top artist
appearing at SFAL 3.

Walt Disney and Wizards of the Coast artist Justin

Sweet is another on SFAL 3’s illustrious roster.

tiny percentage can ever — will ever —

attend the Con,” Arnie points out. “What
about everyone else? What
about the people who want to
come and talk and shop, but
can’t?” Testament to their
passion for both the craft and
the community is the Fenner’s refusal to
consider any other shows as rivals to SFAL.
As far as they’re concerned, the more the
merrier. “We think there should be more art
events, not fewer,” confirms Arnie. “There
are sci-fi and pop culture shows literally
every week of the year. The artists deserve
more than a couple of events in which they
get to be the centre of attention.” anywhere near its potential,” says Cathy. “If
we do our job right, SFAL will be successful
Bigger platform not only for us, but for the exhibitors and
For the Fenners, the solution was to broaden attendees. And that’s all that matters.”
the field and give artists a bigger platform John Fleskes is excited about the
from which to showcase and sell their work, opportunities for emerging talent at the A striking composition our future professionals,” he says, “and we
by Gregory Manchess.
bringing the fantastic art community to event’s artist tables, which are deliberately The artist has labelled
love the idea of making them feel welcome.”
Kansas City for three days of inspiration, fun priced at an affordable level to provide the SFAL the “Sundance Best of all, every exhibitor booth at SFAL
of illustration”.
and incredible artwork each year. “We don’t all-important showcasing platform that is reserved for artists: “Comic shows are the
believe the market for fantastic art is Spectrum has always stood for. “These are dominant events out there, and they often
feature pop culture, TV and film

At SFAL inspiration abounds, personalities while pushing the artists into

a corner,” laments John. “We keep our focus
relationships are born, memories are
Another (Justin) Sweet
piece of work. The on the artists, and don’t judge people by
American is equally
their tools or their style. We’re looking for
made and art lives change talented at digital
and traditional art. an eclectic and odd bunch.”

devoted attendee
To understand the impact that SFAL has for
the fantastic art community, you only need
to speak to a devoted
attendee. Having exhibited at
both previous SFAL events,
John Picacio has 9–11 May
2014 ringed in his calendar.
“It’s the kind of event that artists dream
about,” says the Texan, who has a World
Fantasy Award, two Hugo Awards, a Locus
Award, five Chesley Awards and two
International Horror Guild Awards under his
belt – not to mention cover art for Star Trek
and X-Men, and a calendar for George RR
Martin’s A Song of Ice and Fire.
“I see a lot of big tent events where stuff
is bought and sold, but precious few where
inspiration abounds, relationships are born,
memories are made, and art lives change,”
says John. “SFAL really is the right event at
the right time for our field, and I wouldn’t
miss it for the world.”
Learn more about this year’s SFAL at
www.spectrumfantasticartlive.com.

22 April 2014
 Artist news, software & events

WINNER!
A pensive portrait by
Henryk Kajkowski, who Patrick Suin’s winning
earns an honourable sketch took just 90
mention for this skilled seconds to complete.
piece of line work.

Speed and style from

one of our runners-up,
Debbi Garrington.

Gone in 100 seconds

Swift sketch Speed drawing tips from the contest
winner who lands a star-studded Moleskine
A Japan-obsessed, horror- red book has toured the world, stopping at
loving artist from Ontario the likes of Spectrum Live and San Diego
has won our 100-second Comic-Con, picking up drawings by Justin
sketching competition. Gerard, John Picacio, Donato Giancola and
A graduate of Toronto’s more along the way.
OCAD University, Patrick Suin’s winning How did Patrick master the fine art of
entry (see right) is a beautiful, elegant and speed sketching? “Repetition,” he says.
understated portrait. And he managed to “Never stop drawing. You need to keep
shave 10 seconds off the allotted time. practising and gradually get yourself to the
“I was really interested in Alvin Lee’s point where what you’re drawing almost
style,” Patrick says, “how effortlessly he comes naturally. Only then will your skill and
seemed to draw these striking eyes and speed match your ambitions.”
open, pouting lips. These were things I had The competition took place back in
been mimicking, trying to get that
combination of intense and sultry
expressions into my own characters.”
October to celebrate our 100th issue. The
runners-up are Debbi Garrington, Henryk
Kajkowski and Pablo Polanco.
PRIZE!
Patrick’s prize is a Moleskine full of To see more from competition winner
sketches by our favourite artists. Our little Patrick, visit www.hexadecimal.ca.

ne
Runner-up Pablo Polanco Patrick wins this Moleski
our
managed considerable full of sketches from
detail in 100 seconds. favourite artists.

April 2014 23
 ImagineNation News
Hatboy
by Vaughn Pinpin

Your art news that’s

grabbed our attention
Enrique Rivera
(@3nrique06)
“Another study. Based
on a screenshot from that
neat Skull Kid fan film.”
http://ifxm.ag/enrique-rivera

Ian McQue
(@ianmcque)
“Sketchbook: birch
tree study.”
http://ifxm.ag/ian-mcQue
Fantasy talk Explaining the inexplicable
“I’m fairly slow to embrace technology but I can see the benefits
of having an online presence in a digital age”
Wayne Reynolds admits to being a bit behind the curve with this new-fangled internet lark… See page 42

Cult classic video

games such as Wing
Commander benefitted
from Michael’s brush.

Edwin Huang
(@ironpinky) Ahead of the game
“Here’s an old Console kid An old-school game artist explains why his work
watercolour study of the is enjoying a resurgence in popularity
monkey king.”
http://ifxm.ag/edwin-huang Michael Winterbauer created created with real brushes and real paint on
covers for a string of cult- a real illustration board.”
classic games, and now his The work has a lo-fi quality, harking back
art is finding a new audience to a simpler time in both aesthetic and
among gaming aficionados. gameplay. While techniques have changed,
The illustrator created artwork for video Michael says the covers aren’t all that
games such as Gameboy’s Ninja Taro, Sega different to modern counterparts.
Michael created the
favourite Wolfchild and Wing Commander artwork for 1991 action-
“They are very similar in theme and
for the Super Nintendo. Over the past adventure game Ninja concept,” the artist says. “The difference is
Taro on the Gameboy.
couple of years, he’s sold almost 50 pieces the new game art has a super-slick CG feel,
to collectors around the world. while the early game art has a more classic,
Just finished something you want us to shout The reason the old artwork inspires such traditional style.”
about? Send it our way on Twitter
feelings of nostalgia, Michael says, comes To see more of Michael’s artwork, old and
(@imaginefx), or find us on Facebook!
down to the production process: “They were new, visit www.winterbauerarts.com.

24 April 2014
 Artist news, software & events

The judge,
jury and
pensioner
Geriatric judgement How
artist R M Guéra rose to
the challenge of drawing
an elderly Judge Dredd
Even heroes get old. The longest-running
character in 2000 AD, Judge Dredd, is
now in his 70s. But, as we see in a brand
new story, age hasn’t slowed him down.
The Man Comes Around sees writer
Rob Williams team up with
artist R M Guéra, as Dredd
investigates a series of
explosive suicides in
Mega-City One.
“I wasn’t sure how rounded his muscle
should be,” Guéra says, “thinking about his
advancing years, as well as who he is. So I
opted for a bonier body, one that’s angled
by bone rather than muscle.”
Guéra’s trademark gritty European style
is perfectly suited to Rob’s 11-page strip, so
much so that future collaborations could be
on the cards. “After this issue,” Guéra says,
“I’m pretty attracted to the elaboration of it.
Hopefully we’ll work again – I really enjoyed
Rob’s script.”
Judge Dredd Magazine 344 is available
now from www.2000adonline.com; find
more from R M Guéra at www.rmguera.com.

Rob’s tale of a Mega-City wracked by

bombings is meat for the Dredd grinder.

Judge Dredd
reveals his bonier
side in Guéra’s
take on the aging
upholder of law.

April 2014 25
 ImagineNation News
My desktop Mac is a big improvement over my college
I went thorough a serious dragon-collecting phase in laptop and its 12-inch screen. It may not be as
college. I have no regrets. portable, but it’s never failed to turn on.

+deviantWATCH
Here are some of the many gems we
found on the pages of deviantART…

Zephyri
www.zephyri.deviantart.com
England-based concept artist Sam
Hogg says she “digs old, silver-
haired evil men, voluptuous ladies
and tentacles”. While there are no
tentacles in the Whaler Girls, it’s a
prime example of the artist’s
elegant and emotive style. She
works in a mix of media – mainly
Photoshop and watercolour.

Thecreatorhd
www.thecreatorhd.deviantart.com
The Dark Knight’s brooding, as
usual. Only, here, he’s wearing a
hoody and military boots. Harvey
Dent shoots pool. And the Joker
mixes drinks. Hipster Batman is
the second in a continuing series My morning always starts This Wacom tablet is ancient, but I still use it
of reworkings of famous with coffee. Always. to sketch digitally and touch up my paintings
superheroes – we featured the in Photoshop. It’s also very useful when I run
out of batteries for my wireless mouse (which
first, Hipster X-Men, in issue 105. is all the time).

Lindsey Look
Look around The American fantasy illustrator shows us around her
well-organised studio and explains why she works at night
AlectorFencer I’m usually pretty all of them for my weekly trip to my mentor’s
www.alectorfencer.deviantart.com organised. But if it happens studio a much simpler task.
One of the standout pieces on that I have tight deadlines, I tend to take care of bookkeeping (okay,
deviantART this month, An Empire my studio soon starts fine, Facebook), emails and preparatory jobs
Rises is the official convention
book cover for Melbourne event looking like a scene straight in the morning and afternoons, because it’s
ConFurgence 2015: the Dragon out of Hoarding: Buried Alive. easier for me to get back into them if I get
Dynasty, where artist Alector Don’t get me wrong, I do try to clean up interrupted or have errands to run. I save the
Fencer is guest of honour. It’s easy
to see why. His portfolio is full of between jobs – it just doesn’t always interesting, creative stuff for getting on with
action-packed art, just like this. happen. I store my oil paints in a travel box during the night, because I sometimes paint
underneath the table, which makes grabbing or draw for six or seven hours straight. It’s

26 April 2014
 Artist news, software & events
My latest project, a book cover for a brand new fantasy I love the natural light in the mornings, but I put these up when I
series. I was able to read the full manuscript before I started, realised my neighbours had an excellent view into the studio and
and I’m extremely excited to be a part of the project. were keeping track of my night-time work habits.

This cabinet was my dresser as a teenager; it was

eventually repurposed as art supply storage.

I started loading my reference photos onto my I found this table on the street when I was living
tablet in order to use them while I’m painting. It’s in Boston. I carried it almost a mile to my dorm,
much more convenient and cost-efficient than painted it and turned it into my painting table.
printing everything. It’s the perfect height for keeping a palette on.

tough to get back into the groove if I have decent backdrop. It’s also located over an Just a few of the books I’ve collected over the years. I need a bigger bookcase
(or two). Whenever I’m feeling uninspired, I peruse them.
to stop for any reason, and I’m rarely unheated garage which, in the winter, makes
interrupted in the evening. Of course, since the floors about as cold as a skating rink and
I save the painting and drawing for the night, requires at least two pairs of socks to be
I usually don’t stop until 2-3am. Or, at least, even remotely comfortable.
until I run out of clean brushes. I keep my computer next to my easel so
My husband and I only moved into this I can play music or put on a movie while I’m
house a few months ago, so my studio is still working. All of my paints, mediums and
very much a work in progress. It’s in the brushes are kept on the table to the right of
Connecticut suburbs and is very quiet. The my easel. I like to use grey disposable palette
studio still feels kind of sparse to me, but paper to lay out and mix my paints on. This
eventually there will be more storage and helps to keep the paint a bit cleaner than on
artwork up on the walls. a traditional palette, and makes cleaning up
The original idea was to paint the walls a the colours a lot easier.
neutral grey and leave one wall bare so I Working predominantly in oils, Lindsey is a
could use it as a backdrop when shooting traditional artist who counts Applibot, Dagger
reference, but the paint looked almost green Games and Stihl in her client list. You can see These flat files are the best way to store artwork. They’re four by five feet and
once it dried. Fortunately, it still works as a her art at www.lindseylook.com. weigh close to three hundred pounds when put together.

April 2014 27
 ImagineNation

Forum
Winners
Image of the month
After suggesting the theme Time-Travelling Theatre
Troupe himself, Vince Hewitt realised he didn’t actually
have any ideas for his own entry.
“I started scribbling random shapes, as usual, hoping
something would appear,” he says. “After overworking a few ideas
Dramatic tension Imagine a theatre troupe that tours that I really didn’t like it became apparent that I’d have to start from
through time… Vince Hewitt did just that, and it scratch. I liked the caravan idea, so I thought an old horse-drawn

resulted in this brilliant image of the month version with modern tech. The image grew from there.”
Vince’s finished work is one full of narrative, and demonstrates
deft use of lighting – both on the face of the troupe leader and the
characters gathered around the campfire. His perseverance paid off.
“I’m glad I decided on this image. I like the atmosphere of a group
of time-travelling thespians relaxing and planning their next move.”

Win prizes! MYFX title: Time-Travelling Theatre Troupe

Congratulations Vince – you’ve won two ImagineFX specials of your Winner: Vince Hewitt
choice! To get your hands on similar prizes, see our Forum challenges Gallery: http://bit.ly/mid-scrawl
at www.imaginefx.com/forums All Entries: http://ifxm.ag/theatretroupe

Vince had numerous ideas before

finally setting on the idea of the
theatre troupe in front of its caravan.

imaginefx crit The piece begins

to take shape –
“Midscrawl’s depictions of the mist and although there
dark shadows in the environment really Vince created a series of
were still many
changes before
draw the viewer in to the painting.” thumbnails, before deciding
how the final piece would
Vince was
satisfied with the
Nicholas Kennedy (nickgoeslife) look and feel. final image.

28 April 2014
 Forum winners

Join in!
www.imaginefx.com/forums

MYFX title: Steampunk Detective

Winner: Nathan McDougall (AlienAngel)
All Entries: http://ifxm.ag/steampunkdetective
“I really liked the idea of a steampunk Sherlock Holmes.
I also saw it as a kind of upper-class and privileged position,
so I wanted to have everything else being done by
machines – with little care being shown towards to them.
I’m still relatively new to digital painting and so on every
single new piece I try to do something I haven’t done before, and in
this case it was the atmospheric effects.”

MYFX title: Disney Girls Pin-Up

Winner: Bruna Rosário (Mignon)
Gallery: http://ifxm.ag/migon
All Entries: http://ifxm.ag/disneypinup
“This idea struck me as soon as
I saw the theme of the challenge.
I was thinking of Gil Elvgren’s
“accidental sexy” style, and
mixing that with a Disney vibe.
But I wanted her to be easily recognisable.
I defined her pose in my sketchbook and
then started from scratch in Photoshop with
my Wacom Cintiq 21UX. I used photo
references for the pose. For the colouring
and hair I used custom brushes. It came out
as I envisioned – and also with my personal
Nathan was immediately taken by the idea of a steampunk Sherlock Holmes, touch – because Disney is very much an “More flesh?” Bruna asked the forum after WIP one.
which led to a memorable entry. influence on my artistic style.” The forum voted yes!

April 2014 29
 ImagineNation

YOUR FEEDBACK & OPINIONS Our star letter writer wins a

dA Premium Membership!
Contact the editor, Claire Howlett, • Browse more content more quickly
on claire@imaginefx.com or write • Customise your profile page • Receive
exclusive discounts & offers • And more!
to ImagineFX, Future Publishing,
30 Monmouth Street, Bath,
BA1 2BW, UK
The ink art is strong with this one: Adam Gore sent in
these pictures of his sensational Princess Leia tattoo. Laying the
Follow us on twitter:
Inspired tattoo foundations
www.twitter.com/imaginefx
After reading issue 105 I thought I’d send I’m one of your avid subscribers and
Tell us your thoughts on: in a photo of my recent tattoo based on a love to read your magazine. It’s a
www.facebook.com/imaginefx painting done by Oddboy at Real Art Tattoo treasure trove of great information
studio. I’ve also been inspired by the pin-up on the very difficult subject matter of
Digital editions special for my next one! drawing and painting. I really
I bought a subscription of your Adam Gore, email applaud your team for working so
magazine last year through Zinio hard to bring this knowledge to all
and I love it. Claire replies Wow, that’s a great tattoo! artists. That said, I have a suggestion
I’ve recently found out that you Thanks for sharing, Adam. for a tutorial: buildings and
also offer your magazine through architecture design.
Google Newsstand. I know this is Past issues Though you focus primarily on
probably a long shot, but I’m new to drawing/sketching. Your fantasy character design, architecture
I was wondering if it was magazine has been a great source of plays a very important part in selling
possible to take the issues that I have bought Andrew Pullins has material and I’m interested in some of your the whole image as well. It’s very
bought ImagineFX in
in Zinio and bring them over to Google Zinio, but wants to read past issues. How can I access old content? hard to find good tutorials on the
Newsstand to read them there? it in Google Newsstand. Sean Smith, via email basics of designing buildings. If a
I think I should be able to read the client wants different architecture
magazines I’ve bought wherever I want to Claire replies Hello Sean. The only place to for different environments, how
read them. I like Google Newsstand and buy older issues is via our digital magazine would an inexperienced artist know
would like to read it there. Plus I don’t really outlets (see page 56). We have the previous where to start?
want two apps that do the same thing when six print editions available on our store at I find many fellow artists wanting
the only reason I have Zinio is to read your http://beta.imaginefx.com/shop. But basic information about this area, as
magazine. I would much rather have one the best way to get hold of our past content I find it’s quite often overlooked. It
app to read both your magazine and my in print is to pick up our special editions would be great to promote landscape
RSS news feeds. of collated content of ImagineFX – at the designing in your magazine, making
Thank you for making such an awesome same website. more artists feel less daunted by
magazine in which I can learn my craft. the prospect of things such as
Andrew Pullins, via email New fan! perspective, as well as simple
I’ve bought my first copy of ImagineFX landscape and building design.
Claire replies Hello Andrew. Yes indeed yesterday and I’m so glad I did! I love the I think a good starting point
we do now offer digital editions through a articles, the tutorials and all the advice. would be a tutorial on how to sketch
variety of mediums. However, they are run I’m a student hoping to develop as a concept buildings as simple shapes. Sketching
You can get hold of past
and managed by separate companies, so ImagineFX content from artist and I find your magazine very useful. takes away the pressure of making
you won’t be able to move your magazines the online store. I’d love to see artists Heather Campbell perfect artwork from the beginning,
between the different entities unless they (aka Makani) interviewed. Thanks! letting the artist wield their
allow this to happen in the future. Lucy, Argentina imagination first instead. Your
magazine has a very wide array of
Query about a question Claire replies Noted, Lucy! Thanks for talented artists, which is why I
I’m a creative arts student in Australia getting in touch. believe it could be done.
and your magazine is a life ritual of mine. Thanks again for a great magazine,
It’s so inspiring and one of a kind! I was Bring them back keep painting.
wondering how I would go about Please bring back the ImagineFX discs! Stéphanie, via email
submitting a question to the Artist Q&A I really dislike having to go online to grab
section of ImagineFX? the files. And since the removal of the disc, Claire replies Great idea Stéphanie!
Connor O’Brien, Australia the subscription price hasn’t even lowered. Thanks for your kind words on our
Zach Haefner, via email magazine – we try our best. Look out
Claire replies Hello Connor. If you turn for a workshop on drawing buildings
to the last page of the Artist Q&A section Claire replies Hello Zach. Sorry to hear in an upcoming edition of
(page 41 in this issue) you will find details you miss the disc. It may have gone, but ImagineFX. Also, readers, if you want
DID YOU MISS
of how to submit your questions. Also, if ISSUE 106? all the resources are still available, just in a to see something featured, a topic
readers want to submit their art to FXPosé, See page 63 for different way. We’ve had a mix of responses you feel we haven’t covered enough
details of how to do this are likewise always details on how to from readers about the change in access, perhaps, do let us know.
on the last page of FXPosé. get hold of a copy. but most have been in favour.

30 April 2014
 1P 80
AGE
OF ARTIS
SKETCH ST
ES!

Where great art begins...

