PhotoshoP

Game of Free!
thrones
Paint Queen Cersei in the
style of an Old Master
4 video tuition
Hours of Pro
custom
BrusHes

tap for
text-free
cover!

nd
fresh skills in

Fantasy
illustration
Create art filled with light and full of
form with the amazing Jana schirmer

make money! art & advice

earn from 14 steps to paint a
vehicle in mischief
your art traDitional portrait
tips from Jim pavelec
Artists reveal how they make your art stand
bring in a steady income out with blender

ists working toDay

modern masters! Discover the 10 most unique art
nd
 Editor’s letter

to a fresh start
The highly astute amongst you will have
noticed that I am in fact not Claire Howlett.
Fear not! The ImagineFX supremo is on
maternity leave, and I’m taking the reigns
while she’s away.
And what an issue to take over! Jana
Schirmer’s cover is a stunner, and her
workshop is a great account of the
(thankfully) rewarding negotiation process
behind it (page 64). It also helps that Jana’s
a bit of a genius when it comes to depicting movement, light, form
and… well, everything!
Inspired by her distinct style, we scoured the art world for 10 of
the most unique artists we could find, and asked them to talk about
their journey to awesomeness, and show off their favourite pieces of
art. The resulting 18 pages of eye candy starts over on page 40.
If you’re up to date with Game of Thrones, you may be thinking
about the irresistibly detestable Cersei Lannister in a new light.
Well, Andrew Theophilopoulos’s grand portrait of the über-queen
uses the old portrait artist John Singer Sargent as a springboard, and
adds yet another element of intrigue to the character (page 70).
I’d also like to mention Donato Giancola’s epic on page 110. I
started writing for ImagineFX in 2007, and I’m still convinced I got
the job because my name’s from JRR Tolkien’s The Silmarillion.
By coincidence, this issue features Donato’s vision of the moment
Beren and Lúthien got hitched. A good omen for the issues to come!

Our special cover for

Beren Neale, Acting Editor subscribers this issue.
beren.neale@futurenet.com

Contact us
Email: mail@imaginefx.com Tel: +44 (0) 1225 442244
Art submissions: fxpose@imaginefx.com
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September 2015 3
 Save money when you subscribe
to ImagineFX! See pages 27 and 28

Contents
Your art 40

masters
modern
8 Reader FXPosé The
Crow eaters, albino children,
dragons, flute players, ogres,
dwarves, sci-fi military, sand
walkers, fountains and more. fantasy
of

News and events illustration

16 Skills to pay bills
How can you make money
from your art? Artists discuss
the merits of crowdfunding.

22 Artist in residence
Animal skulls and stuffed birds
perch alongside antique
furnishings in Terryl
Whitlatch’s grand studio space.

Your questions See page 8 for the best new art

30 Artist Q&A
How to paint cybernetic 30
implants, Celtic patterns,
superhero musculature, an
underwater glow and more.

Features “It is a little boring in the real

40 Modern fantasy world. I draw what I like, create
Meet 10 inspiring new masters
of fantasy illustration, my world and draw my dreams”
including Tran Nguyen, Ruan Jia on his whimsical, ethereal style
Q&A: animal furs
Donglu Yu, Jana Schirmer,
Miles Johnston and more.
16 33 34
58 Sketchbook
Chuck Lukacs opens up a
sketchbook where fantastical
creatures rub shoulders with
70s sit-com characters.

Reviews
90 Hardware
93 Software Earn from your art Q&A: muscles Q&A: dynamic pose
95 Training
96 Books
22 58 35
Regulars
3 Editor’s letter
6 Resources
26 Letters
27 Digital editions
28 Subscription deals Sketchbook:
38 Back issues Artist in residence Chuck Lukacs Q&A: smiles
80 Next month

4 September 2015
 Issue 125 September 2015
DownloaD resources Turn over the page for
this issue’s art assets

Workshops 64
Advice and techniques
from pro artists…
64 Add movement
to your figure art
See how Jana Schirmer
paints a beguiling figure.

69 Get familiar with

Krita’s basic tools
Katarzyna Oleska talks
you through the software.

70 Paint like an
Old Master
Game of Thrones art by
Andrew Theophilopoulos.

76 How to design an
original sci-fi asset
Lorin Wood concepts a sci-fi
craft with historical origins.

82 Model a scene
using 3D tools
Concept artist Matt Kohr Portray light and movement
designs an environment.

nd
110 114

Inspiration and advice from

the best traditional artists
Visit Middle-earth
100 FXPosé Traditional
104 Grotesque portraits 104
Jim Pavelec’s strange beauty.
110 Epic Middle-earth
Donato Giancola does Tolkien.
112 Animal muscles
Brynn Metheney fleshes it out.
114 First Impressions
Lindsey Look talks learning.

112

als
curate anim
Drawing ac
Grotesque, not gory! Lindsey Look

September 2015 5
 Resources

Resources
Getting hold of all of this issue’s videos, artwork and
Over
brushes is quick and easy. Just visit our dedicated 4 hOurs
web page http://ifxm.ag/fant125asy of workshop
Q&A videosatond
watch and
cover Workshop learn from!

How to show
movement
Jana Schirmer on how she embraced
green to paint a beguiling fantasy
character for this month’s cover.

Get your
resources
You’re three steps away from
this issue’s resource files… nd
1 Go to the website
Type this into your browser’s
address bar (not the search bar):
http://ifxm.ag/fant125asy

2 Find the files you want

Search through the list of
resources to watch or download.

3 Download what you need

You can download all of the
files at once, or individually.

phOtOGraphy Future photography studio COntaCt us

Dan Oliver group editor-in-chief phOne +44 (0) 1225 442244
rODney Dive group art director email mail@imaginefx.com
art suBmissiOns fxpose@imaginefx.com
aDvertisinG weBsite http://imaginefx.creativebloq.com
eDitOrial sasha mCGreGOr advertising manager twitter @imaginefx
Claire hOwlett ediTor sasha.mcgregor@futurenet.com FaCeBOOk www.facebook.com/imaginefx
(on maternity leave) +44 (0) 1225 687675 pOst imagineFX, Future Publishing Ltd, Quay
Beren neale acTinG ediTor Chris mitChell account executive House, The ambury, Bath, Ba1 1Ua, UK
beren.neale@futurenet.com chris.mitchell@futurenet.com
+44 (0) 1225 687832 print suBsCriptiOns
Daniel vinCent arT ediTor uk, eurOpe & rest OF the wOrlD
daniel.vincent@futurenet.com print & prODuCtiOn uk phOne o844 848 2852
CliFF hOpe oPeraTionS ediTor vivienne Calvert production controller OutsiDe OF uk +44 (0) 1604 251045
clifford.hope@futurenet.com mark COnstanCe production manager email contact@myfavouritemagazines.co.uk
nOla COkely ad production manager weB www.myfavouritemagazines.co.uk
tOm may group content editor nathan Drewett ad production co-ordinator us anD CanaDa
Julia saGar commissioning editor miChelle rOGers operational purchasing phOne (toll-free): 1-800 428 3003
sammy maine deputy commissioning editor manager weB www.imsnews.com/imaginefx
aliCe pattillO staff writer liCensinG DiGital suBsCriptiOns
reGina erak licensing and syndication apple DeviCes http://ifxm.ag/apple-ifx
COntriButiOns director
david Brasgalla, chaanah carr, charlotte creber, anDrOiD, pC Or maC www.bit.ly/r938Ln
matt ellis senior licensing manager GOOGle play www.bit.ly/maggoogle
ian dean, Vaughan emerson, Sara Forlenza,
donato Giancola, damian Hall, Tim Hardwick, Future puBlishinG limiteD Barnes & nOBle nOOk http://ifxm.ag/1FlnypM
richard Hill, PJ Holden, richard Hood, cormac matthew pierCe head of content & amaZOn kinDle http://ifxm.ag/kindle-ifx
Jordan, Matt Kohr, Brynn Metheney, Katarzyna marketing, photography, creative & design
olesk, Jim Pavelec, Jem roberts, denman rooke, nial FerGusOn director of content &
Jana Schirmer, alex Summersby, andrew marketing
Theophilopoulos, Paul Tysall, alvin Weetman, Zillah BynG-maDDiCk chief executive
Terryl Whitlatch, Henry Winchester, Lorin Wood, next issue On sale
FriDay 14 auGust 2015
imagineFX is the registered trademark of
Future Publishing Ltd. all rights reserved.