Mike Corriero
Be glad that you’re PROFILE
Mike Corriero
Mike’s imaginative not living in a world populat Mike Corriero

collection of beasties and ed by COUNTRY: US

critters! Mike is a freelance

artist and illustrator
video game and
concept

film
for the
industries. He’s
produced
work for companies
as Hasbro Inc, Paizo such
Publishing, Liquid
Development, Radical
Entertainment,
Applibot Inc, Team
Chaos and many
more. Mike specialises
in
design and development,creature
design, environments character
and
Check out his awesome art direction.
work at the
site below.
www.mikecorriero.com

BLIND
“Producing unique
DRAGON
takes on creatures
been produced that have
a thousand times
fun task. Here are is always a
a few smaller mole-inspired
concepts before
working up a blind
anatomy inspired dragon with
by the
and wings developed star-nosed mole
into additional
digging limbs.”

HERMIT
CRAB
“This is a fictional
design that was
meant to fit in with
a
I never got around personal project
to finishing. It’s
on the back burner, still
mind.
crabs would continually These
QUADRAPECK
“Giant behemoth
with age – much grow
like the
giant tortoise.”
fascinate me, but creatures always
I usually like them
they’re more grounded when
ORNITHOPODS
“It’s useful to produce
Oliphants created in reality. I loved
for The Lord of
and the giant Hammerhead
the
the Rings
your own Avatar. This sketch Titanothere in
take on extinct or was produced
prehistoric somewhere between
mammals and dinosaurs. the making of
case I was fooling In this those two films.”
around
fictional Ornithopods.”with

TERRORBIRD
“Extinct species
of animals
as well as existing
species
always play a big
part
inspiring new ideas.”in

“Producing unique takes

that have been produc on creatures
times is always a fun ed a thousand
task”
22
Hendrik Gericke
Sketchbooks Vol.
1

Sketchbooks Vol.
1
23

PROFILE

Hendrik Gericke
GerickeTown, South SUIT
HendrikBased in Cape
sci-fi
“This is a loose girl in a
of a
is a self- type scribble can figure it
Africa, Hendrik you
al artist, mech suit, if
taught profession a finished digital
career after out! There’s online if you
choosing this wash version
his very first care to go looking
for

BOOTH
purchasing South a line
in 1995. Being it. Or drop me
copy of 2000AD growing up during and I’ll send
you
was part of
core, “This drawing
African to the major the link.” university’s

hero in an
1980s and the a set for a local The theme
the stormy of the 1990s
has

g to draw a supera closer look…

annual magazine. , so I had fun
political transitions in his development,
part was The Superherostereotypes.”
played a major

When someone's willin

and as an artist. with the old

tion, their art’s worth

both personally spot.com
hendrikgericke.blog

embarrassing situa

TWIST is a constantly
“Anatomy studyfor me, because
evolving subject ways to approach
SURGE of a set I
there are a millionprobably never
it and you’ll
“This is part to pin it down.
seeing the first quite manage
made after astonished I try to keep
it loose
rs film. I was on ated.”
Transforme and energy and uncomplic
at the complexity to capture
show and wanted
some of that.”

LOADidea from a
“I stole this
of a fully laden
Navy poster which reads
cartoon SEAL Day Was
‘The Only Easy live by
I
Yesterday’.
these words.”

DEPOSITORYof a set, which

“This is part themed civic
comprises loosely al (and
a hypothetic
structures in town.”
very stylised)

is a
“Anatomy studyng subject
constantly evolvi
se there are a
for me, becauto ach it”
million ways appro

55
Vol. 1
Sketchbooks

Vol. 1
Sketchbooks
54

Jennifer Healy

Jennifer Healy
We’ve got a case of paramnesia,
PROFILE
Jennifer Healy
Jennifer’s elaborate
illustrations first caught
our attention way back
issue 82, where we
crowned her our FXPosé
Artist of the Month. Much
in

crossing over into reality – where

of Jennifer’s

our dreams are style is founded on the

qualities of colour, whether
storytelling
painting

and we like it digitally or using traditional

Music, fashion and melancholia
play an important role
mediums.
often
in her work.
www.jennifer-healy.com

CHOICES
“These digital sketches
were
done in Photoshop, mostly
consisting of surrealism
and fashion
designs. I like to put them
all
together like this – it
makes it
easier to decide which
one
to work on first.”

“I like to put my designs

together like this – it
MEMENTO makes it easier to decide
MORI
“This portrait sketch FAROUCHE which one to work on first”
was
done in Photoshop. The “I wanted to create a
fully painted version dream-like environment
is a
bit different and with this digital sketch.
the concept Surrealism and a bit
changed slightly.” of an Art Nouveau
influence were
incorporated.”
VINTAGE SEA
“This digital sketch has
some
sea-like elements mixed
66 Sketchbooks Vol. 1
into the
design. This sketch represents
more fashion-like concept.” a

Sketchbooks Vol. 1
67

New from ImagineFX! Pick up this special collector’s edition featuring the
sketchbooks of some of the world’s best-known fantasy artists…
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 ImagineNation Artist Q&A
Download resources http://ifxm.ag/cool107manga
VIDEOS • FINAL ART • WIPS

Got a question for our experts? let us

ease your art-ACHE at help@imaginefx.com

The details depend on

the life cycle you choose
to give your aliens, but
you can glean which of
these is young or old.

Nick Harris
Gloucestershire-based Nick
went digital in 2000 after 18
years working with traditional
methods. He mostly paints
children’s illustrations.
www.nickillus.com

Therese Larsson
Therese, based in Stockholm,
has worked with clients such
as Google, Disney, Adidas and
Coca-Cola. Her specialities are
animals and character design.
www.sillybeastillustration.com

Peter Stapleton
Peter started working
professionally in 2013. He’s
an Australian freelance artist
who specialises in illustration
and concept art.
www.artofstapleton.blogspot.com

Mark Molnar
Mark works as a concept artist
for games company Ninja
Theory in the UK, and
freelances for film, game and
animation companies too.
www.markmolnar.com
Question
Viktoria Gavrilenko
Originally a freelance How would you go about depicting different
illustrator from Sweden,
Viktoria now lives in England,
generations of an alien family?
where she works as a concept Jess Abbott, US
artist for Atomhawk.
www.viccolatte.deviantart.com

Paco Rico Torres

Answer
Paco is an illustrator living in
Nick replies
Spain who’s produced art for This is a fun question with the an egg-laying creature, with the female
several card games, potential for a variety of considerably larger than the male and less
magazines, books and role- answers. It all depends on the brightly coloured (but not shown here).
playing games.
particulars of your alien and the Maybe she has habits such as eating her
www.pacorico.blogspot.co.uk
life cycle you decide to give it. My example partner after mating, like some spiders do?
Tony Foti veers towards the comic, but the thinking The brighter colouring and foliage-like
Tony is a US freelance behind its variations could be one way to fronds around the head and neck aren’t
illustrator who contributes go, whatever your own creation is like. merely decorative, but serve to lure its
to D&D and Fantasy Flight
Games’ Star Wars and The I’ve plumped for a part reptilian, part insect-like prey near its mouth parts. It’s Form follows function:
Lord of the Rings lines. plant-like creature. That doesn’t exclude carnivorous. It’s important to think how the plant-like fronds
www.tonyfotiart.com attract prey. Possibly
incorporating ideas from other choices such and where your critter lives because this they also wilt with age,
as insects into the mix. I imagine this to be affects how it ages. Try and be logical. as plants do?

34 April 2014
 Your questions answered...
Step-by-step: Question
Paint a family of When I paint someone’s legs buckling,
extra-terrestrials they just look weird. Any tips?
Phil Jenkins, Canada

The rest of the body

reacts when the legs
buckle, so I paint a
hopeless facial
expression and depict
the arms trying to
regain balance.

Choose the look of a mature adult first.

1 Are there males and females, or does
reproduction not need that? I pick a male
in his prime and add patterns, colours and
features I can use to help suggest different
generations. Making him an upright biped
helps viewers make associations I can use
as well, even if he obviously isn’t human.

It’s a good idea to plan

out the figure with
simple shapes. Use
different colours to help
separate the limbs.

I use that biped association to sketch

2 a junior version using what we know
about human proportions through
childhood and old age. I sketch a smaller Answer
version of the adult with a larger head, Peter replies
shorter tail and less-developed plant-like When legs buckle, they usually end
features. Then I sketch an aged version, up in unnatural positions. It’s very
slightly hunched, rather tattered and worn. unsettling when it happens to you
and it needs to look unsettling when
you’re trying to paint it. The key is to keep the
proportions and anatomy correct even in these
unnatural states.
I’ve gathered some reference of some sprinters
to get my mind into gear and I also act out
myself how I think a good buckle should go.
I find that the joints in the leg fail and twist in
uncomfortable ways. I keep this in my mind’s
eye while planning out the picture.
Artist’s secret legs
I make use of overlapping and foreshortened those
Buckle, don’t break eac
limbs; without this the figure would look
Note howh joint moves.
unrealistic and flat. I use simplified shapes of
For instance, the knees
Using the adult as a mid-point, I colour the limbs to plan this out. Having an artist’s
3 hinge backwards, but the
the younger and older versions based mannequin helps with this a lot. I’m happy to
ankles rotate 360 degrees.
on a logic of the life-cycle. The youngster’s exaggerate some of the bends in the legs slightly,
Exaggerate the curvature
colouration evokes sapling plants, but also because this adds to the feeling of the legs
of the limbs if you like, but
perhaps the need for camouflage to avoid buckling. I try to make sure that I plan out and
don’t bend the joints the
predators while it’s small and vulnerable. get the anatomy and proportions as correct as
wrong way unless you mean
The elderly version references those that possible, because it’ll mean less work later on
to depict a major break.
have withered and lost their bright colours. during the painting process.

April 2014 35
 ImagineNation Artist Q&A
Question Question
How do I capture weight and I’m having a hard time drawing
movement in a composition? wolves – do you have any tips?
Maddie Hall, England Brittany Foltz, US

I particularly love the brown

ochre tones of the wolf,
which is one of my favourite
animals to paint. Don’t be
afraid to apply plenty of
colour to these animals!

The sketched pose of the figure

preparing to throw to the right is
balanced by the blank space he’s Take note of the almond-
about to throw into. The space shaped eyes with the deep
helps anticipate the action. yellow iris and contrasting black
pupils, with the black skin that

Answer surrounds them. It’s a

trademark of the wolf.
Nick replies
Once you introduce action into a composition,
it can have a dramatic effect on the spatial
relationships. Dynamic poses in particular have
great influence, in that not only are the angle and
thrust of the pose important, but the specific nature of the
action exerts influence on where the viewer’s eye will look.
In this pared-down example the figure is arched backwards,
but preparing to launch a projectile forwards. I’m exaggerating
the space for him to launch the missile into, to counterbalance
the extreme pose and also inform the viewer what’s about Answer
to happen next. Therese replies
Exact placement of an action pose within an image is down When I paint a grey wolf, I’m follow the natural fur directions and make
to personal taste and what dramatic effect you’re aiming for. actually using a lot less grey sure the fur isn’t too clean. Make it clump
Balancing a strong action pose with blank space or some large than one would think. Wolves together and seem a bit ruffled and unruly.
fixed shape next to it can help keep the eye on the canvas. have varied, richly coloured This will help with the feral look. The wolf’s
However, that may not be the effect you’re after. Alternatively, fur, with auburn, ochre, warm grey and forms are also more primitive than its
weighting a composition by deliberately unbalancing it can be splashes of black and white. Don’t be afraid relative the dog’s, so try to keep the facial
effective. In other words, using the strength of the action pose to use reference photos, but avoid copying expression slightly more calm and regal.
influences the image’s focus. directly. Instead, try to learn how the Pay attention to the little details that
anatomy looks – the end result will give separate them. For example, the yellow,
a more solid impression than a copied almond-shaped eyes and shorter, more
painting. When I’m painting fur I try to tapered ears are quite different than a dog’s.

Question
Can you please help me come up with
some original jewellery designs?
Keely Hartnell, US

Answer
Viktoria replies
Coming up with something helps to get some ideas rolling. Jewellery
completely original can be a can be made from a range of different
struggle, especially when materials – the obvious metals such as
dealing with jewellery design gold and silver and various precious stones,
– an art form that’s been around for but also regular rocks, ribbons, wood,
countless centuries. So I think it’s futile plastic, seashells, bones, lace, fabric, beads
to worry about originality. Instead, I’d and even pencils! Let the textures and
recommend ensuring that you get your forms of the component materials inspire
own unique artistic voice across – this in you. It’s up to you to decide how to mix
itself will make any design original. the materials together and create items
So following my own advice, I begin of jewellery with your own twist to them.
by gathering some references of all kinds of And bear in mind that you don’t need to
Cropped and framed more conventionally in a central position, the pose
different jewellery that catch my eye. Seeing meticulously render all the details and
loses a lot of its power and movement. It still works, just in a different way. all the different materials immediately textures of the component materials.

36 April 2014
 Your questions answered...
Question
Can you help me get the
perspective right in a scene?
Warren Chan, Australia

Answer
Mark replies
There’s no easy way to get If you’re not confident
about perspective or
perspective right, but there have to show the same
are plenty of digital tools environment or object
from different angles,
available to speed things build it from 3D blocks.
up. Because I come from a traditional I used Google’s free
SketchUp to quickly
art background, I prefer drawing a model these buildings.
perspective grid and building up the concept from alternative angles or For this image I quickly put together
everything from the basics. However, experiment with different camera lenses. the main gates and one wall section, then
The solid foundation of
I’ve found that 3D software can help in your 3D model can give
After I’m happy with the scene I do a couple duplicate these elements to create the
certain situations. Because I’m not a 3D you a freedom to paint of really simple but high-resolution renders second gate on the right. Then I duplicate
the lighting, textures
artist, I tend to use only basic building and details without
that I then import into Photoshop. Their this whole section again, and transform
blocks when creating a concept. worrying about the perspective will be accurate and I can easily it so that it’s higher off the ground. Then
perspective. Don`t be a
Once I have a solid silhouette and slave to the 3D render
paint on top of them or even create my own I just have to find the angle I want. From
base, 3D software enables me to check – treat it as just a guide. additional perspective grid on top. this point the painting phase is pretty
straightforward because I’m using the
render as a guide. I use various painting
techniques and also some photo textures
that I obtained during a recent forest trip.

Artist’s secret
Add visual int erestmake your
You can
environments or buildings
more interesting by breaking
up their silhouettes. Adding
extra building elements such
as in the case
as chimneys and poles, or antenn ke your
ern bui ldin gs, will ma
of more mod
concepts look more interesting.

Step-by-step: Craft an example of fantastical jewellery

Using Photoshop I start off by doing a Moving on to colour, I add my light And now, some good old rendering!
1 range of black-and-white thumbnails, 2 sources and start defining the main 3 I’ve got all my shapes down, so now
where I mainly focus on exploring shape shape of the necklace. I try to feel it out I focus on detailing the folds of the dress,
and size. I already know that I want a bold from the rough brush strokes already laid the metal work and the reflections and
sci-fi/fantasy-inspired necklace. Keeping down. I now also decide what materials to highlights. I keep the details focused on
this in mind I roughly block in the shapes use – in this case shiny metal and matte the centre of the necklace, and make them
with a half-sharp, half-soft brush. fabric for interesting contrasts. rougher as I pan out.

April 2014 37
 ImagineNation Artist Q&A
Question
Can you help me paint light glowing through fur?
Minty Edmondson, England

Answer
Therese replies
When painting digital light in
fur I try to take advantage of
Photoshop’s strong light layer
styles. By switching between
Soft Light, Hard Light or Overlay and seeing
what works best, I can effectively achieve
that particular kind of glowing light that
appears when light is scattered through and
between strands of hair.
I always paint the animal without light
first, as if it were completely unlit. On top
of that, I wash it over with surrounding
colours and light, which helps to sculpt the
shapes of the animal. Bounce light is very
important, so don’t concentrate just on
painting direct light from the sun. For
example, if you’re painting a forest scene,
make sure that the fur which isn’t in direct
sunlight picks up the green colours of
the environment.
Where direct sunlight hits the creature,
I paint in bold strokes of white and light
yellow. Be careful though, and don’t overdo
it so that it looks garish. Keep it clean.
Always be consistent with light directions Photoshop is good at Artist’s secret
st
Add realistic motes ofhtlydulit scene, try
handling lighting, but
and try to picture the animal as a three- not everything will work
dimensional object. Light should always be
To add extra realism to a brig
first time for you. I
wrapped around the form – it’s what makes always trial-and-error
nd in the air.
my way through a adding some dust floating arou be hit by the
will
All the little airborne particles
a painting read as believable. painting. Experiment!
ble to the eye.
strong light and will become visi
Step-by-step: Light up some fur
I start off with a rough I continue by blocking in
1 sketch of a cuddly looking
2 the main colours, which at
fox that I can paint underneath. this point are unlit by an
I don’t pay a lot of attention to external source. I keep it dark,
details at this point, because because I plan on building up
this sketch will only be a guide the shapes by going from dark
and not set in stone. Reduce to light. I like to maintain a
the Opacity of the sketch layer traditional approach to my art,
when you paint to about so I’m not afraid to work with
50 per cent. This will enable messy, textured brushes. These
you to see the line work add a lot of unintentional detail
without it interfering with and keep the art from looking
the painting process. plastic and overly smooth.

Now to the fun part! On This is the final detail

3 top of this unlit base,
4 phase, and definitely
I work with different layer when I have the most fun. This
styles such as Soft Light, Hard is where I paint little individual
Light and Overlay. In hair strands and weave the
combination, these can create whole composition together.
a golden summery glow, I usually merge everything and
especially when painted on work on one single layer to
such a colourful animal as the marry all the elements into one
fox. This is really about trying cohesive image. I’m also fond
out what works, so experiment of depth, so I choose to frame
with different opacities and this with some leaves out of
intensities of the light. focus in the foreground.

38 April 2014
 Your questions answered...
Question Question
What advice can you give me for Could you show me a few
depicting molten metal? ways to depict smoke?
Billy Ramirez, Chile Adam Dimple, US
Depending on
what’s burning (and
Answer how) the particles
emitted will float
Tony replies away differently, so
choose your way of
Smoke, steam and clouds painting based on
vary in shape, size and the effect you need.
density. A cigarette, for
instance, usually involves
two different types of smoke. Plumes
coming off of the lit end leave in
tendrils, slowly turning around each
other as the air circulates. Exhaled
smoke, however, tends to be more
lumpy and cloud-like.
When a candle flame goes out,
however, the trails need to be more
clearly drawn. Using a Soft Round
brush, draw the motion of the
smoke. Once you have a basic idea
of how you want the tendrils to
move through the air, use the
The background has a subtle cool Smudge tool to smooth out
blue colour to complement the warm transitions. For the most part I just
oranges and yellows of the metal.
use the basic Photoshop Round
When painting a forest
brush, and the standard brushes 14,
Answer 27 and 59. You can also use the
fire, the clouds rising
will billow out in a fairly
Peter replies Eraser and the Opacity of the layer consistent stream. Use
harder, clearer edges to
Molten metal is an best effect, and keep the rest of the to alter the smoke’s translucency. make it feel more solid.
amazing thing to see. It image dark. The molten metal acts
almost looks tasty – or like a viscous liquid, and as it cools
perhaps that’s just me! starts to act like melted wax. I use a Question
The most important thing to get right
is the fierce glow – that bright
bright, saturated yellow paint for the
liquid metal and give its
How can I paint
orange/yellow that’s so great to look surroundings a deep saturated cool dreadlocks?
at. When metal becomes hot enough orange from the light it gives off. It’s Bryan Look, South Africa
it starts glowing at a saturated important to have a full range of
brown/orange, and as it gets hotter, reds, oranges and yellows, otherwise
starts moving towards yellow and it’s just going to look like melted Answer
then finally to white. So, as I paint banana ice cream. I paint the areas of Paco replies
I keep in mind which parts will be the metal that are cooling down a While painting hair is a
hotter and cooler. cool grey silver colour. bit tricky, because it’s
I start by drawing what the molten To give it a realistic glow, I use an not a solid object,
metal will be held on or in. I want airbrush with an Overlay or Color dreadlocks are quite
the container to look interesting so I Dodge layer with a saturated orange solid, simple and easy to paint.
give it angles and spikes. I plan out a colour selected. Then I paint around They’re just cylinders that you can
picture that will show off the glow to the hottest parts. paint like anything else. The only
possible complication appears when
you try to add detail and realism.
What I do in those situations is to
add some texture on a Soft Light
layer, something tangled like a
photo of a kitchen scourer, in black
Placing an appropriate texture on a Soft and white, with a high contrast to
Light layer over your painting can help you
paint realistic and detailed dreadlocks
maximise the texture effect. This
relatively easily. will make the dreadlocks look a lot
Here’s what the
more like tangled hair. After that it’s
dreadlocks look just a matter of adding more hair
like without the
texture. If the base
manually, with thin and short
isn’t the right brush strokes, to make it look more
shape or is lit
incorrectly, the
natural. Photoshop’s Dodge, Burn
texture won’t work. and Smudge tools can help when
This image shows before and after the glow layer is applied. In Painter, you can use the Glow
integrating this additional hair into
brush with a dark orange colour. In Photoshop, a Color Dodge or Overlay layer will work nicely. the dreadlocks.