6 September 2015
 Issue 125 September 2015

ExcLusivE vidEo TuiTion!

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

Lorin Wood Andrew Theophilopoulos

Learn about ideation and developing an Understand how to paint in the style of an Old Master as Andrew channels John
original sci-fi vehicle with historical roots. Singer Sargent to depict Cersei and the dead king from Game of Thrones.
plus WIps and final image plus WIps and final image

Q&A vIdeos

Matt Kohr denman Rooke sara Forlenza

See how to design an environment using Dress a warrior in realistic animal furs, by Consider your composition in order
3D software, before painting over it. thinking about shape, texture and colour. to create a dynamic group shot.
plus WIps and final image plus WIps and final image plus WIps and final image

TrAInIng

denman Rooke sara Forlenza Patrick J Jones

Understand repeating geometric knotwork Look in a mirror and play about with your The painter and illustrator continues his
to paint convincing Celtic patterns. face in order to paint a smiling character. series with an in-depth look at the bit in
plus WIps and final image plus WIps and final image the middle, in Anatomy of the Torso.

And ALL THis! WIPs and finished art available to download, created by accomplished professional artists from around the
world including this issue, David Brasgalla, Charlotte Creber, PJ Holden, Brynn Metheney, Jim Pavelec and Jana Schirmer.

Visit http://ifxm.ag/fant125asy to download

of all this issue’s videos, image files and brushes
September 2015 7
the place to share your DIGItal art

Raquel Cornejo 1
LoCation: Spain
Web: http://ifxm.ag/rcornejo
emaiL: raquelcornejoartist@gmail.com
meDia: Photoshop

Raquel is a fine art

graduate, and freelances as
an illustrator and concept
artist for the likes of Geek
and Sundry, the webseries
created by Wil Wheaton and Felicia Day,
and Spanish video games company
MercurySteam Entertainment. At the
moment she’s working on an illustrative
novel, The Alchemist Project, which is
heavily influenced by steampunk art.
“I’m self-taught, even though I
learned about traditional art during
my studies,” Raquel says. “I love fantasy
video games, and sci-fi, horror and
dream worlds inspire me. I’m particularly
interested in developing my 3D art skills
and am busy working with ZBrush and
3ds Max!”

1 maDame CRoW “I painted this

m
illustration for a group exhibition. It
has a lot of crudity and impact. Also, it
has a rather dramatic undertone.”

2 aL
aLbinos “For this illustration I
focused on albino children. Despite
the cruelty that some people show
towards them, they give off colour,
liveliness, love and tenderness. Most of
them have their eyes closed as a symbol
of not wanting to look at the atrocities
of their fellow human beings.”

8 September 2015 Email your submissions to fxpose@imaginefx.com

2

Jean-Sébastien Rossbach admires how Raquel

uses contrasting elements to create striking art
“What I like in Raquel’s art is the atmosphere
she creates by placing realistic-looking figures
in a dream-like situation. She walks a thin line
between technology and mythology.”

Email your submissions to fxpose@imaginefx.com September 2015 9

 annisa 1
Ya Hsuan Wang
LoCation: Taiwan
Web: www.annisawangart.com
emaiL: annisa_wang@hotmail.com
meDia: Photoshop

Annisa pursued her love of

illustration by moving from
Taiwan to the US so she
could immerse herself in an
environment that nurtured
her love of concept art. Taking
inspiration from her surroundings, the
students and professionals who Annisa
studied alongside spurned on her
creativity and motivation.
“Usually I take inspiration from games
and comics, especially fantasy – which is
the genre I absorb the most of, through
reading and play,” Annisa says. Her work
demonstrates her love of storytelling
and imagining fantastical worlds,
creating new and wonderful characters
through the medium of illustration.

IMaGINeFX crIt
“Annisa’s worked
hard to develop a
colour palette that
suits the mood generated
by her understated art. Her
lighting choices are also
well implemented – see
how effective Resting Place nd
is, even though most of
the scene is in darkness.”
Alice Pattillo,
Staff Writer

1 tH Fountain “I tried several

tHe
compositions before finally deciding
co
2
to adopt an upper-angle view for this
illustration. The water from the fountain
means life to her and her family, and
I think this angle tells a better story.
I focused on the character to make her
the focal point of the piece.”

2 bR
bReak oFF “This is an image for a
personal project. I prefer to finalise
the composition early in the creative
process so I don’t need to worry about it
later on. For this painting I focused on
the creature and then worked on the
background to support it.”

3 F
FLute “I was inspired by a Chinese
film called The Legend of the
Swordsman. The Hmong ethnic tribe
captivated me with their intricate, ethnic
outfits and then this piece came out!”

4 Resting p pLaCe “For this painting

I used some photos to create a
strong composition. References are
often good for inspiration! I played
around with layer effects to achieve a
colour palette I was happy with.”

10 September 2015 Email your submissions to fxpose@imaginefx.com

3

nd

Email your submissions to fxpose@imaginefx.com September 2015 11

 Mohamed Shazmiq
Location: Malaysia
1
Web: http://ifxm.ag/mshazmiq
eMaiL: moshverse@gmail.com
MeDia: Photoshop, Manga Studio

The cover of RA Salvatore’s

book The Crystal Shard
inspired Mohamed, aka
Shaz, to pursue art for a
living. It was painted by
Todd Lockwood, an artist who remains
close to Shaz’s heart, and the illustration
set the 15 year old on a path to fantasy
art – despite showing no talent or
interest in painting beforehand.
Shaz tries to recreate the look and
thickness of oils in his work, emulating
the likes of Frazetta, Brom, Simon Bisley
and Jesper Ejsing. His aim is to be able
to illustrate large-scale battle scenes
and develop his skills to handle such a
composition. “I hope to one day work
for big fantasy properties for Wizards of
the Coast and Tor Publishing, just like
the artists I admire,” Shaz says.

nd

3
1 ogre riDer “My favourite fantasy
paintings have a dash of humour
within. Here’s a kobold barking out
orders as he sits on the shoulders of an
ogre who he can barely control.”

2 DWarven HeraLD “I painted this

gaudily armoured, battle herald for
a dwarven army. It was inspired by the
dwarfs of Warhammer, a gaming
property that I hold dear.”

3 eLven bLaDeMaSter “I wanted to

paint a battle scene with a real sense
of motion in an illustration. I used more
colour saturation variations, because
I have a habit of not controlling the
chroma of my colours in a painting.
Hopefully, this will be the start of better
painting habits!”

12 September 2015 Email your submissions to fxpose@imaginefx.com

1 naomi vanDoren
Location: Japan
Web: www.naomivandoren.com
eMaiL: naomi@naomivandoren.com
MeDia: Photoshop

Describing herself as an
artist, illustrator and global
nomad, Naomi lives in
Tokyo, Japan with her
husband and two cats.
“I don’t have any formal training in art,
although I’ve always loved to sketch.”
Naomi began painting in 2013. “I
enjoy a more traditional, painterly style
of work and find inspiration from many
traditional artists,” she says. “What I
enjoy most is telling stories through a
mix of characters and environments. My
art often features strong female figures,
and life-and-death or romantic themes.”

2 3

nd

1 t
tiMe
co
“I created this piece for a
contest around the theme ‘time
passing’. It was inspired by a day spent
wandering among rocks like these in
Kura Tawhiti, New Zealand. It’s a story of
a couple reunited after her death.”