April 2014 39
 ImagineNation Artist Q&A
Question Question
I’d like to paint someone jumping How can I bring a sense of
through the air – any tips please? depth to my artworks?
Deirdre Toot, Israel Tom Cattington, Germany

Answer I use sharp cast shadows to push her chin

and nose out from the plane of the face.
Mark replies The overlap creates even more depth.

The trick for showing a figure correct from the get-go. You can find lots of
in the air is to capture the key dynamic poses if you study dancers or
momentum of their movement extreme sport practitioners. For this speed
in the scene. If you’re able to painting I’m using photos of French
find this peak in the movement, then your parkour artists.
illustration will be dynamic and you can I start with a loose line drawing of the
tell a story at the same time. character, then quickly block in the
For this image I want to show a futuristic silhouette based on my references. In this
cyber-assassin on the run – he’s jumping case the silhouette is the most important,
from a high building. I’ll keep the focus on because its job is to sell the overall
the character and give only hints for the proportions and the pose. Then I block in
surroundings. To make the illustration the main lights and shadows on a sub-layer
work I have to find the key momentum of and roughly paint in the various
his jump. I choose the moment just before mechanical parts, while still keeping
he dives into the depths of the city and everything black and white.
disappears. We can still see the crouched After this it’s just a matter of refining the
position of his legs as he jumps out of an parts and the silhouette. I flatten down the
open window without hurting himself – background and the separated character,
but his arms are already open, preparing for and colour them up quickly using Color
the long dive… or drop! Balance adjustment layers. Finally, I apply
For these type of poses – ones that you some colour variations, paint some graphic
don’t see every day – it’s best to use design elements to the character, and add
references as your starting point, so that the final effects – dust, debris and so on –
your general anatomy and proportions are to make the scene look more cinematic.

Blurring and smudging your figure’s

trailing edges will enhance the
feeling of movement through the air. Answer
Viktoria replies
If you’re determined to make your paintings look
three-dimensional then there are a number of
art techniques that you’ll need to learn and
master. But let’s start with this: your object needs
to be well lit. This is crucial if it’s to look realistic and have a
recognisable form. It’s the shadows of a lit form that helps a
viewer interpret it as three-dimensional, so getting your
form shadows and cast shadows right is crucial!
Painting a still life composition is a simple exercise that
you can do to gain a better grasp of this concept. Set up a
simple still life of an apple or onion under good lighting
conditions, and try to draw the values as correctly as
possible. I promise you that looking at still life setups will
make your art develop at a rapid pace. You should also study
perspective. Depicting objects that overlap in a painting is a
sure-fire way to create a sense of depth. Finally, the use of
blurred edges for objects that recede in space and sharp
edges for objects that you want to be prominent will
effectively communicate a sense of depth in a painting.
This simple sphere
Soft form shadow study demonstrates
the importance of
getting your
shadows right.
Blurring the edges

Artist’s secret
on the furthermost
object pushes it
into the distance.
adjust edges accordingly
Make the edges on the side of
the
the movement sharper and blur direction of
the edges on
the opposite side. This will help
to give more Hard cast shadow
dynamism to your character.

40 April 2014
 Next month
ON SALE: 28 March
Replicate the look of
Question watercolour digitally
I’m pretty terrible at painting hands
– how can I improve in this area?
Vin T-Bone, US

Answer
Paco replies Always paint using references if you
Hands are quite tricky to paint want to learn how to depict hands. Once
you finally know how to paint them, you
or draw, and painting them can stop using the reference material.
when you’re a beginner can be
an uphill struggle, to say the
least. The key to success is to learn about
their real shape (anatomy), to learn how to
construct them in a painting (perspective)
and how to render them (this is basically
practice, practice and more practice).
Buy or borrow a good anatomy book and
study the bones and joints of the hand and
forearm. Try to understand their shape and
how they move. Take some pictures of your
hands and spend time drawing the bones
over them – this will help you understand
what’s going on under the skin. Visualise
the hands as simple three-dimensional
shapes – such as boxes – to get the volume
right. Painting two-dimensional hands may
be easier and be something you can get
away with for now, but you’ll have trouble
painting them in perspective further on
down the line. Put the groundwork in now,
and reap the rewards later!
And finally, spend time observing hands:
photos of hands, paintings of hands, or
your own hands (or those of a friend) and
try to paint them. Pay attention to the
subtle shape of fingers (they’re thicker on

Artist’s secret
the joints and are oriented in different
directions), the wrinkles on the skin and
the position of the knuckles. Fingers aren’t
Hands and char acteris ation
sausages, so practise until you understand t realistic hands
them inside and out – literally! It’s the only Painting hands can be difficult, but if you Even if you don’t want to pain y style, try
way to become better at painting one of the spend some time analysing their and you want to develop a cartoon ce, and
ren
human body’s most complex elements.
anatomy, volume and details, then you
should be able to improve quickly. to learn from real life using refe best way to
reinterpret the resu lts. This is the
l style.
achieve an expressive and persona
Step-by-step: Get a grip on drawing hands
Painting the bones over a photo of a Hands are three-dimensional objects, A hand is full of subtle details and all
1 hand (or over a painted hand) is a 2 so you should be able to paint them 3 of them change with every hand
good exercise that will help you to from every possible view. This will be movement. So observation and analysis
understand how a hand works, because difficult at first. But once you get some are important to be able to depict a hand
not only do the fingers move, but the palm practice it becomes much, much easier. properly. Because humans use hands to
also has bones (the Reducing the hands express themselves,
metacarpal bones) to simple three- a character with
and joints dimensional objects well-painted hands
(carpometacarpal is a good way to not can greatly improve
joints), and it only to sketch a any illustration.
changes its shape hand, but also to Gather lots of
according to the understand the references and study
fingers’ movements. volume of a hand. them closely.

Got a digital art problem? Is an image giving you art-ache? Our panel can help. Email your question to our
experts at help@imaginefx.com or write to Artist Q&A, ImagineFX, 30 Monmouth St, Bath, BA1 2BW, UK.

April 2014 41
 The Art of
Wayne Reynolds
From pub signs to the publication of his own book, Wayne’s
love of high fantasy has served him well throughout his career
© Paizo Publishing LLC

42 April 2014
 omewhere in Pathfinder art has recently published his first collection of experience. I learnt a steady hand from

S
England there is – or Originally adorning a original artwork, Visions of War. carefully painting lettering. I found I could
© Wizards of the Coast

box for Paizo’s RPG

at least used to be – a Pathfinder, here Wayne’s Around 25 years ago, though, he was a practise my illustration skills on the
pub sign featuring a art can spread its wings struggling art graduate desperate to work in pictorials and learn how to work fast; the
and be enjoyed in full.
Dalek hidden in an animation studio. When, perhaps not boards were about 120x100cm and I had to
an Edwardian surprisingly, no such jobs were to be found, paint the same illustration on both sides
marketplace, and he took the first thing that came along within 48 hours.”
another with a Victorian farmer wearing a instead… he became a signwriter.
digital watch. Now mostly lost to the “The job consisted of making signs for The stuff of heroes
ravages of time, they’re an amusing pubs, including the painted boards that Wayne, of course, really wanted to be
example of what happens when the energy hang outside them,” he remembers. “The illustrating fantasy, but following a college
from a passionate talent gets frustrated by a job was poorly paid and wasn’t ideal. course that had actively discouraged his
mundane job. However, I did learn a lot from my interest in the subject, the signs seemed to
Said signs were the work of Wayne be his only outlet. “I think very few of these
Reynolds, these days a successful fantasy
artist with clients such as Wizards of the
My job was to make signs paintings now exist,” he laughs, “although
I know of one that still stands…”
Coast, 2000 AD, Paizo and more. He’s had
the honour of illustrating the 12 iconic
for pubs, including the boards Even that didn’t last long, as he was soon
made redundant and decided to go
characters for Paizo’s Pathfinder RPG, and that hang outside them freelance instead, illustrating play-by-

April 2014 43
Get an armoury
“I use my armoury all the time. Moving
around in the armour is where I take my
motion reference from. By seeing how I
move myself, I can mentally extrapolate
how the movement might look at the
extreme.”

Secrets of Xend’Drik
For the synonymous accessory to the
D&D Eberron setting, Wayne went
for another epic, dramatic scene.

mail games and doing the odd cartoon. of Warcraft, and indeed Wayne has
“It was immediately apparent that freelance worked with both of them.

© Wizards of the Coast

work suited me much better,” he says. “I’m He paints with liquid acrylic on art
quite a solitary person and don’t play well board, having over the years dabbled with
with other children over a prolonged oils (“I hated the drying time”),
period of time. The only setback was that I watercolours, and gouache (“the colours
pretty much had to learn how to paint tended to be a bit transparent”). Acrylics, he
again because I’d concentrated on other says, gives him the best of both worlds. Talonrake Aven
Magic: The Gathering has also been a source of steady work for Wayne over the years.
artistic aspects at college.” “I use a complicated combination of Pictured here is his painting for the dream card Rellon, Aven Commander.
Nevertheless, Wayne’s real career had opaque colour and overwashes in my

Wayne Reynolds
begun. His imagery has since remained in painted work. My painting style has evolved

My painting style has evolved due to

improvements in my observational Vital statistics
skills and the discovery of techniques Age: 45.
“I don’t play well with other children”
Moorcock, and
the classical mould of fantasy: heroic over time due to improvements in my Current location: The Historical
characters clad in complex armour, battling observational skills and the discovery of Leeds, England. Encylopedia of
The next best Costume by
mythical creatures in hostile worlds for new painting techniques specific to the thing after Albert Racinet.
priceless treasures; or maybe a cosy fireside paints that I use.” Even using the same fantasy art? The three artists
scene at an inn peopled by rogues, wenches, make of paint for years has affected his Comic art; beer is who you
a close third. most admire?
wizards and dimwits. Yet at the same time process: “I found that if I use a different Demon cave- Brom, Travis
his characters have a distinct, almost make of paint with new colours then it dwelling scene, Charest and
stylised look, far removed from the sort of takes me a while to work out which colours or open-air daylight battle? Mike Mignola.
Both! Most inspiring TV series?
meticulous photorealism of, say, Boris to mix, whereas a familiarity with a paint Favourite fantasy and non- Babylon 5.
Vallejo and Julie Bell, and his scenes have a range means I instantly know what to use.” fantasy book? Website:
dynamic, comic-strip energy. You might One striking aspect about his character Elric of Melniboné by Michael http://ifxm.ag/wreynolds
sum it up as 2000 AD crossed with World concepts is their detailed clothing,

44 April 2014
 The Art of
Wayne Reynolds

how to avoid a
giant headache

© Wizards of the Coast

bestiary Wayne recalls a particularly large commission that he changed in
Here be monsters! And Wayne’s
brilliantly composed cover painting for the final stages – thanks to an understanding art director
the 300-odd page Pathfinder book.
Created for Dungeons & Dragons, the page and thus has to be perfectly
image above is striking enough, but placed. Moving the giant, though, meant
Wayne reveals it came about through moving around other elements to fit in,
something of a last-minute change, and in fact “it created a whole new
except in this case it wasn’t because composition which resulted in
of the client. redrawing the entire image from
“The sketch had been approved for scratch. Despite the work involved at
the first version,” he explains. “However, such a late point in the creation process,
I had a change of heart just before I was I much preferred the new composition.”
about to put paint to board. I’d thought With many apologies he sent a new
of a better composition and felt unable sketch to the art director, who
to continue the artwork as it was.” fortunately liked the new idea. “I had
His main niggle was the positioning of just enough time to make that final
the giant, which takes up almost half the deadline,” he smiles.
© Wizards of the Coast
© Paizo Publishing LLC

Forge of War
Another piece for D&D’s Eberron, depicting
the moment before a momentous clash.

April 2014 45
 echoing various cultures of various
times, yet still managing to seem original.
“I’ll often begin a character concept with a
historical example of armour or clothing,”
he explains. “Once I have begun a basis
from reality, I can then begin designing
new elements of the costume – pushing
those shapes and design into something
fantastic or unusual, but keeping a certain
part of the design rooted in reality that
will hopefully resonate with the viewer
through recognition.”
Another technique he uses is to think of
the characters as being in a roleplaying
game, collecting more and more equipment
over the course of an adventure: “I begin to
wonder where they put it all, which creates

© Paizo Publishing LLC

© Paizo Publishing LLC

some interesting visuals,” he says.
When it comes to posing those dynamic Visions of WAR
The cover painting of
characters, Wayne’s extensive experience Wayne’s first art book,
comes into play. Most of the time he’s able which came out late
last year.
to rough out a pose without needing to
look up references or use a model. “My
reference library consists of a few figure Warlord - Savage north new
reference books, but not as many as you’d
expect,” he says. “The only time I tend to
Though Wayne’s formative art training was in
animation, his love of fantasy brought him back
to a land of dwarves and giants.
clothes
Fantasy artist… and fashion
Keeping part of aficionado? Wayne talks
about knowing his threads
the design rooted This illustration of Valeros is

in reality hopefully significant because it was the first

“iconic character” for Paizo’s RPG

resonates with the

Pathfinder, and Wayne says it also
represents an evolutionary
culmination of everything he’d
viewer through previously worked on.
“Much of my artwork has been
recognition about stylised exaggeration, and I
apply this ideal when it comes to
creating a fantasy character to make
use a live model is if I need to know how a a recognised element into something
piece of armour looks on the figure at a unusual or fantastical,” he explains.
certain angle, or how a hand holds a certain “My character designs are a result of
years of studies into historical
weapon in a given situation. In that case I’ll costuming, military armour, weapons
take something from my armoury and and equipment.
photograph myself, or use a mirror to “Being able to understand how
© Reaper Miniatures

these things are made and how they

sketch what I see.”
look in real life helped immensely
when creating a fantasy version of a
Visions of war real-life object.”
One thing that hasn’t changed much since
his early career is Wayne’s slightly solitary
nature. To be frank, he’s happy enough
working the way he always has. For
example, “I haven’t posted on an online
gallery yet,” he says. “I’m fairly slow to
embrace technology but I can definitely
see the benefits of having an online idea that was quickly quashed once he’d
presence in a digital age.” looked at his portfolio. Nevertheless,
Aside from his website, he’s also now set progress was slow, and it’s only now that
up an official Facebook group after the book has finally been released. “I think
discovering someone else had begun a it’s accurate to say that now is the earliest
fansite of his stuff on there. But it’s his new time to release the art book,” he says. “I
book Visions of War that will hopefully have no idea if it’s the right time or not!”
bring his work to a whole new audience. It Wayne also has no idea where his
features more than ten years’ worth of heartfelt love of fantasy came from in the
covers, interior art and card art from his first place, despite creating a very successful
RPG illustration work, plus some career around it. While many artists can
© Blizzard Entertainment

previously unreleased paintings. point to a particular book, film or teacher Baine Bloodhoof
He was originally approached by Paizo that ignited their passion at an early age, for Wayne has also
depicted characters for
three years ago with the idea of an art book. Wayne, it’s just always been there. Or, as he Blizzard’s World of
At first he was convinced he just wouldn’t puts it rather more elegantly, “I spent a lot Warcraft card games.
have enough “quality artwork” to fill it – an of time in worlds that never were.”

46 April 2014
 Know thy self
“I’m quite a solitary person and
Creatures of don’t play well with other children
Freeport over a prolonged period of time.
The Seattle-based RPG Without the distraction of other
company Green Ronin people I find that I work
worked with Wayne to faster and longer.”
produce a jaw-dropping
piece of art.

© Green Ronin

April 2014 47
 profile
Fernando Forero
Country: Poland

A Colombian graphic
designer based in Poland
since 2009, Fernando
started working for small
advertising agencies
before university, mainly on corporate
identity, typefaces and illustration.
He’s exhibited his personal art
internationally, and worked alongside
MTV Europe and Polish games

is Colombian artist ’s studio CD Projekt RED.

www.fernandoforeroart.com

ad o pted Po land, th t pencil work …

n
Inspired by hisishis sanctuary for elega
sketchbook

Madonna
“I feel attracted to stamps
Organic
“I have a particular
and the designs of tickets. interest in organic artworks,
Some are incorporated into my and sometimes I’m driven fully
sketchbook, giving a more by my aesthetic values to create
experiential and human pieces such as this one. I like to
character to my creations. In accompany them with lettering
this spread, a lettering design designs that may be related to
sits next to my personal my personal feelings about
version of a Madonna.” the image itself.”

48 April 2014
 Sketchbook Fernando Forero

Horse
“I really like the anatomical aesthetics of horses,
so in many of the pages, different creatures
appears with a marked similarity to this
beautiful animal.”

Octopus
compass
poster
“A yachting fan asked me for a
custom illustration of a compass
to be printed as a big poster on
photo paper. This is the basis
of the project: an octopus
in the middle of
the compass.”

Polish Gas Mask

character
“Arriving in Poland, I found myself
filled with the fog and the coldness
of the autumn. This, and a Polish
black and white film whose name
I forget, inspired the vision of
this man in a gas mask.”

a new book begins

“Whenever I start a new sketchbook, I wonder if
I’ll have enough creativity to fill each blank page.
This is the very first page and it has a theme:
the ideas, the human and what he creates.”

“I wonder if I will
have enough creativity
to fill each blank page”

April 2014 49
 Art, Games
Inspiration of lines
and therapy
“Perhaps the reason I put so
“Many of my illustrations
start with simple games of
much detail into this artwork is lines that I then begin to
because in the process I let go, develop, trusting my intuition
and illustration, moment- and my own aesthetic
by-moment, becomes values. I just let it evolve
a kind of therapy.” in joy and patience.”

Bus number
1315
“The number of the bus I was
travelling on in Warsaw inspired
me to perform the first lines of this
illustration. I made the illustration
while considering the maturity
you gain over time as you
progress in life.”

After my
mother
“The death of my mother
brought me deep sadness,
because I wasn’t able to be with
my family in Colombia during
this tough time. The
melancholy is present in
this image.”

50 April 2014
 Sketchbook Fernando Forero

"Drawing from reality gives

strength to the artworks from
my imagination as well"

Sketching
From life
“These are the first pages from
my latest sketchbook, Sketching
From Life. It was pretty low-
quality paper, so I turned to
pen exclusively. Actually,
I cheated here – this sketch
is from my imagination. Mature
The rest are
from life.” faces
“I like to draw the faces of
older people. When drawing
them I imagine the very basic
shapes as basic forms, like
spheres, cylinders and others
under the skin, and
then consider how
the skin folds over
these forms.”

Life as
inspiration
“When I began to draw from reality,
I started to discover that I enjoyed
drawing many more things. As well as
that, I find I’m becoming better at
observation. Drawing from reality
gives strength to the artworks
from my imagination as well.”

Want to share your sketches? Then drop us an email, with a selection of your artwork, to
sketchbook@imaginefx.com, or upload your drawings at www.imaginefx.com/sketchbook.

April 2014 51
 This epic space battle is an example of
KARAKTER’s approach to marketing:
a dynamic scene built on good
composition and graphic elements.

studio profile

KARAKTER
From giving projects a shot in the arm to
working on Killzone 3 and Game of
The starting point for this
original Killzone design was
the cockpit of the classic

Thrones, this studio’s star is on the rise Apache helicopter.

he intrinsic design process is a logical rules governing how the world

Location: Berlin, Germany
current projects: Killzone
Shadowfall
T term you’ll hear the
KARAKTER team use regularly.
Tobias Mannewitz conceived
functioned. The world needed constraints
to inspire the artists to come up with design
solutions, instead of offering infinite
past projects: Game of Thrones,
Ryse, Star Trek: Infinite Space the principle when, in 2009, the studio was possible directions.”
Web: www.karakter.de hired to lead an unnamed project out of a The principle in practice is best seen in
creative cul-de-sac. KARAKTER’s work on Game of Thrones.
It did so by doing what it does best: using The team, led by Tobias, provided concept
expertise in concept art and creative art for the majority of VFX shots in seasons
development to create an ambitious and two and three – helping to set the scene for
expansive virtual world, one built on both many of the show’s most spectacular
style and substance. moments, such as land-and-sea epic the
“We were asked to review an IP in its Battle of Blackwater. The studio earned two
infancy,” Tobias says. “It had a Emmy awards for outstanding visual effects
lot of cool content, but none for its contributions and was invited back to
of it made sense holistically work on series four.
because there was too much “It’s all there,” Tobias says, referring to
freedom and not enough the intrinsic design process at work.