2 r
reunion at tHe gateS of
Heaven “A fan suggested the title
of this piece and it stuck. I started this
piece with the idea of a city gate and
confetti or flowers falling on the couple.”

3 guarDian “This piece began with

g
the intent to improve my figures and
drapery. In this piece I found my work is
more cohesive when I paint in all of my
textures by hand.”

4 iin SHaDoW “The moment right

before the action. This piece is the
beginning of a world I’m only beginning
to explore. It’s inspired by my childhood.
I began this piece with a lot of studies of
Balinese stone architecture and statues.
Her clothing is influenced by the
traditional Papuan dress as well as from
other parts of Indonesia.”

Email your submissions to fxpose@imaginefx.com September 2015 13

 Jarold Sng
Koon Shan
1
Location: Malaysia
Web: www.jaroldsng.com
eMaiL: jaroldsng@gmail.com
MeDia: Photoshop, Maya

Having explored clay

sculpting and drawing at
the same time, as a painter
Jarold focuses more on
recreating forms and how
their surfaces react to light and shadow.
“My main inspirations come from
skulls and bones,” he says. “I love the
silhouettes and lines they create. To me
they’re nature’s best sculptures: they are
not only aesthetic marvels, but also the
structure of our bodies.”
The artist then reveals his influences:
“HR Giger, Zdzisław Beksinski and
Takayuki Takeya are artists who I greatly
admire. I find that their artworks feel
petrified, as if the characters and worlds
are frozen in time.”

nd

1 co-op “I wanted to explore a military

scene that had an element of scale
between two characters. I was looking
for a different take at military or police
aesthetics. I chose to frame the
characters with large shapes, using
Hong Kong-inspired architecture.”

2 coLour anD cHroMe “This

dysfunctional couple wants nothing
but to be together permanently. They
live together in a post-apocalyptic
2
world, so all of the equipment are
recycled. This painting was a personal
assignment to practise painting metallic
and rusty objects.”

3 ruSt WHaLe “Shadow of Colossus

is one of my favourite video games
because of how small you can feel in the
game. I wanted to recreate that feeling
by using a giant flying whale made out
of parts of rusty metal. The girl in the
rain coat would cycle from her home to
see it passing by.”

4 SanD WaLKerS “These giants are

autonomous cannons that roam
around the sand planes. I like to think of
them as self-sustaining drones endless
looking for a target. In this painting I
modelled a rough version of the design
in Maya before painting over it.”

5 aLLey “I had the chance to visit

Tokyo for a couple of days. I took a
lot of long walks around back streets
and alleyways from the city centre. This
painting was my attempt at recreating
that feeling of walking on a quiet street
in a bustling, advanced metropolis.”

14 September 2015 Email your submissions to fxpose@imaginefx.com

3 IMAGINEFX CRIT
“Hulking metallic
figures and
oppressive
environments often
go hand in hand, but
Jarold’s storytelling skills
has taken his art to the
next level. None more so
than in his Colour and
Chrome image.”
Beren Neale,
Acting Editor

4
submit your
art to fxposé
Send up to seven 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
Quay House
The Ambury
Bath, BA1 1UA, UK

nd All artwork is submitted on the

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

Email your submissions to fxpose@imaginefx.com September 2015 15

 Artist news, softw
softwAre
softwA re events

At the core of the Digit

DigitAl
DigitA l Art
rt community
r

Phoenix in Shadow by
Todd Lockwood, who’s
about to crowdfund a
new art book.