52 April 2014
 studio profile

KARAKTER
We’re always TOBIAS
chasing the highest MANNEWITZ
standard of execution KARAKTER’s creative
director describes his job,
and discusses why AAA
in our works games are under attack
What is the story behind the
company name?
We believe that cultural heritage
plays an important role in how we
create and perceive things.
Character – meaning features of
personality – is understood across all
western countries, being global and
local at the same time. This is what
we hope to give to the projects that
we work on.

How long have you been a creative

director, and what’s the most
rewarding aspect of your job?
The first time a client booked our art
direction service on a grand scale
was in 2010, when Crytek had
difficulties finding a permanent AD
for Ryse. We flew over to Budapest
with a small strike team to work
locally for six months, developing a
stylistic vision for the franchise and
working together with the team to
implement it. The most rewarding
thing is to see when you and your
team make a difference.

How has your previous experience

in the industry helped make
KARAKTER a success?
I started with a weekly comic strip
for a local newspaper at the age of
15. Growing into a traditional
illustrator for pen and paper RPGs,
I eventually moved on to video game
art and digital workflow around
2003. At the same time, I was
studying graphic design at
Potsdam’s University of Applied
Sciences. I have benefited greatly
from my corporate design professor
Beyrow’s systematic and analytical
approach, which still can be felt in
my own work, I hope.

What’s the biggest challenge

facing the industry at the moment,
and what’s your solution?
The spiralling development costs
and the rise of small apps and indie
games threaten our favourite
projects, AAA games. We try to
make an impact where we can: on
KARAKTER worked on the conceptual side. By asking a lot
Killzone 3’s marketing, and of questions and challenging our
looked to highlight some clients, we help to bring focus to the
A puff of steam
of the franchise’s most
from the character’s production. The other thing that’s
recognisable images.
breath indicates helping is our 3D previz blockouts.
both the coldness These are rough 3D blockouts of
and the intensity
scenes and scenarios, which can be
of the scene.
thrown into the WIP level to see if it
works. This enables faster reviews
and a better analysis of what’s still
needed. It narrows the bridge
between 2D concept art and the
final in-game experience. This
enables our clients a better tool-
resource allocation, but it also helps
with level design and visual design.

KARAKTER creative director

Tobias worked on concept
design on season two, three and
four of Game of Thrones,
earning two Emmy awards.
KARAKTER established its independent studio in www.karakter.de
Berlin in 2011 and has flourished ever since.

April 2014 53
studio profile

Landing Britannia final

The finish of the image was heavily
inspired by the “dignified appearance” of
19th-century epic paintings. KARAKTER
kept a complete Roman armour set at the
studio for permanent reference.

swooping in
Discover how the KARAKTER ‘strike team’
operated on the epic Ryse: Son of Rome
KARAKTER is always willing to go the extra mile for its
clients. But in the case of Crytek-Microsoft game Ryse, the
team travelled to Budapest. In what was a real team effort,
creative director Tobias Mannewitz led artists Floris Didden,
Henrik Bolle, Karl Kopinski and Steven Bagazky in defining
the look and feel of the successful action-adventure game.

“The background for this universe was

already brilliantly thought out by George When it comes
RR Martin, so when it comes to designing
for this world it’s an absolute pleasure.”
to designing for
Tobias, Henrik Bolle and Floris Didden Game of Thrones
founded KARAKTER back in 2008. The
studio specialises in concept and marketing it’s an absolute
art, not to mention pre-visualisation, art
direction, graphic design, illustration and
pleasure
virtually everything in between. making great content, nobody has created a
While the founders each have their own backstory for the world. What are its
The founders of KARAKTER act as hands-on project directors who build and
areas of expertise, they’re united by a belief conflicts? What are its cultures? How does
lead a team of freelancers specially selected for the work in question. in the power of concept design. “It’s a it survive? Answers to these questions make
communication tool for a narrative,” it incredibly easy to not just design a
managing director and lead character, but an entire culture. Bypassing
artist Henrik says. “Naturally, this step though only gets you to the fun bit
we’re always chasing the of iterating on a character for weeks on end
highest standard of technical without knowing where to take it next,
execution in our artworks. wasting time and resources and ending up
But what we all agree on is that design is with a botched product.”
king: rendering a poor design won’t make it
better, and a design that doesn’t have a third time’s the charm
strong world to live in is merely a novelty.” In 2009, Guerrilla Games invited the studio
“Take a character brief,” to work on first-person shooter Killzone 3.
adds Mike Hill, the newest It was to be the first of many landmark
partner. “Say that a clients. KARAKTER, then based in
For KARAKTER, the question of backstory is pivotal to any character brief,
production is in full swing Amsterdam, initially worked as a splinter
serving to guide the entire process from initial concept to final execution. and, in the excitement to start unit at the game developer’s headquarters.

54 April 2014
 studio profile

KARAKTER
One of the many
designs created for
the Anno series of
real-time strategy
games on PC.

Landing
Britannia
sketch
In this image, KARAKTER
explored the dramatic
potential of an authentic
military operation: ships,
fire, landscape and
soldiers were composed
into one single image.

Initial
colour block
Lead artist Floris Didden
establishes the tonal
composition and explores
various colour schemes: “A
cold, wet, coastal feeling
was a counterweight to
the southern impression
of Rome itself.”

The relationship endures, although the Tobias Mannewitz’s set While they’re always hands-on, creating
extension scene from
studio now works independently, and Game of Thrones shows artwork themselves, they also build and
moved to Berlin in 2011. the camp of the Second lead a team of freelancers put together
Sons in front of the
KARAKTER is at its best working on AAA city of Yunkai. There’ll especially for each project.
games. It has contributed to the success of be much more Game of Now in its fifth year, the KARAKTER
Thrones artwork next
titles such as Anno, Shadow Fall and Ryse: issue – see page 82! team continues to hone its skills in creating
Son of Rome, to name just a few. The studio engaging world designs. While most of its
also succeeded in working on launch titles projects are top secret, Mike reveals the one
for both the PS4 and Xbox One. he’s most excited about. “Killzone
Doing so requires the studio to take on Shadowfall will be the next project to hit the
multiple projects simultaneously. The shelves,” he says, “and we can’t wait to share Artist Henrik Bolle looked at Russian nuclear rocket
founders take the roles of project directors. the fruits of several years of labour.” silos and attempted a similar look for this image.

April 2014 55
 DIGITAL ART
INSPIRATION
PHOTO EDITING

WEB DESIGN
GRAPHIC DESIGN
3D DESIGN

www.creativebloq.com
Join us now on Facebook & Twitter
56 www.facebook.com/creativebloq www.twitter.com/creativebloq
 Download resources http://ifxm.ag/cool107manga
final images • WIPS • videos • brushes

Workshops assets
are available…
Download each workshop’s WIPS, final image and
brushes by visiting this link. And if you see the video
workshop badge, you can watch the artist in action, too.

Advice from the world’s best artists

58
This issue:
58 Six key steps
to magical manga
Guided by his Noble Six-Fold
Path, Han-Yuan Yu creates a
manga magic user.
64 Adopt an unusual
angle in your art
Sergey Kolesov reveals how
to capture an extraordinary
image without aiming for
anything in particular.
66 Kick start your
manga art!
Is your art in need of some
superstar flourishes?
Genzoman hits the refresh
button on your paintings…
72 Animate your
digital paintings
Add something new to your
art with Photoshop’s motion
66 76 84 tools, says Paul Tysall.
76 Depict a classic
male manga face
Cris Delara creates a
charismatic male face with
a touch of manga style.
81 Improve your
comic lettering
PJ Holden shows you how
to get the often-overlooked
skill right in Manga Studio.
84 Tell a story
with an image
Applibot illustrator Crowgod
on creating artwork for
Legend of the Cryptids.

April 2014 57
 Workshops
Download resources http://ifxm.ag/cool107manga
WIPS • FINAL IMAGE • VIDEO • BRUSHES

Six key steps to

magical manga
Guided by his Noble Six-Fold Path of drawing skills, Han-Yuan Yu creates
a manga magic user wearing traditional Taiwanese aboriginal clothing

his workshop will guide you I like to create compelling illustrations but I try not to limit myself when

T through the painting process

that I use most often in my
professional work. After
by using brilliant colours, interesting
compositions and dynamic gestures. My
work also focuses on storytelling; I want Han-Yuan Yu
drawing. The key to creating a successful
manga character is knowing how to
simplify and then exaggerate human
several years of being a freelance my audience to connect with the work on Country: US features, especially facial features.
illustrator, I’ve developed a logical process a deeper level and discover meanings Han-Yuan, aka
I mainly use Photoshop CS6 for
that I find efficient for creating an beneath the surface. My favourite subject B.c.N.y., is a painting; not only is it reliable, but also
illustration from scratch. The process to depict is beautiful women in Taiwanese freelance the Adjustment layer and the Blending
illustrator
comprises initial sketch, colour scheme, aboriginal costumes. This is what I’ll draw mode are powerful tools. I’d like to share
from Taiwan
details, light and shadow, ambient light, as an example for this workshop. who’s currently pursuing my drawing experience by teaching and I
and final polish. I’ll explain each step in I’m influenced by manga, anime, an MFA in illustration at hope my artwork can share my happiness.
the Fashion Institute of
detail as we go along. classical painting and Chinese culture, I hope you find this workshop useful!
Technology in New York
City. His artwork is
popular and has been

sketch exhibited in museums

and galleries
internationally.
Develop a theme
1 When it comes to a theme in manga, a cute girl is always an excellent subject. I’m
http://ifxm.ag/b-c-n-y

going to draw a girl in my favourite style: Taiwanese aboriginal. Initially, I don’t have a
clear idea about her pose or what else I should add to the composition. After many
sketches, I decide that an interaction between the girl and some animals is fun to work
up. I decide to depict a Chinese dragon, which represents my culture.

Refine the idea Reference

2 As I continue to develop the sketch 3 References help artists depict
I start to realise that the original idea of objects more effectively in their work.
the girl playing with dragons doesn’t sit Every time I have a new assignment, I’ll
right – the relationship between them create a new folder and search for
isn’t natural or intuitive enough. I decide inspiring images. I review several groups
to have the girl look like she’s creating the of pictures, such as aboriginal art, reptiles,
creatures instead. In the first sketch, she’s dragons and clouds. I usually get these
creating the dragons by manipulating a references from the internet, books or
magical amulet in her hands; in another photographs. I have a some dramatic
sketch, she’s creating birds and a rainbow. photographs that I took of a Taiwanese
In the end, I prefer the dragon idea and go sky. The clouds provide the ideal
on to develop that. background for the dragons’ birth.

58 April 2014
In depth Magical manga

April 2014 59
 Workshops

colour scheme 6 Build a colour foundation

I’m going to gradually add objects and details, and I’ll increase the contrast of
Combining colour
4 The colour scheme is a crucial step for drawing. It involves value,
light and dark later, so I flatten all of the layers and directly render the colours on it.
Clarifying the edges of objects and smoothing away the line work are crucial steps to
colour combination, focal points and composition. Although some of take. I use the Smudge Tool set to between 50 and 70 per cent Opacity for blending
these elements are decided during the sketching stage, a bad colour colours, which makes it easy to smoothly blend the lines with colour.
selection will ruin everything. I choose bright and high-saturation
colours for this illustration because they make the girl more appealing.
They’re also suitable for the manga theme. I plan to smooth away the
line work, so I add many new layers set to Multiply, Overlay and Color
mode with colours directly over the line work layer.

5 Checking the values

I frequently check the colour
Download
resources details
Refined character
values of an illustration by eliminating
saturation. It’s easy to do: from the menu 8 So far, I’ve only focused on
bar, simply choose Layer>New defining the character. Ideally the girl will
Adjustment Layer>Hue/Saturation to be almost finished when this step is
Photoshop
add an Adjustment layer and then drop complete. I continue to add the objects
custom brush:
the Saturation level down to -100. smoothly blur brush and refine the details gradually. I try to
Generally, foreground objects have lower select solid, high-saturation colours and
values and backgrounds have higher avoid grey tones. At this stage, the
values. Even though in this case the Apply this brush to
character seems to be under a simple light
space is separated into just two elements Smudge tool. It’s ideal source and waiting to receive a stronger
– the character and the background – the for smoothly blending one. Notice that some areas, such as her
colours. I use it a lot in
proper order of values must be applied to face, seem to have the wrong colour hue.
my painting.
the character, too. I’ll fix this next.

Add objects
7 I introduce accessories to the scene
one by one. I define the objects as a
separate group so that I can more easily
adjust the light and dark of each. I love to
draw complicated decorations in my
artwork, but this requires me to carefully
render the outline and structure, and to
be patient! Furthermore, the Adjustment
layer and Layer Blending mode are also
interesting and useful for creating
amazing effects, such as a metallic sheen
and shadows.

60 April 2014
 In depth Magical manga

light and shadow

Emphasise brightness
9 There are many ways to achieve this effect, such as Layer Blending modes. I prefer
to use an Adjustment layer. I employ the Curves layer to enhance bright areas and the
Exposure layer to lighten the highlighted areas. The character’s face, headdress and the
sleeve’s edging are only slightly affected because the light source is above her.

12 Add bubbles
I need many bubbles but I don’t want to draw each one
individually; therefore, I make one bubble in a group so I can duplicate it
easily. I mainly use the Gradient tool in radial mode and set it on a low
Opacity to depict the bubble’s transparency. I also add many new layers
set on Screen, Overlay and Hard Light, with the radial spectrum colour
created by the Gradient tool. I use the Layer Blending mode for
colouring, because it can affect the objects behind the bubbles naturally.

Layer Via Co
py
Ctrl+J (PC)
Cmd+J (Mac
)
Use this shor
tcut to direc
duplicate th tly
e selection or
the layer that
you
have selecte
d.

10 On to the dragons
I separate the dragons into
individual groups. Because the dragons
have a complicated texture and structure,
they are more easily represented in black
and white values. First, I use the Lasso
Tool to make a selection for the dragons. Using the
When I use this method to draw, I usually Gradient tool
avoid using pure white because it’s hard to This tool can fill in a
smooth gradient colour
add colour on to pure white afterwards. in a second, which is hard
to do with a brush. It has
Colour the dragons
13 Start on the many applications, such
11 I add the colours to the dragons background as adding a blush on a
character’s cheek and
using Adjustment layers. I use a Color To more conveniently draw the nose. Furthermore, when
Balance layer for the object’s colour. background I need to separate it from the I do black and white
paintings, the tool can
Because colours created in this way are character. First, I use the Magic Wand tool create a smooth
usually monotonous, I use CS6’s Color to select the background. Second, I create foundation colour; every
Lookup layer to add variety. Furthermore, a new layer with a unique colour (usually stroke I draw on it will
look better. Moreover,
I use the Color Lookup layers with the a pure green) and then add a mask. Once
the gradient colour with
layer’s blending modes of Screen and I’ve built the vector mask, I can select the the Layer set to Screen
Linear Dodge to enhance the bright areas. shape from the mask easily by pressing or Hard Light can
produce an incredible
It can consistently create bright areas with Ctrl and clicking the vector mask by the
lighting effect.
rich and unpredictable colours. side of the layer.

April 2014 61
 Workshops

14 Colour the background

I use my photographic references as inspiration to draw the clouds. Bearing the final polish
magazine’s layout in mind, I save some space at the left side of the character, but its
shape doesn’t look good. To break it up, I set the light source in the middle of the sky 17 Refine details
I notice that the character should be affected by the blue
and then naturally separate the space into two parts. I make sure to provide the key background; in particular, the hair should not be pure black. I employ
elements of the background so that I can easily exaggerate the light later. another interesting way to add a blue tone on the character by adding a
new layer from Layer>New Adjustment Layer>Levels. In the Properties
window of Levels, there are three eyedropper tools on the left side.
I click the middle one called ‘Sample in image to set gray point’ and
then absorb the warm colour from the illustration. It automatically
gives the illustration amazing cold tones.

ambient
light Group layers
Ctrl+G (PC)
Creating ambience
18 Overall polishing
)
16 By making the character stand out, Cmd+G (Mac
For applying
a mask on a
rol the
I flatten all of the layers, and make
group to cont
ambient light can transform the quality of y area some final touches to the image. The
layers’ displa
an illustration from good to excellent; inside it. illustration still has many tiny flaws when
however, it’s important not to overdo this. I zoom in. So I set about clarifying the
Otherwise the illustration will lose the edges of the objects, fixing the mistakes
focal point because everything is bright. and then adding some more details.
I want to depict the light coming from the I notice that the bubbles aren’t distinct
sun behind the character, so I add the compared to the character and
strongest ambient light on that side of her. background; for this reason I add a yellow
I set one layer to Linear Light and another glow around the bubbles so that they
to Outer Glow. This creates beautiful have a different colour compared with
white light and a yellow glow on its edge. other objects in the illustration.
Adjustment
layer tricks
I’m always happy when I
play with Adjustment
layers. There are so many
styles I can try, such as
Exposure to create
highlights, Vibrance to
adjust saturation, Color

15 Exaggerate
and shadow
the light Balance to change a
colour’s tone, Color
Lookup to give a screen
It’s not easy to depict glow evenly from a a different mood, and
light source simply by drawing. However, Gradient Map and
it can be done using an Adjustment layer, Selective Color to
translate colours.
Layer Blending mode and mask. The Changing the Blending
Color Lookup layer always surprises me. mode within
It’s like a happy accident. I usually just Adjustment layers can
create an unpredictable
press the down and up arrows to select
effect. Sometimes I’ll
the different settings and see the result on change colour scheme
the screen. I usually use the Candlelight. because I get a happy
accident from playing
CUBE and EdgyAmber.3DL settings,
with these layers.
available from the 3DLUT File.

62 April 2014
 The Shop
You can buy ImagineFX in print, for your computer, or iPad, Android and
nook tablets. We also offer a selection of apps and special issues!
special editions

More
specials
AVAILABLE
online

Comic Artist Fantasy Illustrator Anatomy: Volume 2

back issues If you want a print back issue, only the previous six (below) are available.
We provide a much larger back catalogue with our digital editions*

Issue 101 November 2013 Issue 102 December 2013 Issue 103 Christmas 2013
Let our sci-fi artists take Traditional skills meet Discover the skills you’ll
you to strange, new digital methods in Jean- need to break into the
worlds: John Berkey, Sébastien Rossbach’s video games industry, as
Peter Elson and Chris cover art, which also we speak to the people
Moore visit a galaxy heralds a new section in behind The Witcher 3:
called ‘Inspirational’. Our the magazine that’s Wild Hunt, Star Wars:
workshop section devoted to bringing you The Force Unleashed,
includes art from Keith the best in traditional Remember Me and Mass
Thompson, Emma fantasy art. We talk to Effect. Traditional
Vieceli and Thom Keith Thompson and fantasy artist Tom Kidd
Tenery, and we chat to Daren Bader, while Jim paints a book cover, and
the artists of imaginary Pavlec brings an Eerie Dave Kendall puts Manga
Friends Studios. gothic creation to life. Studio 5 to the test.

Issue 104 January 2014 Issue 105 February 2014 Issue 106 March 2014
This month’s artists will Loopydave’s glamorous We all judge a book by
help you push your roller derby figure leads its cover, so let Wylie
painting skills into the way in our pin-up Beckert show you how
previously untapped issue, as we talk to the to compose a fantasy
areas, with advice on new wave of artists one that genuinely
developing your artistic who are carving out a captivates. Speaking of
voice, creating art from name in the genre. We which, we investigate
smoke brushes, and discover why tattoos are what makes children’s
more. Simon Dominic back in a big way, help books so appealing to
breathes life into an old you to use humour in fantasy artists, take a
concept, and we reveal your fantasy art, and peek inside Brian Froud’s
the winners of this year’s improve your Photoshop sketchbook, and help you
Rising Stars contest. brush skills. paint a pulp character.
*Resource files are only available from issue 85 onwards.

Visit http://beta.imaginefx.com/shop
April 2014 63
 Workshops
Download resources http://ifxm.ag/cool107manga
WIPS • FINAL IMAGE

adopt an unusual
angle in your art Sergey Kolesov reveals how to capture an extraordinary
image by playing with scale, contrast and perspective
Sergey Kolesov
Country: France ermaid is a personal piece of intentions are to maintain the sense of

Sergey grew
up in Russia,
where he was
M art. There’s no specific
background message – my
aim is to produce a striking
beauty in the image, but make it look
weird at the same time. However, I don’t
want to depict a dark, oppressive scene;
passionate image and give the viewer plenty to think instead, I decide to make the composition
about creating
art as a child. He studied
about. I just want to play with scale, and bright and cheerful. I’m happy to go with
traditional art and design I decide to take a well-known fantasy the idea that the mermaid could be alive
for nine years, and character, such as a mermaid, and show it or dead, which raises the question: has
during this time
in a fresh light. her hair has been cut, or her head? I have
developed a love of
video game concept art. Typically, mermaids are represented as no answers to these questions. Let’s just
He now works in the a human-sized creature, and in most say that my own interpretation is it’s the
games industry.
cases are pictured as beautiful figures in end of a fairy tale in this picture, but the
http://ifxm.ag/skolesov
an idyllic underwater environment. My end is a beautiful one…

How I create…
a larger-than-life scene

Bird’s-eye view Scale in the scene Water everywhere

1 I’m keen to show the depth of the sea 2 I need to maintain the same sense of 3 I don’t paint the water, as such. What
while maintaining the top-down composition. scale in the image. The solution is to use you can see is mostly just the sea bed.
Well-defined shadows will help here, so I similar-sized brushes for detailing all the Towards the end of the painting process
decide on strong sunlight as a light source. The elements. The mermaid’s arm is detailed, I apply big strokes of light blue as a reflection
shadow placement informs the viewer how far while the fisherman looks sketchy in on the surface/waves. These strokes inform
the object is from the bottom. Rather than plan comparison. In fact I’ve used the same brush the viewer that they’re looking at a marine
it out beforehand, I try to visualise this while size on both elements. I believe this is the environment, rather than the calm surface
I paint the scene. I think I achieve my goal. right way to show scale more realistically. of a boating lake.

64 April 2014
 Artist insight A different view

Composition tricks Painting the sea bed

The triangular composition (1) brings more movement into The texture of the sea bottom is done very easily. I use two
the static bird’s-eye view. The image’s pivot point (2) texture brushes as a base, then add shadows from the
stabilises the image. Key elements are variable detailing, boats on a separate Multiply layer with soft texture brush
colour intensity and contrast (the green arrow), which strokes. After this I add the colours using the Color and
supports the weak corner of the composition. The boats Overlay modes. To finish I introduce shadows to some
and mermaid face into the image to complete the triangle. of the rocks, to make them look more realistic.

April 2014 65
 Workshops

66 April 2014
 Artist insight Kick-start manga
Download resources http://ifxm.ag/cool107manga
final art work • WIPS

kick-start your
manga art!
Is your art in serious need of some superstar flourishes? We’ve enlisted
Genzoman to help you hit the refresh button on your paintings…
sk any artist and they’ll always be read within a few seconds and from a have the skill to rank certain elements

A say how great it feels when

they find out one of their
artworks resonates with the Genzoman
distance helps a lot.
For several years I worked as an editor
for advertising agencies, where clients
in order of priority within an illustration,
so that the viewer instantly knows what
they’re looking at.
viewer, or a review notes that it has plenty Country: Chile were happy for an image to be complex So being a good illustrator and having
of detail or a great finish. Gonzalo as long as it was also simple to read. the skill to apply numerous art techniques
I appreciate it when someone says that Ordoñez, aka I remember when I handed over a piece to the canvas is always important. But
a particular image of mine caught their Genzoman, of artwork to a client and the response equally key is being able to create an
studied
attention from a distance. Why? Well, we graphic
was: “The picture you did is okay, but accessible image that catches the eye from
live in a world that’s full of visual stimuli. design and then became it doesn’t work well enough from a distance, which pulls the viewer in and
Making your paintings stand out in this an art teacher. But later distance.” And the client was right. takes them around the composition.
he had to choose
sea of images is essential if an artist is to I went away thinking about artists such Allow me to pass on my tips for achieving
between working as a
become successful. So an image that can teacher or branching as Frank Frazetta or Mike Mignola, who this, and more, in your art.
out as a full-time
freelancer illustrator.

1 Look at me! Guess what happened!

http://ifxm.ag/gen-man 2 X marks the spot
Whether walking down the Most of the contact with the viewer
street, reading a magazine lies in how an artist uses well-
or browsing the internet, known forms and signs. The circle,
we’re bombarded by for example, is seen in nature
images competing for our around the world, such as the sun
attention. It’s thought that and eyes. But what about cultural
an image needs to capture signs? One of the most common
the viewer’s attention within

© Warner Brothers /Legendary Pictures

Western symbols is a cross or X.
three seconds, or they’ll Subliminally reminding the viewers
simply focus on something of this is a great way to grab
else. To help achieve attention from a distance. Similarly,
this, try introducing easily ships from the Star Wars films – the
recognisable shapes or X-Wing and TIE Fighter – are based
elements into your painting. on letters of the alphabet.
In this image the circle of
the moon will be read first,
making immediate contact 3 Outline behaviour
with the viewer and helping The silhouette of an element is
the image pop from the the first entry point that enables
bottom up. a viewer to become familiar with
an object or character. If you see
a silhouette at night, despite the
distance or lack of light, you should
still be able to identify whether
it’s an animal or a person because
of the information stored in
our subconscious. This same
subconscious cultural information
can help a viewer decide that a
figure with rounded and smooth
forms is friendly, whereas one
made up of many angles and acute
© Capcom

forms is much more likely to be

© Sega

an aggressive character.

April 2014 67
 Workshops
4 Colour considerations
When it comes to colour, I prefer to work with only a few
tones – usually three. Reducing the colour spectrum in a
painting helps to convey information concisely. The viewer
is able to read the composition more quickly, even at a
distance. Imagine the canvas as a party, and the colours are
people busy chatting to one another. The more people talk,
the more difficult it is to understand what’s being said, or
to carry a conversation. Reducing the number of colours
will make your artwork less busy, and if you close up the
range it should make for a more coherent image.

5 Working with light and shade

Sometimes, unifying tones through colour correction may not be enough.
© Blizzard Entertainment

To unify shadows or lights in a picture, I convert the image into black and
white, play around with Levels to boost the contrast, then copy this
version. I revert to my pre-coloured version, enter Quick Mask mode and
paste in my black and white version. I’m now able to select light or shadow
versions of my art and alter their colour temperatures on separate layers.

6 Mapping out the scene

I like to think of illustrations as having a
route, including an entry and exit point,
that’s determined by the artist. In a
supermarket, the layout is designed so
that impulse buys are given greater
prominence than essential purchases.
If a supermarket can do it, why not an
artist? Offering a route into an image
enables the viewer to read it quickly –
and makes it harder for them to walk
away from the tempting offer of your
art! For example, a spiral composition
creates a hierarchy of the elements
on display that can be interpreted in a
matter of seconds.
If a supermarket can
© Blizzard Entertainment

do it, why not an artist? A

route into an image lets the
viewer read it quickly
68 April 2014
 Artist insight Kick-start manga
7 A light touch
I use light trails, like those in anime, manga or video
games, to suggest movement and action in the artwork.
They’re narrative elements that create a route into the
scene, threading points of interest. But they also indicate
motion. Many of these light trails continue outside the
canvas, strengthening the image’s sense of action and
enhancing its focal point. Even a static image can benefit
from elements that add dynamism, suggesting the
composition is a frame taken from an action sequence.
Particles can also help to enhance this effect.

8 Apply subtle blur

I’m not a fan of an image that’s perfectly defined. In my
experience, if something is in focus, then everything else
should be slightly blurred. I like applying the photographic
effect of blur in different areas of a composition, because it
helps the viewer to quickly home in on the focal point, and
then enables them to discover the rest of the image. When
I’ve almost finished an illustration, I take the Blur tool and go
© Square Enix

over certain areas using Gaussian Blur with a Radius no

greater than 3.0 and a fade of 20 per cent. This leaves a
more steamy feeling in the air.

9 Boost the
atmosphere
To create a general
environment quickly,
I use Hue/Saturation and
colourise a particular tone
of a scene. Then I reduce
the Opacity accordingly,
depending on the mood
I’m after. To refine this
effect I use the Color
Balance tool. For warm,
ambient highlights
I use reds and yellows,
blues and cyan for a cold
environment. I use a similar
logic for shadows.

April 2014 69
 Workshops

10 Get right
to the point
If I have a colour image
that I’ve already finished
and I feel the colour
doesn’t provide focus or
hierarchy, I’ll usually use
gradients in Color mode.
I sample the dominant
colour with the
Eyedropper tool and
separate out different
areas of the image. The
idea is to give priority to
one area while the other
is influenced by the
background colour.
The result pushes the
feeling of depth in the
composition, enabling
me to highlight the true
focal point of the scene.

© Death Earth Politics

12 Hold the line
Towards the end of the painting process you’ll look at
your work and wonder how to remove the line art for a
more polished image. The truth is that this isn’t necessary,
because the line can be knocked back using shadows.
You can either use the Blur tool on a line that’s too
obvious so that it’s read as part of the shadow, or use
the Smudge tool to blend it into the background.

11 Intelligent inking
When inking, I usually work the shadow areas as spot
colours. It helps me to better understand the negative space
in the composition before moving on to colour. Then I paint
and render on the black colour. If this colour is too heavy,
I can always use a Difference or Screen layer to make it
lighter. If that fails, you can select a colour range to modify it.
Personally I prefer it this way, because I like strong contrasts.

It pushes the feeling of

depth in the composition,
highlighting the true focal
point of the scene
70 April 2014
 Artist insight Kick-start manga
13 Texture tips
The Smudge tool is
good for blending and
generating textures. I
usually create a custom
brush based on a textured
image. I set it to 90 per
cent Pressure, so it’s the
pressure I apply on my
tablet that defines the
result. Paint in one direction
only. If movement goes in
two directions the texture
will be lost and the result
looks overly smooth, like
a basic CG figure.

15 Stylus and
tablet tips
I set my stylus to zoom
in and out, which
enables me to move
around the canvas
quickly – helpful during
the sketching and
14 Behind the mask colouring stages. With
As a child I painted graffiti. Since the tablet, one trick
then I’ve always preferred the idea that helps me keep the
of using a mask for certain areas of feeling of drawing on
a painting and using an airbrush- traditional media is to
type tool to darken an image from put a sheet of paper
the inside out. This approach can on it – ideally one with
generate some effects that give a light texture. Your
more solidity to the image. work with the tablet
Applying contrast to a dark base will become more
that’s back-lit can give more naturalistic as a result.
volume to an object or character.

16 Throw a curveball
Remember that when planning a composition, don’t forget
to play with the movement and directions of the different
elements in it. Curved movements are particularly dynamic
and will only add to the quality of the finished image. If these
elements continue and project beyond the canvas, it will
help create the feeling that the canvas only captures part of
the action, forcing the viewer to use their imagination and
complete the rest of the scene themselves.

April 2014 71
 Workshops
Download resources http://ifxm.ag/cool107manga
WIPS • FINAL IMAGE • VIDEO

Animate your
digital paintings
It’s time to add another dimension to your fantasy and sci-fi art, using
Photoshop’s collection of motion tools. Paul Tysall directs the action

o matter what type of digital For me, where things get interesting is achieve certain goals, but just like digital

n artist you are, there are some

genuine practical
applications in animating
in the world of concept art. A good
concept artist will consider how elements
work within their designs. So animating Paul Tysall
painting there’s a lot of trial and error
needed before you’ll gain an innate
understanding of what’s possible. It helps
your paintings. The world of comics is the static image can be another step in Country: England to keep things simple, so Photoshop’s
embracing the digital realm, with huge conveying your ideas to producers, The former
(video) limitations can be beneficial to
strides being taken by the likes of animators and modellers. ImagineFX art the end result.
Madefire, so an understanding of how to Although Photoshop’s video tools have editor is now In this workshop I’ll take a recent
a freelance
apply motion to your sequential had a significant upgrade since they were artwork of mine and use it to introduce
designer and
storytelling is a huge bonus for any up- first introduced in CS3, you still won’t illustrator. He’s also busy some of the basic animation and video
and-coming comic-book artist. The same enjoy the motion control that’s to be working on a range of techniques that are achievable within
personal projects.
applies to other areas of publishing, both found in dedicated visual effects Photoshop. And it all starts with the
www.tysall.com
online and in e-publishing form. packages. There are workarounds to Video Timeline panel…

A guide to photoshop’s video timeline L

A B Q R C
E
S
D M

F
G

H
I

J
N O K P

A. Playback tools F. Layers List View modify a Layers opacity, for example – then N. Frame Animation Timeline
Play, Frame advance forward and back, Twirl down the disclosure triangle to reveal a keyframe is automatically created. Converts the Timeline to the traditional
jump to first frame and mute audio. those Layer properties, which can modified. Photoshop sequential frames Timeline.
J. Render Video
B. Set playback options G. Stopwatch icon When you’re ready to export your video, O. Frame Rate
Change the resolution percentage here. If Designates a keyframe at the point of the this takes you to the Render Video window. The first time you playback a video,
Photoshop is struggling to render frames playhead. After the first keyframe has been Photoshop will need to cache it, and the
you can lower the resolution to aid applied to a Layer, additional keyframes K. Timeline Magnifier playback will look choppy. When the
workflow, but remember to put it back to can be applied using the Add/Remove Alters the Timeline view: either click the indicator is green then you’ll know it’s
100 per cent before exporting. The Loop Keyframes command. scale buttons or drag the slider. Drag to the playing properly.
Playback tick-box is here also. left and the Layers will condense and more
H. Add/Remove Keyframes of the Timeline will become visible. Drag to P. Window view
C. Current-time Indicator The triangle in the centre will add a new the right and the Layers extend. Drag this bar to shift the Timeline left
More commonly referred to as the keyframe, and clicking it a second time will and right.
Playhead, drag this along the Timeline to a remove the keyframe. The triangles that L. Video Timeline Menu
specific point in time. Dragging it back and are on either side jump you forward or A contextual menu for various Timeline Q. Split at Playhead
forth – known as scrubbing – is a great way back to the next keyframe on that Layer. controls including the Onion Skins settings. Cuts the Layer at the Playhead position –
to check animations while you work. required when editing clips together.
I. Keyframe(s) M. Layer settings
D. Layer A keyframe denotes a change, and the Depending on the Layer type, this R. Transitions
A specific Layer indicated on the Timeline. closer keyframes are to one another the disclosure triangle reveals different Select a fade type and drag it to the start
quicker the change occurs (the opposite properties. On a standard Photoshop Layer or end of a Layer in the Timeline. You can
E. Frame numbers also applies). You can add a keyframe using it reveals preset actions including Pan, also determine its duration.
Represented as the amount of frames per the Add/Remove Keyframes. Additionally, Zoom, Rotate and combinations including
your videos frame rate settings, with each when you apply a live change to a Layer all three. On a Video Layer you can alter S. Preview sliders
second presented as a time value. that already has keyframes applied to it – the Duration and Speed. Set a part of the Timeline to playback.

72 April 2014
In depth Animate your art

April 2014 73
 Workshops
Flatten the image – almost…
1 I take my final image and flatten almost all the Layers that I created during the
painting process. The exception is the layer featuring the bullet casings that are being
ejected from the rifle: I keep this separate because I want parts of my animation to
appear behind the casings. This should subtly indicate a sense of depth to the viewer. The
sizes of video files increase the more complex they become, so I reduce my print-ready
image down to something more manageable (1,536x2,050px) and convert it to RGB.

Marks on the cell

4 With the playhead at the start of the Timeline I take a standard
brush and make my first mark. Using the right cursor key I then
advance to the next frame and make a new mark further along the
desired path. For the Video Timeline shortcut keys to be active you
need to turn them on by selecting Enable Timeline Shortcut Keys from
the menu in the Timeline window. I’m effectively working in a similar
way to traditional cell animation: one frame at a time.

Create more
shortcut keys
Time to organise
2 I select Window>Timeline and
You can assign your own
shortcut keys to any of
click Create Video Timeline. Selecting the the options available
from the Video Timeline
triangle will open a pop-out menu that menu. Click Edit>
gives you the option to create a Frame Keyboard Shortcuts
Onion skinning
5
animation, but I’m going to be working and select Shortcuts For:
Panel Menus and then
solely on the Video Timeline. It’s a good navigate down to
My video is set to the default 30fps
idea to keep existing and new Layers in Timeline (Video). If you (frames per second), so I’m looking to
Layer Groups because things can get a bit use a Wacom tablet with end the life span of this mark at around
a Touch Ring it’s a good
complicated, so for this first set of the 15th frame. This gives me an
idea to add frame
animations I press the Create a New advance features to it. animation of half a second. Because this
Group button and label it Light Sweeps. is a simple animation I’m not worried that
the previous mark disappears with each
new frame I advance to. Photoshop video
does allow for Onion Skins – a method
Save For Web whereby you can see the last and next
+S (PC)
Ctrl+Alt+Shift frame as a transparency – so let’s take a
ift+S (Mac)
Cmd+Alt+Sh
and to look at the options available…
Use this comm
en export
adjust and th
animations as
Fs.
animated GI

The speed of light Onion Skins settings

3 These first sets of animations are simple painted marks that I want to move 6 From the Video Timeline menu select Enable Onion Skins, then
across the surface of the weapon. For this I need to add a Video Layer. Selecting go back and select Onion Skin Settings… The Onion Skin Count is the
Layer>Video Layers>New Blank Video Layer adds a new Layer in my Group, and this is amount of frames you want visible either side of the current frame. The
indicated by a small film strip icon over the Layer thumbnail. I’ve not applied any Frame Spacing sets the number of frames between the displayed frames.
motion yet, so this Layer appears in my Timeline at the beginning of the video, and the The Max Opacity percentage is for frames before and after the current
video duration defaults to five seconds. I use this as a guide layer to start off with, which frame; Min Opacity is the strength of the outermost sets of frames. The
enables me to work out the speed of the light streaks. Blend Mode controls how these settings are applied to the preview.

74 April 2014
 In depth Animate your art
Frame Advan
ce
Cursor keys (P
C & Mac)
Left and right
move the
current-time
indicator. Up
moves the pla
yhead to
the Timeline
start,
down to the
end.

Quality brush work

7 After making four different Video Layers to act as guides, I’m
ready to make another four for my live marks. To create these marks
I use one of the custom Mixer Brushes used to paint the original image.
Going back to start of the Timeline – hitting the Up cursor key jumps
the playhead back to the beginning – I render in more considered 10 Movement in the air
The Pattern Overlay effect is now moving across the image, left to right in an
marks, using a light blue and then blending in white to create that angled downward motion, filling the scene with floating dust particles. If I had reduced
distinctive illuminated LED look. the Pattern Overlay setting then the effect would appear slower and vice versa. I decide
to add a new Style keyframe midway through this Layer and go back into the Pattern
Overlay and choose another pattern similar to the original. I use the same technique on
the remaining two Solid Color Layers, but vary my patterned textures and adjust their
Opacity and Blend modes to achieve different looks.

Editing Layers
11 on the Timeline
All my animations are happening at the
same time. The timespan of each Layer
starts at the beginning of the video, and it’s
too much for the viewer to notice
everything starting and ending at the same
time. I need to separate out the parts along
the Timeline so events occur at different
times. I trim the length of those Layers
with short animations right down to
A change in atmosphere
8 I make three new Solid Color Layers and I drag the Fill slider
what’s necessary, by dragging in the ends
of the Layer frames. I’m now free to alter
down to 0 per cent. From the Add a Layer Style button I select Pattern their position on the Timeline, changing
Overlay. This opens the Layer style window, and clicking the Pattern when they appear and disappear.
thumbnail I navigate down to one of the textured patterns I created
previously which resembles large dust fragments. I set the Blend Mode
to Multiply, reduce the Opacity to about 70 per cent and click OK.