16 September 2015
 puppet creature mind
master comforts game
A change of direction Animal skulls, stuffed A bold new video
for Greg Hildebrandt birds and antique game – Ninja Theory’s
sees a new series of furnishings. Come for Hellblade – has a
creepy ventriloquist a nose around creature schizophrenic lead
puppet portraits designer Terryl character and aims for
that laments the Whitlatch’s grand a sensitive and accurate
deterioration of youth. studio space. portrayal of psychosis.
Page 21 Page 22 Page 25

Show me the
Industry InsIght
Todd
Lockwood

money
On how Kickstarter is giving
artists more control

What’s your new Kickstarter

project all about?
In the autumn I plan to run a
Kickstarter for a book compiling
over 20 years of my fantasy, science
fiction and horror art.
Why did you choose to
Crowdfunded Fantasy artists are making money crowdfund the project?
through platforms such as Patreon, Gumroad and I received an advance for my first
Kickstarter – but is it that easy? And is it sustainable? book, Transitions, published by
Paper Tiger. They got into financial
trouble and I made virtually no
Freelance illustrator and money on that venture. And I’ve
Ilya Kuvshinov’s fan art,
comic artist Ilya Kuvshinov Universe, celebrates heard other horror stories. I like the
earns $3,129.85 every week Urusei Yatsura’s idea of artists being able to control
character Lum.
through crowdfunding their own properties more fully.
platform Patreon. That’s I could go with a traditional
right. $3,129.85. Per week. publisher, but I’ll have more
ownership this way.
nd
The Russia-born, Japan-based artist only
joined the site in November 2014, but it’s
And why Kickstarter?
already become his sole source of income,
It’s the platform most people are
and he’s not the only one at it. Digital artist
familiar with and I know many
Paul Kwon, aka ZeroNis, has 1,237 patrons
artists who have used it. I hope to
who donate $6,269.53 every fortnight. And
learn from all of them.
Canadian fantasy artist Sakimichan pulls in
a whopping $28,421.57` fortnightly, thanks What are the biggest challenges
to the support of some 3,432 patrons. you’re facing?
Patreon is one of several new platforms The distribution side of it will be
that enable creators to fund their projects different. But I’m partnering with
via donations from supporters – or ‘patrons’, Grim Oak Press and Signedpage.
in this case. Unlike Kickstarter, where a com, who have experience.
successful campaign leads to a single sum, What advice would you give
Patreon is a subscription model: fans pledge others about to crowdfund?
a fee per artwork or on a recurring basis, in Research, research, research! Don’t
return for exclusive content.
“Thanks to Patreon, I can do – draw – Artists are supported by forget shipping costs, especially
international shipping costs.
what I like. I don’t need to take boring or
uninteresting commissions just because
fans, and fans enable their Is crowdfunding sustainable?
favourite artists to give them I don’t know, but I hope it’s very
sustainable. I’m beginning to hear
more of what they love good things about Patreon, as well.
Removing the middleman isn’t
I need to eat everyday," says Ilya, who offers
always best – there will be times
his donors a tiered reward system. For
when you want someone with
pledges of $1 or more per week, fans receive
experience to absorb the body
10 pictures every week, plus behind-the-
blows and provide seed money.
scenes sketches. For $5 or more, patrons
But art publishing may not be one
also get Photoshop documents and full-size
of those ventures any more.
imagery, while for $10 or more process
videos are added to the mix. Todd has been painting
Milestone goals give artists the
fantasy, sci-fi and horror
for book covers, games and
opportunity to further thank their fans when cards for over 20 years.
Ilya Kuvshinov’s Maid
specific targets – earning $1,000 per week,
is another of his many www.toddlockwood.com
crowdfunded pieces. for example – are reached. However,

September 2015 17
 ImagineNation News

The Captain’s Fish, Todd Lockwood illustrated

painted by Jason the cover of Tales of the
Seiler for Adobe. Emerald Serpent.