Pattern
definition
I regularly use textures in
my paintings, from entire
Layers down to the
texture options found in
my brush settings – I find
Automatic keyframes
9 I place the Playhead at the start and
it helps remove the
digital sameness that
click the stopwatch icon next to Style. This can dull an illustration.
Working from a source
adds a keyframe to the start of the photo first I desaturate it,
animation. I press the down cursor key, then use Levels to
which moves the Playhead to the last increase the contrast to

12 Done and dusted

near Black and White
frame in the Timeline. In Layers I double- values only. To turn my
click the Pattern Overlay icon to open the photo-textures into It’s time to export my animated illustration. In the left corner of the Timeline
Layer Style window. With my cursor in patterns that Photoshop window is an arrow icon, and clicking this takes me to the Render Video window. The
can access I select
over the top left corner of the painting I default H.264 settings are great for good quality, internet-friendly playback, but for final
Edit>Define Pattern…
drag the pattern effect several times down Now any tool or effect client work I deselect Color Manage and choose the High Quality Preset. In my video
to the lower left of the canvas and click that uses the Pattern workshop I’ve introduced some additional animated parts to the final, and added some
picker includes my
OK. There’s now another keyframe set for bonus material explaining other features you might want to explore if animating your
custom texture(s).
Style at the end of the Timeline Layer. paintings is something you’d like to try. Hopefully after reading this, it is!

April 2014 75
76 April 2014
 In depth Manga male
Download resources http://ifxm.ag/cool107manga
xxxxxxx
WIPS • FINAL
• xxxxxxxxx
http://ifxm.ag/xxxxxxx
IMAGE • video
xxxxx • BRUSHES

DEPICT a classic
MALE manga face
Create a youthful and charismatic male face with a touch of the distinctive
manga style. Pin-up artist Cris Delara provides her expert hints and tips

reating a fresh-looking male offers plenty of potential for

C face in the manga style is an

exciting challenge, because
there are so many aspects of
experimentation, in terms of both the
anatomy and the painting technique. But
the most important consideration in such Cris Delara
the style that you can play with. I always a project is to try to stick to the main style Country: Canada

start out with the intention to keep the – in this case the manga look. If you’re to Cris began her
concept simple, but once I’ve thought stay true to the style then there are some art career
through the various possibilities I usually characteristics that can’t be changed, but using oils
before turning
hit on a creative mixture. others are more flexible, so you can play to the digital
I’ll take the look of male characters around with them more freely. The most canvas. She’s worked as
from anime-based games then add a hint important thing in the process is the a comic colourist, but her
passion is pin-up art.
of manga-influenced American comics opportunity to enjoy, learn and appreciate
http://ifxm.ag/c-delara
characters. This kind of combination the outstanding art of manga.

First ideas
1 and sketches
Manga-style male faces offer so many
possibilities. I like the look of male
characters from games based on anime/
manga, so I’ll use this as my starting
point. After many sketches I narrow it
down to three of my ideas. My final
choice is number three and I decide to
apply a realistic painted finish to him,
following the look of characters from
video games.

Sketch values
2 and colours
Skintone base
My next step is to decide the best scale of
tonal values for my image. This involves Testing values 3 With a large, hard-edged brush I
putting on canvas all the ideas I can think Add a new layer at the fill in the skintone area of the face. Then I
top of your layer stack
of with regard to light and shadow. This and fill it with 100 per
soften the edge of this brush, reduce its
exercise is fascinating because it enables cent black. Change the size just a bit and block in the light and
you to visualise how the final image mode of this layer to dark areas. Next I paint the shapes of the
Saturation or Color. This
might look like, so you can learn a lot will create a transparent
lips, nose and eyes. I add the shape of the
from it. Next, I repeat the same exercise, layer that will help you to hair, then the shadow of the hair over the
but this time I add colours over the scale view and thus manage skin. During this process I’m trying to
the tonal values in your
of tonal values I obtained from my follow my previous studies of the tonal
image. Very useful!
preliminary studies. values and colours.

April 2014 77
 Workshops
Add details to the lips
7 Now I need to work on the details.
With my Soft Round brush, I enhance the
dark and light parts of the lips. I reduce
the brush size to 5px and cover the line
between the lips; then with an irregular
dotted brush (with Spacing at 1 per cent),
I add some lines to create the texture of
the upper lip. Setting the Round brush to
70 per cent Spacing and with Scattering
enabled, I paint on small lines to give the
bottom lip a more irregular appearance.

Skin texture
Download
4
resources To create the skin texture, I go to
the Brush panel and set the standard 1
Photoshop Soft Round brush to 6px in
Size, Hardness 0 per cent and Spacing 118

1. Sinus e
per cent. Next I go to the Scattering
photoshop

2. Bridg nd
option and set the Scatter to 55 per cent

2
Custom brush
and Count to 2. These settings will give
3. Tip tarils
Spatter 14 pixels
my brush an appearance similar to the
pores of human skin. Then I paint by nos
hand all areas of the face, varying pen
Adjusting this brush’s
Texturing the nose
Shape Dynamics settings
enables you to quickly
pressure to create natural-looking skin.
8 Using an irregular brush with
create natural-looking 22 per cent Spacing, I begin to paint the

3
sections of hair.
texture of the nose area. Varying pen
pressure is key to creating a natural-
looking texture. I work most of the time
with the same brush, just varying its size
and colour. The next step is to swap to the
Soft Round brush, trying to balance the
artificial effect of the over-textured
painting and soften some areas.

Depict a character’s stubble

9 To create the texture of the stubble I use the same process as for the skin, but first
Skin texture
5 adjustments
I prepare the area by adding a subtle yellowish tone to replicate the natural look of hair
on the skin. To paint the beard, I use my Soft Round brush with the same settings as for
During this process I choose colours for the skin texture, except with the Scattering set to create dots with a more irregular
the pores according to the light and appearance. After I’ve covered the whole chin area I reduce the Opacity of this layer
shadow on the face. The important thing slightly and also add a subtle blur effect to it.
is to follow the transitions of skin tones
and create the most natural look possible,
adding depth and roundness. Make-up
Choose your
technique photos are great for reference,
brushes
< and > (PC &
Mac) especially high-definition close-ups.
ate through
Quickly navig
s in your
your brushe
.
Brush dialog

Painting the eyes

6 Using the same Soft Round brush on the eyeball, I lighten the
existing tone and add the shadow cast by the upper eyelid. I then
darken the corners of the eye and add a warm colour close to the tear
duct, to enhance the roundness. Increasing brush Hardness slightly,
I paint the iris and pupil, and add small dots of light for a moist look.

78 April 2014
 In depth Manga male

Playing
with colour
Alter your mockups
colours In every project, spend
tments> some time creating
Image>Adjus
(PC & Mac) mockups or colour
Photo Filter
eful tool to studies of your image in
Deploy this us
hanc e the mood of a separate file. Think
en
about the mood and the
your colours.
message that you want

13 Overhead lights your image to convey to

viewers. After this, you
I add a new layer set to Color should start testing all
mode, take a Soft Round standard brush possible options to
communicate your main
(also in Color mode) and add a reddish
idea. At this point, don’t
hue to areas of hair lit by the main light worry about getting
source. Using Levels, I change the light things well-defined – try
intensity and, with a cool colour, turn to to use very broad strokes
and feel whether your
areas that will receive reflected lights and colours, lighting and
shadows. I create one more orange/red tonal values are really
layer (in Color mode) and with a large working well together.
The most important part
Soft Round Eraser I reduce the effect on is to have fun doing it.
areas that won’t receive this light directly.

Creating the 14 Final effects

10 hair base
Because the main light source is behind the head, I decide to
enhance the tones in some areas of hair. I select the areas I want,
Here I block in the mass of the hair with feather the selection, then intensify their lightness and darkness using
a specially configured blurred brush. In Levels. To help with this, I use a black layer at the top of the layer stack
some parts, I use a Soft Round brush to set to Color mode. When visible, this can show me the tonal values
balance or soften areas between masses during my painting process.
of hair. Using a brush customised with
irregular dots, I enhance hair spikes and
add small details and loose stray hairs
that match the direction of the light.

12 Final hair details

Now I set the A35 brush Spacing to
13 per cent, the Angle to -55 degrees and
opt for no Pressure to change the brush
shape. Using this, I add looser layers of
hair with a soft look – this helps give hair
a look of natural movement. To create the
effect of stray hairs highlighted by lights
around the head, I set the dotted
Photoshop Standard brush to 140 per
Hair sections
11 All hair details are painted with
cent Spacing and enable the Texture and
Scattering options in the Brush panel.
one regular Round brush (which I change
to an oval shape), one irregular dotted
Standard brush (present in most versions 15 Last-minute detailing
Whenever I finish an image I
of Photoshop) and the two customised always take a couple of hours away from
brushes I created for this image (A35 and the canvas. Then when I return with fresh
B52). I begin by selecting the A35 brush, eyes it’s easy to see things that I hadn’t
going to Shape Dynamics (increasing the noticed before and should be improved.
level of Pressure of the brush) and Here I decide that I could add more detail
creating a brush stroke with pointed edges to the eyebrows, more saturation to the
to paint the spiked sections. Always adjust eyes, and more lightened dots to the skin.
them to match the lighting and the shape I also add more hair to the beard and
of a manga-style hair. increase the texture effect in the lips.

April 2014 79
 Willow by Cris DeLara
CGWorkshops Instructor

Online Learning 2014

VFX and Entertainment Design

CGWORKSHOPS
cgworkshops.org
 Quick technique Comic lettering

Improve your
comic lettering
An often overlooked art, lettering is a unique feature of comic books.
Here, PJ Holden shows you how to get it right in Manga Studio

omic book lettering is a skill

C set that’s deeply undervalued.

Lettering done right is
invisible to a reader, and yet PJ Holden
Get your ‘I’ right
A ‘crossbar I’ is the letter ‘I’ with bars (serifs)
across the top and bottom, and in comic
Country: lettering this should only be used for first
subtly influences the way the words are person singular. Most professional comic
Northern Ireland
read. It provides a gentle guiding hand fonts also include a non-crossbar (sans serif)
through the story, never allowing the PJ has been a I, for use in every other instance (although
professional it’s fine to use a crossbar I for the first letter
reader to become confused about the of a noun). Usually the uppercase letter I is a
comic artist
course of narrative events. Done wrong, for over crossbar I, and the lowercase is the non-
however, and it becomes speed bump a decade, crossbar. For those in the industry, nothing
gives away the inexperience of the letterer
after speed bump. drawing predominantly
for 2000 AD on Judge faster than the incorrect use of crossbar I.
Because of the production line nature
Dredd, Rogue Trooper
of most comics, lettering is usually the and more. He’s also
last link in the chain and it becomes a the co-creator of
Numbercruncher with
deadline saviour. Manga Studio’s lettering
Si Spurrier.
tools are often a little primitive compared www.pauljholden.com
to Illustrator (the tool of choice for
professional letterers) but, if applied
correctly, they can produce finished work
that’s equally as good.

Words don’t
1 come easy
First, select the Text Tool in Manga
Studio’s toolbar and choose an
appropriate font. In this example I’m
using CCWildwords from ComicCraft, set
at 8 point, with the line spacing set at
three (this will vary depending on the
size of the artwork). I then place the
cursor near the written text and type the
first block of text. Next, placing the cursor
near the word “GUYS...?”, I type this
dialogue, which leaves me with two text
layers for each balloon.

Balloon shapes
2 Using the Balloon tool’s ‘curve
balloon’ (a sub-tool of the Text tool I just
used) I trace an organic-shaped balloon
The tail end
right around the lettering. I follow the
existing pencil guides established by the 3 Using the Balloon Tail tool, I draw
penciller, but the key thing is to give the a ‘spline’ tail linking the first balloon to
text plenty of room to breathe. I draw one our hero’s mouth – to indicate where the
balloon around the first bit of lettering speech is coming from. I then create a
and another one around the second second tail linking the top balloon to the
balloon. There’s no need to link them; bottom one. Next I select both lettering
these balloons are associated with the layers and pick Combine Selected Layers.
text layers automatically. I now have two linked word balloons.

April 2014 81
 The art of
Game of Thrones
George R R Martin’s Known World depicted,
from the TV series to book covers and more!
Issue 108 on sale 28 March 2014
82 April 2014
 Get a free issue wheN you
subscribe to imaGiNefx!
see paGe 32 for details

Featuring…
Cover artist
Mélanie Delon
The illustrator paints her
favourite Game of Thrones
lady Daenerys Targaryen.

Fit for the fight

Paint an epic icy battle scene
straight from the pages of a
fantasy novel.

Get inspired
Use photo reference in a
totally new way for unique
results with Miles Johnston.
Daren Horely
The concept artist tells us
what it takes to create a
blockbuster-worthy beast.

French digital arti

st Marc Simonetti
reveals his greatest
paintings
http://art.marcsi
monetti.com

April 2014 83
 Workshops

84 April 2014
 In depth Tell a story
Download resources http://ifxm.ag/cool107manga
WIPS • FINAL IMAGE

tell a story
WITH AN IMAGE
Applibot illustrator Crowgod lays out the process he uses to create
artwork for the online card game Legend of the Cryptids

ne of the things I’ve learnt is that a young warrior is desperately

O from working on Applibot’s

Legend of the Cryptids line is
the importance of being able Crowgod
seeking out a miracle cure that’s
somewhere at the top of a giant tree, in
order to heal his sick mother.
to tell a story through an illustration. Country: Japan I want to make the figure as heroic-
With Applibot’s appetite for success, the Crowgod, aka
looking as possible – hopefully he’ll
art has to appeal to a wide audience who Xu Cheng, become an iconic card character. To tie in
may be unfamiliar with the Cryptids graduated with the tree theme, he’ll wield an axe
from Central
brand, which in turn might be the push Academy of
rather than a sword. Picturing him mid-
they need to try out the game. Fine Arts in Printmaking way up the giant tree, high above the
Therefore, before drawing even a rough in Beijing, where he also clouds, will increase the feeling of peril
taught himself digital
sketch, I read the description of the scene and drama in the scene, which should
art techniques. He is
carefully and imagine what’s happening now an in-house further engage the viewer.
to the character. The premise of the scene illustrator at Applibot. Okay, enough talk – let’s get to work!
http://ifxm.ag/crowgod

Quick sketch Monochrome sketch

1 I draw a quick sketch of a giant tree 2 I draw the character, monster and
reaching up into the sky. I consider the objects in the background all in black and
diameter of the tree, how it grows and its white. Darker colours on the edges of the
appearance. It should be a solid structure image and lighter colours towards the
that can be climbed without using ropes. centre help to create the focal point,
My character is a young warrior, and which is where the struggle in the sky is
Colour process
I decide to depict him bare-chested after
seeing some reference photos of rock
taking place. I use greyish colours on the
background because I want to soften the 3 I create a Multiply layer and choose
climbers. As well as being dangerously contrast between black and white. As a a base colour by using the Gradient tool.
high up the tree, there’s added drama result, I make this grey area the most eye- Then I apply this using the Paint Bucket
from the small dragon that’s attacking catching area in this illustration. I use the tool. Next, I create an Overlay layer and
him. The scene will be well lit because strong backlight to help make the use a light colour to highlight the
it takes place high above the clouds. atmosphere perspective pop off the page. differences between the objects.

April 2014 85
 Workshops
Raising the contrast
4 I now create an Overlay layer, then
add colours to the dark side of objects and
bright side of the background because I
want to accentuate the contrast between
them. Then, on another Overlay layer
I add the reflected light on the dark side of
objects. I repeat this stage, but this time
reduce the Opacity to 36 per cent, to
achieve the right amount of contrast
between the duelling characters and
the background.

Levels
Ctrl+L (PC)
)
Cmd+L (Mac
is tool is useful for
Th
e proportion
tweaking th Take your time
of black, wh
and grey.
ite
7 with colours
It’s not easy to create an image with lots
of elements and keep them in balance.
I advise being patient and thinking before
making your next brush stroke. I always
search for reference images for depicting
Grand vision the texture of objects, and then use
Building structures in different light spots to unify all the
fantasy art are often
various elements.
grand affairs. But when
your evil queen’s castle
Character accessories
looks more like a drab
block of flats, it’s time to 8 At this point I need to think more
take one of these
approaches to the about the character’s clothing. I decide to
Colour sketch
5 I create a new Multiply layer and
composition. First,
ensure that the
give him some protective gear – the
sharpened metal plates around his legs
perspective is correct by
choose the Gradient tool and Paint using grid lines on a
and lower arms – but I’m mindful that he
Bucket tool to paint the base colour. Then separate layer. Then still needs the freedom and flexibility to
I create an Overlay and Color Dodge layer place people or other be able to climb the tree. This is why I
recognisable objects to
to highlight the basic colour of the give scale to the scene.
choose to clothe him in fabric trousers,
character and background. Using these Finally, add details where with leather belts included for visual
layers boosts the base colour, so to control appropriate, to help give interest. Elsewhere in the scene, I pay
those objects a palpable
the brightness of this colour I adjust the attention to the gradation of colours
sense of volume.
Opacity using a soft brush. on different layers.

Colour tweaks
6 You could also adjust the colour using the options within a Fill
or Adjustment layer. I choose Vibrance… from the ‘Create new Fill or
Adjustment layer’ option to tweak the saturation. I also use the
Selective Color menu. I set up my colour palette as HSB sliders – it’s a
quick way to adjust the purity of colour and saturation in the image.

86 April 2014
 In depth Tell a story
Adjust the
9 atmosphere 12 Depth and volume
I add gnarly details to the tree
I copy the character and the dragon using trunk in the mid-ground to show its
the Lasso tool onto the new layer. After almost menacing bulk. Then I create more
that I create a new layer based on the layers and paint a range of different
original one. This enables me to use the elements such as clouds and the land far
Paint Bucket tool to paint, as well as below, which enhances the depth
adjust the overall Opacity. The result is between the background and foreground.
that I enhance the depth of the tree that’s
in the mid-ground.
13 Additional elements
I add more details and a pattern to
the axe. Then I adjust the edge line of
character and foreground to accentuate
the volumes and the depth within the
painting. Highlighting the edges and
painting reflected light also helps to bring
out the volume of objects.

10 Detailed design
I always think that a well-thought-
out design aids the storytelling in the
scene. Here I’ve indicated the interaction
between the young warrior and the
dragon, which enhances the feeling of
movement. The figure’s pose is off-
balance and his muscles are tensed, which
shows he’s ready to strike the dragon. The
direction he’s facing also adds to the sense
of threat in the situation.

Auto Color
Ctrl+Shift+B
Cmd+Shift+B
Use this tool
to quickly
adjust the ba
lance of
colour in your
image.

Reading the scene

11 People are used to reading from left
to right, top to bottom and near to far.
Therefore, the viewer should be able to see
a strong, powerful anti-clockwise curve
that’s produced by the twisted giant tree. 14 Finishing up
I decide that I want to make my
This curve matches the movement of the warrior look even younger, so I adjust his
axe. The dragon’s facial expression is a face accordingly. Finally, I introduce a
clear indication that it knows it’s about to beam of light that picks out his body, and
get a lot shorter… tweak the highlights in the scene.

April 2014 87
 NEW YORK
20.06.14
BRENDAN DAWES ETHAN MARCOTTE

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 Artist’s
Choice Award
Art resources with a five-star
rating receive the ImagineFX
Artist’s Choice award!

The latest digital art resources are put

to the test by the ImagineFX team…

product
7
on test s

hardWARE
90 Intuos Manga
We find out if budding manga artists
should invest in Wacom’s new-look
Intuos Manga graphics tablet.

92 Bamboo Pad
This flash new tablet is more Books
of a glorified trackpad, complete 94 New reads
with gesture support. The Art of Mr Peabody & Sherman;
300: Rise of an Empire: The Art of
93 Intuos Creative Stylus the Film; and The Art of Ian Miller.
Wacom yields to the iPad with the
release of a dedicated, professional training
stylus. But how good is it? 97 Realistic Skin with
ZBrush and KeyShot
Creature artist Dominic Qwek
demonstrates the steps needed
to truly bring characters to life.

Ratings explained Magnificent Good Ordinary Poor Atrocious

April 2014 89
 Reviews
Wacom’s entry-level Intuos range features a
hard-wearing aluminium surface with slick
matt black plastic Expression keys. It’s also
slightly inclined, which provides a more
natural drawing position for your hand.

Intuos Manga
complete package We find out if budding manga artists
should invest in Wacom’s new-look Intuos Manga graphics tablet
Price £89 Company Wacom Web www.wacom.com Contact 020 7744 0831

he Wacom Intuos Manga is portability affects the device’s usability.

T part of a new, simplified

graphics tablet range that
sees the old Bamboo tablet
The active working area is just
152x95mm and is subtly marked out
with grey spots, which can be difficult The stylus feels good to making firm contact with the surface.
hold, and using the
replaced with three entry-level Intuos to see in certain lights. You’re often left rubber end activates The downside is that this can come
models. As well as a slick new name, to rely on instinct and guesswork for the Erase tool in Manga across as quite ‘scratchy’ compared to
Studio Debut 4.
Wacom has given the tablet a new the edge of your canvas. The same is the plastic of the Bamboo and doesn’t
look, featuring a smart brushed- true of the four Express Keys, which are always feel like a natural drawing
metal work area and a slick black tucked away in the black area at the top surface. The Wacom stylus that’s
finish for the express keys. This and are only noticeable by a slightly included in this pack features the same
replaces the slightly cheap plastic of elevated button. Although they have a levels of pressure sensitivity and tilt
the old Bamboo. satisfying click when used, Wacom’s control as before, but is thinner and
With its new minimalist design the desire to make its tablets ambidextrous sleeker, which in turn makes it easier to
Intuos looks great on your desk and is means you only really use two. draw with. Better still, it’s also less
perfect for carrying around when on The brushed metal surface gives the bulbous and feels more like a
the go. However, this look and Intuos an industrial feel, with the stylus traditional pen.

90 April 2014
 Hardware Intuos Manga
Stanley Lau’s distinctive manga
art adorns the packaging of
Artist interview
Wacom’s latest tablet.
PJ Holden
The comic artist on using a
Wacom tablet with Manga Studio

How does drawing with a

Wacom tablet help you get more
out of Manga Studio?
I think that digital drawing
benefits enormously from some
sort of graphics tablet. Using a
mouse is possible – comic and
pin-up artist Adam Hughes
coloured with a mouse for years,
for example – but from a drawing
point of view, a pen input is the
optimal choice. Personally
speaking, the pressure sensitivity,
together with how customisable
Manga Studio’s pens are, help to
create naturalistic drawing tools.
What brushes and tools are
particularly amplified by being
able to use Wacom’s feature set?
Generally, all of the inking tools are
helped by the basic Wacom
features. Turning to specifics,
Manga Studio’s ability to read the
tilt of the pen means that you can
then use this to simulate the use of
a pencil on its side. For example,
holding the pen at an angle to get a
larger coverage, and then using the
pressure sensitivity to achieve
darker marks.
Can you give us a top tip on
how to configure Manga Studio,
so that you get the most out of
Should you want to using a tablet?
work wirelessly,
you’ll have to shell I would say that you should
out £35 for the configure the primary button as
required hardware.
the space bar. This enables you to
easily move the drawing surface
around by using the pen. And
configure the second button as
Features Undo, so when you make a
n Brushed aluminum mistake it’s as easy to correct as it is
The brushed metal surface gives the
design
n New angle profile
to do… not that I make many
n 1,024 levels of mistakes, of course!
Intuos an industrial feel, with the stylus pressure sensitivity
n Manga Studio Finally, are there any tools or

making firm contact with the surface

Debut 4 included
n Suitable for both
brushes in Manga Studio that
right- and left-handers you wished worked better with
n Supports multi-
touch gesturing
your Wacom tablet?
This Manga package features the With its relatively small surface area n Four customisable I’d love it if I could get a spray effect
Pen and Touch model, which means it for working on, the Wacom Intuos Express Keys
that would give a spray cone area
n Weight: 310g
includes multi-touch gesturing, which does give you limited scope for your n Wireless kit available depending on the angle and
can be toggled via a switch on the top. painting sessions: there’s not much positioning of the pen. I’m
It comes with a full version of Manga room for wide, sweeping gestures, for System
Requirements convinced it’s possible, I just haven’t
Studio Debut 4, but will also work with example. However, at just £89 it’s PC: Windows 8, 7 SP1
figured out how!
or Vista SP2, USB port,
other painting programs. Using Manga certainly competitively priced for the internet connection
Studio’s customisable brushes and pen consumer market. If you’re looking to Mac: OS X 10.6.8 or

tools with the Intuos proves a use this as anything more than a later, Intel CPU, USB PJ has been a professional
port, internet comic artist for over a decade,
rewarding experience. The brushes hobbyist tablet though, it’s worth connection and drawn Judge Dredd,
themselves are responsive – especially spending the extra money on Rating
Rogue Trooper and more.
with features such as the stylus’s eraser something that sits further up the
www.pauljholden.com
on the end that selects the Erase tool. Wacom product line.

April 2014 91
 Reviews
The Bamboo comes in four vibrant
colours, all of which provide fine
distraction for when the Pad
doesn’t work how you want it to.

Bamboo Pad
oh so sensitive Wacom’s latest tablet is more a
glorified trackpad, complete with gesture support
Price £60 Company Wacom Web www.wacom.com Contact 020 7744 0831

hat do you get when you you plug into a USB port. This uses a touchpad with basic stylus support for

W cross a graphics tablet

with a trackpad? Probably
something like the Bamboo
proprietary system so there’s no faffing
around with Bluetooth pairing – just
turn on the Pad and it’s ready to go.
doodling and writing, rather than a fully
fledged tablet. Viewed as such, it works
perfectly well. You can sketch quite
Pad. It attempts to combine the best If using the Pad on the Mac, you happily, if not overly comfortably, on its
of both worlds by providing a small need to download and install a driver small surface, once you get used to the
tablet area with a pressure-sensitive – a minor inconvenience that does, way the square area maps to the
stylus and support for multi-touch however, ensure that all the Pad’s rectangle of your screen. Regardless of
gestures, as used in Mac OS and now features work with apps that support it. the software being used, the Pad is
also Windows 7 and 8. On a Windows PC, the Pad is installed also good at differentiating between
It’s available in four different colours,
and is entirely wireless, running off We found gesture recognition on the
standard AAA batteries. The dinky
pad connects to your computer via a Pad to be hit-and-miss, often zooming
microscopic wireless connector, which
in or out when we wanted to scroll Features
as a standard USB input device. As a pen input and the palm of your hand n Wireless touchpad
n Wireless stylus with
result, you can only use its pressure resting on its surface. one button
sensitivity in the few native Windows We found gesture recognition on the n Multi-touch gesture
support
Ink applications available, such as Pad to be hit-and-miss, though, often n Pressure sensitivity
Microsoft Office and Wacom’s basic zooming in or out when we wanted to n Left- and right-
handed setup
Bamboo Page app. Photoshop and scroll. It’s nowhere near as reliable as a n Runs on standard
Painter won’t recognise the Pad’s Magic Trackpad, but it’s considerably batteries

pressure sensitivity at all in Windows. cheaper and offers stylus support. System
It’s something of a glaring omission for In short, if you don’t expect miracles Requirements
PC: Windows 7 or
users of the Microsoft OS and one that from the Pad then you won’t be Windows 8
Wacom doesn’t make at all clear in its disappointed. Indeed, it would Mac: OS X 10.7 or later

promotional material. probably make an ideal secondary Rating

The Bamboo Pad is like a hybrid between a drawing
Having said that, Wacom is pitching tablet, especially for use with a laptop
tablet and a trackpad with gesture support. the Pad as a general-purpose given its portability.

92 April 2014
 Hardware Drawing tools

Intuos Creative Stylus

The stylus uses Bluetooth
and requires one standard
AAAA battery that seems
to last forever.

join the club Graphics tablet king Wacom yields iPAD

ONLY
to the iPad with a dedicated, professional stylus
Price £85 Company Wacom Web www.wacom.com Contact 020 7744 0831

he iPad has established supported app individually using obscure smaller details on the screen,

T itself as the de facto

electronic sketchpad for
many artists, because it’s
whatever method it employs, which is
easy to forget when you’ve just
downloaded a new one.
and can make drawing finer details
more difficult than it needs to be.
Meanwhile, the rocker switches that
Features
n 2,048 levels of
pressure sensitivity
more versatile than a graphics tablet At the moment, 15 apps provide act as definable buttons are easily n Tilt recognition
and cheaper and more portable than specific support for the stylus, accessible with your finger. However, n Palm rejection
(where supported)
a laptop. So it’s no wonder that including ArtRage, Procreate, their action is so loose that it’s all too n Two user-definable
Wacom has finally launched a SketchBook and Wacom’s own easy to press one by mistake – switches
n Wireless Bluetooth
professional-grade stylus for the Bamboo Paper – although not all of sometimes just brushing it with your support
iPad 3, 4 and later models. these apps support all the features of fingertip activates it. It’s not a massive n Uses standard
AAAA battery
It’s made of rubber and aluminium,
making it pleasingly light without being The biggest bone of contention for n Carry case and two
spare nibs provided

insubstantial, and comes with a carry

case and two spare nibs. There’s 2,048 seasoned iPad stylus users is likely to be System
Requirements
levels of pressure sensitivity (in
supported apps) and the familiar
the squashy, bulbous rubber nib iPad Mini, iPad 3, iPad
4 or later: App support
needed for shortcut
buttons and pressure
Wacom dual-shortcut buttons, which the stylus. A further six apps are bother, but for a stylus costing this
sensitivity
can be customised to perform promised to have integration soon. much, you’d expect such little details to
whatever app functions you like. The biggest bone of contention for be ironed out. Rating
The stylus works via Bluetooth, seasoned iPad stylus users is likely to That said, the stylus is a joy to use
running off one standard AAAA be the squashy, bulbous rubber nib, generally, with flowing lines and a
battery, so it needs to be paired with especially when compared to the clear, predictable response to pressure, and
the iPad to begin with. Oddly, it doesn’t fine-tipped nib of something like the palm rejection works well in most apps.
show up as a standard Bluetooth Adonit Jot Touch. Presumably this is Zooming in and out of your image
device in the iPad’s system settings; necessary to support pressure usually takes care of any problems with
you need to pair it with each sensitivity, but it does sometimes the larger nib, while the battery seems
to last forever – and is cheap to replace.
If you own a newer iPad and want a
Cintiq-style experience minus the extra
expense, this is the closest you’re going
to get. However, the relative lack of app The pressure-sensitive
Intuos stylus comes
support, its high price and that squishy with a carry case that
tip should be borne in mind. contains two spare nibs.

April 2014 93
 Reviews

The Art of Mr Peabody

& Sherman
Classic revival Showcasing incredible craft, this book documents how
DreamWorks revived Jay Ward’s classic 1960s cartoon characters beautifully
Author Jerry Beck Publisher Titan Books Price £25 Web www.titanbooks.com Available Now

his large, landscape book opinion, best chapter. It focuses on the

T is a wonderful companion
to animation giant
DreamWorks’ upcoming
film’s major players – Mr Peabody,
Sherman, Penny and the Petersons –
and features multiple character
feature film Mr Peabody & Sherman. sketches and illustrations, all of which
Based on the characters created by provide an inspiring visual breakdown
Jay Ward in the 1960s, this 156-page of their development.
hardback provides a small preview It’s a shame that this chapter has so
of some of the film’s snazzy pre- few dedicated pages in comparison
production art and explains how the to the wonderfully detailed
original designs were translated to environment art and props section;
the big screen. however, this doesn’t take anything
It begins with a wraparound book away from the illustrative genius that’s The film’s titular characters visit Florence, where
cover, painted by artist Tim Lamb, showcased within this book. Here you they encounter the work of a certain Mr Da Vinci.
which visualises the characters’ journey become aware of just how tirelessly
from their original 1960s cartoon-style the DreamWorks team worked to provided by DreamWorks artists and
to the artwork created for today’s remain true to the original, much- author Jerry Beck. Full to the brim of
adaptation. Inside, following a nostalgic loved characters. inspiring artwork, every page in this
forward by Ty Burrell (the voice of the Mr Peabody lives in a
Another noteworthy section is the hardback is a beautiful rainbow of
new Mr Peabody) and a touching penthouse suite with Building a Scene chapter towards the colours. However, among the
Sherman; it’s a slick mix
preface from Jay’s daughter Tiffany, of retro styling and
end of the book, in which the narrative hundreds of compositions featured,
the book presents its first, and in our contemporary design. sees Sherman ask and Mr Peabody it would have been nice to see a few
answer a series of questions about how more early development sketches and
the scene was translated into 3D. While storyboards, particularly in the
it is a simplified version of the complex environments section. That aside, this
behind-the-scenes work, it’s a fun Art Of book has much to offer
approach that’s technically accurate illustrators, comic fans and digital
and makes what is in reality a artists alike, providing a real insight to
thoroughly complicated process how DreamWorks artists work on
accessible to everyone. memorable characters. It’s also a
Throughout the book it’s the artwork healthy dose of inspiration.
that does most of the talking though,
with some additional information Rating

94 April 2014
 Inspiration Books

300: Rise of an Empire: The Art of the Film

Water opera This widescreen companion to the follow-up of 300
picks up all the details of the ancient Greeks’ adventures at sea
Author Peter Aperlo Publisher Titan Books Price £25 Web www.titanbooks.com Available Now

nowing that everyone dies

K in the movie 300, we have

to admit to being slightly
confused when we heard
300: Rise of an Empire was in the
making. But all of our questions were
answered in this lavish hardback,
which also provides a visual
breakdown of the film’s creation.
Much like the new movie, this book is
full of dark, stylised imagery, comprising
high-end photography and computer-
generated compositions to detailed Look out for the comic-book style No expense has been spared on the
illustrations and beautiful paintings. storyboards and double-page spread top-quality, glossy paper stock that
paintings, all of which are eye-catching. presents each design and photograph
Working through the film’s creation in rich detail. In addition, the book’s
and story in chapters, the book’s least large format makes it feel heavy and
impressive section is its opening on the worth the price. It’s like the coolest
main characters. We found ourselves history textbook ever made, all
skipping through the multiple pages of wrapped up with beautiful and
marketing-style movie stills until we inspiring imagery for character and
Top-notch photography arrived at the concept art and environment concept artists alike.
showcases the more
interesting character
development work, where the book
designs in the film. really comes into its own. Rating

The Art of Ian Miller

Beautiful nightmare The incomparable British fantasy artist Ian Miller
gets a long overdue retrospective of a bewitching body of work
Author Tom Whyte and Ian Miller Publisher Titan Books Price £25 Web www.titanbooks.com Available 25 March

ritish artist Ian Miller has

B been on the fantasy and

sci-fi art scene since the
early 1970s. His finely
detailed work is instantly
recognisable, and is often gothic and
grotesque-themed in nature. This
160-page hardback showcases 300
of his most incredible pieces.
With almost every image featuring
some form of death, destruction and
sickening decay, the work is divided
into four chapters. Each one is black-and-white drawings, with the translated into his work and now invoke
overflowing with his trademark stark odd injection of colour thrown in to get a similar reaction in his audiences.
your senses going. But it’s the final This book is frenetic in the most
chapter – Dreams and Nightmares – brilliant way. Every image produces
that’s the most captivating. multiple, opposing reactions, the
Here you’ll find Ian’s most unsettling predominant one being of awe at
pieces. It’s also where the artist reveals Miller’s staggering craft, quickly
personal details about himself, such as followed by an overwhelming urge to
how being steeped in the world of look away. It’s an absolute must-have
make-believe as a child made him both for fantasy artists.
Ian Miller’s artwork is
sure to evoke feelings
fearful and excited at the same time.
of morbid fascination. These are two emotions that have since Rating

April 2014 95
 awards
2014 VOTE
NOW

VOTING NOW OPEN

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Best New Web Technology Entrepreneur of the Year
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App of the Year Young Developer of the Year
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Best collaborative project Designer of the Year
Redesign of the Year Outstanding contribution
Podcast of the Year Team of the Year
Conference Talk of the Year Agency of the Year

www.thenetawards.com
 Inspiration Training
Download resources http://ifxm.ag/cool107manga
VIDEO SAMPLE

From ZBrush sculpts (above)

to finishing off in Photoshop
(right), Dominic Qwek’s got
his skin in the game.

Skin textures start

with a Polypaint base
layer in ZBrush.

Realistic Skin with

ZBrush and KeyShot
UNDER THE SKIN Creature artist Dominic Qwek demonstrates
the steps needed to truly bring characters to life, layer by layer
Publisher The Gnomon Workshop Price £30 Format DVD/Download Web www.thegnomonworkshop.com

aking skin look real in your creating realism. The closest this

M pictures is a matter of
understanding light, and
how it affects the surface
process gets to traditional painting is
when Dominic applies textures over
the model. You’ll recognise many
Artist profile
Dominic
of the skin. It’s a creative challenge
for which 3D software is well-suited.
conventions of 2D painting, such as
using red and blue to indicate the
Qwek
In this two-hour video, Dominic blood and veins beneath the skin.
Qwek reveals his own process for The remaining stages are easier to Dominic is a creature and character
detailing and rendering skin in 3D, get into. The ZBrush model goes into artist with over 10 years’ experience
although there are plenty of take-home KeyShot, which is a specialised but in the CG industry. He started his
points for 2D artists, too. Dominic accessible tool for lighting and career as a 3D generalist for
breaks his process into three distinct rendering 3D models. The half-hour advertising before moving into
stages, using different software in each. spent in KeyShot serves as an games. He’s contributed to AAA
The most time-consuming stage Topics covered
appetiser if you’re new to the program, titles such as Starcraft II, Diablo III
involves Dominic taking a ready-made n Sculpting detail but you’ll need to explore it on your and Killzone 2. He now works at
in ZBrush
creature model into ZBrush and n Painting the base
own to approach Dominic’s results. Blizzard Entertainment as a senior
detailing the skin, meticulously building n Painting details The last stage involves Photoshop, as cinematic artist, where he helps
n Suggesting what’s
layers of tiny pores, wrinkles – anything under the surface
Dominic applies scumbled textures create the stunning cinematics that
that breaks up and scatters the light as n Lighting and that blend into the render. He narrates Blizzard is famed for. Dominic’s
rendering in KeyShot
it hits the skin’s surface. This, Dominic n Post-processing
the action with quiet authority, but skill set ranges from
explains, is how you avoid the silky- in Photoshop tends to focus on the 3D process in character and
smooth ‘CG look’. Length
favour of the anatomical and painterly environment creation
You’ll need to know ZBrush to keep 138 minutes knowledge that informs his decisions. to creature design and
up with what he’s doing, but you’ll Rating
You’ll finish the video with some 3D rapid-prototyping.
deepen your knowledge of the roles understanding of skin, but far more of
www.dominicqwek.com
various brushes and alphas play in 3D software techniques.

April 2014 97
 how to draw and paint
Don’t miss this special collection of the best anatomy advice from ImagineFX. It’s packed with
easy-to-follow, step-by-step anatomy guidance from professional artists. On sale now…

Get your copy today!

Buy it at www.zinio.com/imaginefxspecials
Inspiration and advice from the world’s best traditional artists

This issue:

100 FXPosé Traditional

The best traditional art revealed.

104 Creative Space

Subway sketching in Toronto.

first impressions 106 Paint a comic

patrick j jones
Christopher Moeller gets busy.

gets personal
Find out which Conan painter captured the 112 Anatomy advice
Belfast-born artist’s imagination Page 114 Learn to draw the human head.

April 2014 99
 FXPosé showcasing The FINEST traditional fantasy artists

Rebecca Yanovskaya
Location: Canada 1
Web: www.rebeccayanovskaya.com
Email: ryanovskaya@gmail.com
media: Archival ballpoint pen, gold
leaf, shell gold, Moleskine paper

Rebecca, like most artists,

began by doodling in small
sketchbooks. But she didn’t
stop there. While
she continued to use
ballpoint pens and Moleskine paper, her
sketches became more elaborate. Now
she creates intricate drawings layered
with materials such as gold leaf, floral
patterns and wood panels.
“Mythological stories, natural forces
and the beauty of the human figure”
influence her most. The Toronto-based
artist aspires to one day illustrate The
Odyssey, Hans Christian Andersen’s
stories and a custom tarot deck.