nd when a video first comes

these commitments can prove who provides his 139 patrons with behind-
challenging, and not just because of time the-scenes studio updates, news, secret
constraints. A common observation from
new users is that it can be tricky to know
sales and more. “It’s not a model that will
work for everyone, that’s for sure.”
out i can do quite well. But
exactly what sort of incentives will best
encourage patrons to pledge. EagEr customErs it’s not a realistic way to make
“It’s easier now, though,” says Ilya, For artists who already have a large serious money
“because they’re commenting about what following, however, direct-to-fan sites such
they want to see – tutorials, for instance. as Patreon, Kickstarter and Gumroad – the 2014, and generates interest through social
Tutorials can be hard, because I’m still latter being a platform that enables creators media for each new tutorial by sharing
learning myself. But if you have passion and to rent or sell digital assets straight to trailers and links with his 153,000 Facebook
love what you do, it attracts people.” consumers – are a no-brainer. After all, fans and Instagram followers.
“The people who don’t see there’s little need for a costly middleman “I’ve been an instructor at Schoolism.com
much success lack strong when an engaged community is actively for 10 years now and figured that I could use
content, consistency and point waiting for you to create your next piece the Gumroad site as a way to
of view,” says multimedia artist of art or content. get more students to sign up
and toy designer Chris Ryniak, Jason Seiler is an illustrator specialising in for my Schoolism class,” says
caricature and portraits for publications Jason. “The videos are a way
Chris Ryniak’s
such as Rolling Stone and The New Yorker. to share some of what I teach
resin figure
Two of Chris’s
Bubblegut. He’s been selling video tutorials alongside for a fair price, and then if you want more
Churblefurb
his work on Gumroad since the autumn of resin figures. you can sign up for my class.”
To make real cash on crowd-funding sites,
however, artists need to invest serious time
into the platforms. “When a video first
comes out,” says Jason, “I can do quite well
for a couple weeks. But it’s not a realistic
way to make serious money. For me, it’s just
a little extra cash here and there. If I wanted
to make Gumroad my full income, I’d have to
put more energy and time into.”
Artists also need to be aware of tax
issues. From 1 January 2015, a new
regulation means VAT on digital products
sold in the EU is chargeable in the place of
purchase, rather than the place of supply.
VATMOSS (VAT Mini One Stop Shop) aims

18 September 2015
 Artist news, software & events
Jason Seiler
created this piece
for The Milken
Institute Review.

nd

to prevent huge companies diverting sales For now, yes. According to Massolution’s Triss Merigold –
Witcher 3 fan art
through low-VAT countries like Luxembourg. 2015CF – Crowdfunding Industry Report, by Ilya Kuvshinov.
But the new rules apply equally to creatives. global crowdfunding in 2014 expanded by
“The seller is responsible both for charging 167 per cent, reaching $16.2 billion in
the correct taxes and remitting them to that contributions, up from $6.1 billion in 2013.
national tax authority through VATMOSS,” “I think that removing the middleman can,
says Heather Burns, a in some instances, be for the best,” reflects
Glasgow-based web designer world-renowned fantasy artist
and digital law specialist. Todd Lockwood (see previous
Because many creative page for more). He’s launching
platforms are located outside a Kickstarter campaign in
the EU, there are unanswered questions autumn this year for a new art
about how these are expected to comply. collection book. “It’s ‘win’ all around: artists
are supported by their fans, and fans enable
too small to bE taxEd? their favourite artists to give them more of
“With so much uncertainty about the law what they love.”
and its future, creatives must find out Chris agrees with Todd: “As long as there
whether their platform is VATMOSS are creators generating content that people
compliant,” says Heather. “If it isn’t, you’re care about, and those creators tend to their
exposed to a massive administrative and communities, I think people will want to feel
taxation burden.” She reveals that the EU Vat like they’re doing their part,” he says. “Since
Action campaign has reported European tax contributions are generally low, donors don’t
authorities chasing artists outside the EU feel pinched.”
over VATMOSS discrepancies of less than “I’m pleased with what I have to offer and
¤5. “No creative should think they are too feel confident that people feel the same,”
small to be caught out.” says Jason. “ I want to inspire people and get
So, will crowdfunding platforms continue them excited to draw. Hopefully that’s
to provide a sustainable source of income? enough to keep people interested.”

September 2015 19
Ka-Pow! Bring your comic art to life
with this special issue of ImagineFX!

on sale
in TesCo
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barnes &,
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nd

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order your copy at http://ifxm.ag/comicartistv2
 Artist news, software & events
Dark lighting is For Greg, puppets represent the
important in these past and specifically childhood,
paintings. At night “crumbling” on a shelf.
Greg sees them
come alive on his
library shelf.