ImagineFX crit
“Every so often,
the ImagineFX
team gathers
around a computer to
gawp in disbelief at
submitted work – as
we did after receiving
Rebecca’s art. Brilliant.
Quite unlike anything
I’ve ever seen before.”
Gary Evans,
Staff Writer

1 Ascent of Man and the

Destruction of Magic
Ballpoint pen and 22K gold leaf, 10.5x17.5in
“This piece is my homage to some of my
favourite artists and subject matter.
Mucha, Klimt, Bouguereau, Waterhouse
and many others inspired it. The winged
beings and magical water monsters
were such fun to draw, and I wanted the
power of nature and magic to be
showcased here.”

2 The Cairn in Slater Woods

Ballpoint pen, 8x10in
“This piece is based on a contemporary
ghost story I found on Tor.com. The
mood of the moment was essential, as
well as capturing the intent of the main
characters. I composed the scene with
particular attention to strong visual
lines and atmospheric perspective.”

100 April 2014 FXPosé submissions to: fxpose@imaginefx.com

 FXPosé Traditional art
2

FXPosé submissions to: fxpose@imaginefx.com April 2014 101

 FXPosé
Craig Elliott 1
Location: US
Web: www.craigelliottgallery.com
Email: craig_elliott@mac.com
media: Oil on wood or canvas

Sculpture, jewellery
design, even landscape
architecture – if it’s
creative, Craig can turn his
hand to it. He’s also worked
extensively designing animated films for
Disney and DreamWorks. But it’s in fine
art that he excels.
Educated at the esteemed Art Center
College of Design in Pasadena, Craig
loves to paint nature and the human
form. He’s also painted comic book and
cover artwork for Dark Horse Comics
and World of Warcraft Trading cards,
and is a Spectrum Fantastic Art gold-
medal winner. “I work in themes
personal to me,” he says, “issues
like body image, environmental
preservation and social and
psychological repression weave
themselves throughout my work.”
2

ImagineFX crit
“I love the
atmosphere that
Craig has created
in his Forest Awakening
scene. The ray of light
falling onto the woman’s
face is extremely well
rendered – it looks like
Craig’s painted a
moment from a film.”
Cliff Hope,
Operations Editor

1 Little Wing Says Goodbye

Oil on mahogany panel, 42x25in
“After raising an abandoned chick to
adulthood, Little Wing releases her
friend back into the wild to live its life.”

2 Aristata and Brother

Oil on mahogany panel, 8x9in
“In this painting, an Asian girl and her
brother flee the scene of the burning
of their home.”

3 Forest Awakening
Oil on canvas mounted to wood,
45x45in
“A ray of sun caresses a forest woman
to awaken in her bed of flowers.”

4 Tori Amos Fan

Acrylic and oil on mahogany panel,
36x20in
“An image of the singer-songwriter
Tori Amos, created for her RAINN
benefit calendar.”

102 April 2014 FXPosé submissions to: fxpose@imaginefx.com

 FXPosé Traditional art
3

4
submit your
art to fxposé
Send up to five pieces of your
work, along with their titles, an
explanation of your techniques,
a photo of yourself and contact
details. Images should be sent as
300DPI JPEG files.

Email: fxpose@imaginefx.com
(maximum 1MB per image)

Post: (CD or DVD):

FXPosé Traditional
ImagineFX
30 Monmouth Street
Bath
BA1 2BW, UK

All artwork is submitted on the

basis of a non-exclusive
worldwide licence to publish, both
in print and electronically.

FXPosé submissions to: fxpose@imaginefx.com April 2014 103

 Creative Space

HEY YOU!
Are you a part of
a regular art class or
group? Email us at
mail@imaginefx.com
if you want to
feature here!

Subway Sketching:
Toronto
All aboard the art train: Bobby Chiu and Peter Chan explain why sketching
on the subway puts artists on the right track

E
very Sunday at 3.30pm Bobby is part of the team behind Sketchers meet at Toronto’s Subway fare aside, the event’s free to
Union Station every Sunday,
Canadian time, an eclectic Subway Sketching – Toronto-based boarding the 3.45pm train attend. Some attendees – those who’ve
group gathers in Toronto’s Imaginism Studios, which specialises in and drawing what they see. moved away from Toronto – have found
Union Station. Some know character and concept design. similar groups of their own. Peter’s sure it
each other; many are The event began life as a New Year’s means they’re doing something right.
strangers. Together, sketchbooks in hand, resolution made by the artist. He wanted “It’s a supportive, social environment,”
pencils ready, they board the 3.45pm to improve his life-drawing skills and saw he says, “where pro and amateur artists
subway train. They ride back and forth, the subway as the perfect place to do so. alike help each other, network and share
drawing what they see. For four hours, on 2 January 2005, he ideas. Attendees can – and will – discover
“The best creating doesn’t happen in a rode the train alone, drawing. that whatever frustrations they might
vacuum,” says Bobby Chiu. “And a lot of Kei Acedera later joined Bobby each have with their art are often shared by
the best artists will attest that one way to Sunday – the pair founding Imaginism other artists, which can be reassuring and
immediately become a better, more that year. After placing an advert on cgtalk. uplifting on its own.”
creative artist is to simply hang around com, the group flourished and is now led For more on Subway Sketching and Imaginism
other good, creative artists.” by the studio’s senior artist Peter Chan. Studios, visit www.imaginismstudios.com.

104 April 2014

Creative Space Subway Sketching: Toronto
Subway fare aside, the event is
free to attend. But punctuality

train of
is key: miss the 3.45pm train
and you’re drawing alone.

thoughts
A selection of sketches created on the
subways of Toronto

Subway
Sketching
founder Bobby
Chiu captures
the character of
this passenger
perfectly.

Temperatures
in Toronto often
mean very little
of subjects are
actually visible,
as this sketch by
Bobby shows.

Point of view:
Bobby began
drawing on
the subway
to improve his
life-drawing skills.

Kei Acedera
was the first
person to join
Bobby Chiu in
drawing while
riding the train.

‘Wanna trade?’
Kei captures
the business
meetings that
Almost a decade ago, often take place
Bobby Chiu boarded a on the trains.
subway train alone to improve
his life-drawing skills. Not
only has the group grown, but
similar events have sprung up
throughout Canada.

Kei founded
Subway Sketching is Imaginism
successful, founder Bobby Studios with
Chiu says, because it stops art Bobby, the pair
being an “isolated activity” sharing a love of
and enables artists to share character design.
skills and ideas.

April 2014 105

106 April 2014
 Workshops

Download resources http://ifxm.ag/cool107manga

VIDEO • FINAL IMAGE • WIPS

Pencil Acrylics
paint comics the
old-fashioned way
From script, to thumbnail, to sketch, to finished painting, Christopher Moeller
reveals how he creates a comics page using traditional media

T
here is no reason on Earth There were some beautiful books are. And here I am. Painters tend not to
Materials
to still be painting comics about, such as Neverwhere by Richard remain in comics very long – one or two
surface
traditionally. In an industry Corben; Moonshadow by Jon J Muth; books for most of them. It doesn’t take
n Paper (Strathmore
that demands speed, painted Blood: A Tale, by Kent Williams; Enemy long for most painters to recognise the
400 Series)
comics are excruciatingly Ace by George Pratt; Silverheels by Scott truth of what I said at the beginning:
n Bristol board with
slow. To make things worse, in a medium Hampton; The Psycho by Dan Brereton; there is no reason on Earth why you
a vellum finish
dominated by teams of pencillers, inkers, and Elektra: Assassin by Bill Sienkiewicz. should paint a comic book traditionally.
colourists and designers, painted comics Drawing Materials I loved that they were all different. Each But bless every one who did, for their
n A variety of
are the work of one artist. Painted comics artist’s voice was distinct, with its own heroic, singular contributions. They are
mechanical pencils, all
are an exercise in perversity, and yet, rhythms and obsessions, it’s own poetry. the reason I paint comics. Not because
with soft leads (3B-6B)
when they work, they can be In my mind, comics had a distinct there are advantages that paint has to
transcendently beautiful. Brushes visual language: words, lines and flat, offer, but because paint is where my
I liked comics as a youngster, but lost n Robert Simmons primary colours. Here was something artistic voice finds its proper register.
interest in middle school. It wasn’t until sable round brushes new. Here was visual storytelling If yours does the same, here’s a fairly
n Grumbacher Brislette
attending the University of Michigan radically different from what had gone detailed look at how I do what I do,
sable flat brushes
School of Art in the early 1980s that before, as well as from one artist to the and paint a comic page.
I rediscovered comics. Paints next. Here were problems being presented Christopher has been writing
But it wasn’t the superheroes of my n Liquitex soft (and solved) in completely unique ways. and painting comics since 1990,
childhood that captured my attention. body acrylics I was hooked. In the 20 years I’ve been and his titles include JLA: A
Instead it was the outburst of expressive other working in the industry I’ve created League of One, Star Wars:
and exciting painted work being done n Krylon Workable well over 900 pages of painted art. Battle of the Bounty Hunters, plus his creator-
by madmen who ignored all of the Fixative and Spray In our modern, digital age, owned sci-fi trilogy Iron Empires. The third
reasons that one shouldn’t use a brush Varnish traditionally painted comics have nothing Iron Empires graphic novel, Void, is due this
instead of a pencil. to recommend them. And yet here you autumn. www.moellerillustrations.com

April 2014 107

 Workshops

1 World building
I’ve written almost all of my own scripts, which are primarily sci-fi or
fantasy. Stories that take place in strange, imaginary worlds full of cars, people,
buildings, spaceships and creatures that have never existed. One full sketchbook
at least gets filled. This happens alongside the script writing.

2 Photo reference
I don’t use much reference.
That said, my main characters need
a recognisable likeness and display a
rich emotional range over the course
of the book. Rather than ask my
models to strike hundreds of different
poses, I film their face from every
angle and later print out screen
captures from the videos.
4 Layouts
Where the thumbnail stage is
about flow, the layout stage is about
comics TIP detail. I begin to nail down lighting,
Read the script costume details, staging, background
Make sure you really details, anatomy. I put my reference
enjoy the script before together as I work. Each layout is
you sign on. You’ll scanned into a folder on my computer,
be living with it for along with the reference I need.
a long time.

3 Thumbnails 5 Transfer to the board

Once the script is done, I lay out the entire book in small spreads like this I used to transfer my layout sketch to 11x17in Bristol board
one. In the thumbnail stage, I’m establishing the flow of the story. Is this scene using an opaque projector. Now I print the sketch onto the board
long enough, or does it need to be expanded? Would these two pages work using my large-format printer (Epson 3880). I then spray the
best as a spread? How about a splash page? printed sketch with Krylon Workable Fixative, and it’s ready to go.

108 April 2014

 In depth Painted comics

Painting begins 6

comics TIP
How much reference?
Reference in comics
is a tricky thing.
Always being realistic
takes away an effective
storytelling tool.

6 Painting begins
Ah, the heart of the matter! If
I’ve done all of my preparation well,
this is the most joyous part of the
project. Acres and acres of painting to
do. A graphic novel in the 100-page
range can take two years to complete,
most of it in this blissful stage.

April 2014 109

 Workshops

comics TIP
Using borders
I use a consistent border
structure in all of my
books. I find that
limitations improve my
approach to design.

7 Brushing in artist insight

I use Liquitex Soft Body Choose your
acrylics. The consistency enables brushes wisely
me to use them right out of the jar. I use two series of
However, if you’re painting with brushes: Robert
acrylics, as I do, then don’t invest in Simmons for my rounds
expensive brushes. Acrylics destroy and Grumbacher
brushes. I use relatively inexpensive Bristlette series for
white sable brushes, as seen below. my flats. They’re
inexpensive white sable
brushes. They usually
last one or two pages
before they get
replaced. Destroying
brushes is one of the
hidden expenses of
using acrylics.

Brushing in 7

110 April 2014

 In depth Painted comics

artist insight
9 Lettering
Solving the I have a tremendous amount
problem of the
of respect for letterers such as my
paint’s drying time
talented friend Todd Klein. That
respect only deepened when
I clumsily lettered my newest graphic
novel Iron Empires: Void. However,
doing my own lettering made me
aware of how powerful the decisions
at this stage are, and I will never have
1 People complain that
anyone letter my books again. Even
acrylics dry too quickly,
though I’m not a skilled letterer, it’s too
so buy soft-body
acrylics. These come in
integral a part of the storytelling to let
a variety of containers. out of my hands.
For large canvases,
I use large containers,
for comics, the two-
ounce size.
2 Instead of putting
dabs of paint onto a
Brushing in 7 palette, just open up
the containers and
arrange them nearby
on your work surface.

8 Post-production 3 Dip your brush into

Once the page is done, I scan it and bring it up in Photoshop. I create the container and
a separate layer for the borders. Inset panels are cut out and pasted over the transfer it to your
top of the borders. I have two border widths: one for conventional panels and palette (I use coated
a thinner one for inset panels. paper plates). The paint
in the container will not
dry up, even if it’s left
out all day.
4 If you find the paint
thickening, spray water
into the container.
When you’re done for
10 Finish
the night, add some The page is done. It will be
more water and close assembled along with the rest of the
the containers (or project and sent to the publisher, who
alternatively, drape will assemble it in InDesign or the
cling-wrap over them). equivalent program, before sending it
off to the printer. Time for a glass of
wine and a well-earned vacation!
Completing a book is an intense,
draining, amazing experience.

April 2014 111

 Workshops
Download resources http://ifxm.ag/cool107manga
WIPS

Pencil Ballpoint pen Charcoal

Drawing Heads
from Life
In the latest part of our anatomy drawing series, Chris Legaspi passes on his
advice for drawing heads accurately, either from life or observation

B
ecause head drawing is so Next, I begin to place the features by and three dimensional. Once the planes
Materials
complex, I try to simplify as locating the cross­hairs – the vertical and and structures are established, I complete
much as possible, starting n Smooth newsprint horizontal centre of the head. This the drawing stage with the features, and
with simple shapes and paper defines how much of the face you see and other small details, like the eye openings,
n Carbothello pencil,
then slowly adding details the direction of the model’s gaze. I nostrils, ears and hair.
black (or Conte B) or
such as the features. indicate the features by defining the rule To finish the drawing, I add light and
n Willow charcoal
I like to begin by first making good of thirds, which places the hairline, brow shadow. First, I use mid-value tone to
sticks (medium grade)
observations and looking for key ridge and the bottom of the nose. block in the shadow, making sure to
n Kneaded eraser
landmarks, such as anatomy, and the To construct the head, I like to use boxy group dark objects (such as hair) as well.
n Ballpoint pen
gesture of the head. I establish the outer n Sketchbook
forms and planes. Planes work well in Chris is keen to share his
shape, looking at the extreme edges of the head drawing because they define corners knowledge of art theory. You
face and hair. Then I draw an outline that and direction changes. I like corners can see more of his work at
captures the general shape. because they make my heads feel solid www.freshdesigner.com.

Extreme
top

Extreme Extreme
side side
Vertical and
horizontal centre

1/2

1/2

Extreme
bottom ‘Rule of thirds’
Common
head 1/3
shapes
1/3

oval square hybrid 1/3

1 Define the outer shape 2 Locate the crosshairs

It’s good to start by observing the key landmarks, To place the crosshairs, I look at the centre of the face and the
especially the top, sides and bottom of the head. Using the centre of the eyes. This gives me the accurate tilt and rotation of the
landmarks as a guide, I then design a shape that captures the head. Next, I look to the hairline, brow ridge and bottom of the nose to
general shape I see. For head shapes, oval, square and help accurately place the features.
combinations of both work well.

112 April 2014

 Artist insight Drawing heads
Side plane Top plane
(in light)
EXERCISE
Heads up!
Draw 30 heads from
observation in the next 30
days. Spend 5­10 minutes
per drawing, focusing
on observation and
consistency.
Side
Bottom planes
planes (shadow)

Side plane
(in light)

3 Define planes
Using planes helps to make my
drawing feel solid, three-dimensional,
and also aids the rendering process.
I first break up the head into top, side
and front planes, then carve into the artist insight
planes to refine the drawing as
plein-air practice
appropriate. Then I begin tackling
Drawing people in
the features by constructing them,
public is my favourite
also in planes.
exercise. Because the
poses are random and
unpredictable, it forces
Tearducts Inside me to simplify the
curve of head and make the
ear most of the opportunity
with very few marks.

Ear
connection
Corners
of mouth
Light and shadow Half-tones and Dark accents and
Features and details pattern transition tones highlights
4 I complete the drawing stage
by refining the features and other small
details, before going on to refine my
5 Light and shade
original constructions until I achieve a I begin the lighting and shading process by first
likeness. For greater accuracy, I use separating the light from shadow. I’ll often draw out the shadow
the natural rhythms in the anatomy to pattern and then fill it with a mid-value tone. Then I’ll continue the
help place the features. This also helps rendering process with half-tones and conclude with the dark
with proportion and adds gesture accents and highlights.
to the drawing.

April 2014 113

Looking for
this issue’s
resources?

6
see page

First Impressions
Patrick J Jones
Is your art always evolving?
From building sites to Always. I’m becoming more and more
interested in Victorian Classicist
Victorian Classicism, methodology, which is reflected in my
Patrick’s art journey latest works, such as The Captive.

has brought him far What’s your most recent experiment?

Water-soluble oils.

You’re a kid, you Do you remember the first image

see a painting that where you felt you’d nailed it?
changes everything; Darkdreamer back in 2008 felt like a
where are you and turning point. I knew my fantasy art
what’s the painting? heroes at the first IlluXCon would see it,
My Uncle Jim sent me to the local so I pulled out all the stops.
newsagent with a shiny 50 pence piece
to buy the latest issue of The Savage What advice would you give to your
Sword of Conan #4. The year was 1975, younger self to aid you on the way?
and the cover artwork by Boris Vallejo Go to life-drawing classes.
changed my life.
What sucks about the industry?
Which person helped you get your Art direction by committee.
first break as an artist?
Against all odds, art director Janette Why is it still the best industry to be
Diamond from Orbit Books gave me my involved in?
first break. I had naively left Ireland to Painting art for a living sure beats the
be an artist, but I didn’t know anyone in hell out of digging holes in the wintry
the art business and ended up working streets of London.
on building sites while living alone in a conan the conquered I bought an airbrush and did the next
London bedsit. I spent a week’s wages on Patrick recorded each stage in artwork in no time at all. Who’s the first living artist you turn
the process of creating this oil
promotional postcards and sent them painting for inclusion in his to for inspiration?
out cold to all the publishing houses, Masterclass sessions, which are What are your painting rituals? Boris Vallejo. I still have the original
available to buy on his website.
simply addressed to ‘the art director’. Procrastination, coffee, then a delve into Conan magazine that lit the spark, all
Back then there was no internet. I didn’t art books for inspiration until the clock crumpled and worn. Through the hard
have a clue. Just when I had all but given tells me to stop making excuses. Then times it stayed with me as a reminder to
up hope, Janette got in touch with me. I start painting and don’t stop until hang onto the dream. It recently made its
around 7:30pm. If I left out the way to Boris’s home where he signed it.
Was there anyone you remember who procrastination I would have a regular It now hangs framed on my studio wall.
tried to get in your way? nine-to-five routine.
No one really, but there have been some What’s the first thing you teach a pupil?
sour encounters. In the early days I built Painting art sure beats the Don’t be afraid to make mistakes.
up the courage to ring a famous sci-fi
artist who was pretty pompous and
hell out of digging holes in the What are your plans for the next decade?
angry at my gall. That was the first time
I’d ever talked to a real artist, but a few
wintry streets of London To help bring beauty back to the art
world. Classical art has seen a huge
months later I met another famous artist, resurgence, yet schools still teach mostly
Chris Achilleos, and he was just terrific. modern art techniques. I recently filmed
We hung out together for a short time every stage of the oil painting Conan the
and I was in awe of him. Overall, there Conquered, available to download from
are more good than bad folks in the my website as Masterclass sessions. Also,
fantasy/sci-fi art community. Korero Press will publish the first of two
books on my art this year. These two
What was your first paid commission? events mark an important beginning to
A black and white illustration for a glossy my work as a teacher and as an exponent
sci-fi magazine called Extro, which was of classic oil painting and the fantastic.
published in Belfast. I meticulously darkdreamer This year, Patrick will be exhibiting in the
Patrick upped his game
shaded the art with a ballpoint pen. to produce Darkdreamer, main show at IlluXCon and will also be Artist
An art director asked me whether it which was shown at the Guest of Honor at Dragon Con in Atlanta.
first IlluXCon in 2008.
was airbrushed art. That was a clue, so See more of his work at www.pjartworks.com.

114 April 2014

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