From pin-ups to puppets

Nostalgia trip Greg Hildebrandt’s new series of creepy ventriloquist puppet
portraits is a change of direction and laments the deterioration of childhood
Greg Hildebrandt, along with To him it resembled the fragility of his

nd
his late brother, Tim, made childhood and the city he grew up in,
a name for themselves Detroit, which has turned from a friendly
producing Star Wars and neighbourhood to a “war zone.”
Lord of the Rings art during “We watch our past disappear,” he
the 1970s. More recently, Greg painted laments. “As I paint my puppets I can freeze
a series of cheesecake pin-ups, entitled time and stop the decay. I guess I’m saving
American Beauties which seem a far cry a piece of my past.” Greg imagines his
from his current project, Dark Dolls, a puppets coming to life at night: “They are
collection of paintings with a rather real and so I paint them as if they are real.
disconcerting subject: creepy puppets. This, I believe, is what makes them scary
Greg’s love of puppets began with an to most people. I’m not trying to make them
animated puppet circus that ran inside the scary. I’m painting their portraits.”
entire length of a barbershop. From there The artist doesn’t want to be known for
he developed an obsession and his puppet “only one or two things” in his career. “I enjoy
collection has continued to grow. Before change in my art,” he says. “I love the idea
his 75th birthday, Greg decided to begin a there’s always something unknown and
series of art that represented his childhood. unseen around the corner. And I don’t want
He sees the past as “crumbling” as he to know what it is until I get there.”
watched his puppets sit on his shelves for You can see more of Greg and Tim’s work
years, drying out, cracking and decaying. at www.brothershildebrandt.com.

Above, one of two

portrait paintings of the
dolls on this page
(though they’re easily
mistaken for photos!)

Greg’s extensive
figurine collection: “In
the 1930s and ’40s you
could win these chalk
figures at carnivals.
They were knocked-out
figures made of plaster,
spray-painted and
covered in glitter.”

September 2015 21
 ImagineNation News
I have all my current projects to hand in my workspace. An old toile-covered fabric board above my Cintiq acts as
My drawing board is flanked by my computer and Cintiq, a repository of cards, art and other objects that mean a
and my references and books are within reach. lot to me for many different reasons.

Terryl Whitlatch
My computer and drawing set-up is in an L-shaped
configuration. I have a tilt-table drawing board
perpendicular to a flat table that accommodates my
Mac and 22 inch Cintig. I’ve found it useful, switching
back and forth between traditional and digital.

Downton Abbey Animal skulls and stuffed birds perch alongside

antique furnishings inside the creature designer’s grand studio space
My surroundings have My studio is organised in such a way that using my swivel chair and work digitally on
always been exceedingly reference is always at hand and drawing my Cintiq after doing basic traditional work
important to me, with light space is maximised. This is crucial when one on my drawing table. In addition to this core
and airiness an essential. is an animal artist and creature designer. The setup, my scanner (Epson Expression
I’ve always been a small more nature references you can surround 10000XL), printer (Epson Artisan 1430),
town girl and a history buff, so I’ve always yourself with, the better, and my computer photocopier (Konica Minolta Bizhub 181,
been drawn to old buildings with a past. (iMac) and Cintiq 22-inch are positioned to which I lease for a low monthly fee), and flat
Thus, my studio is in a gable of an old act as reference boards or view wildlife files for art storage, nestle across from me in
Queen Anne Victorian, circa 1897, where videos as needed. the window bay.
I also live. For northern Californian standards, My drawing table faces a magnetic There’s also a closet, which I’ve converted
that’s a pretty old house! I love the soaring bulletin board set up on an ordinary into book storage – I have even more books
ceilings and the beautiful moldings, and have presentation easel to post further down the hall – and I have four metal filing
furnished it with antiques of that era. references, as well as current projects that cabinets organised according to zoological
Downton Abbey suits me just fine! I’m working on. I can easily switch gears classification, chock full of animal references.

22 September 2015
 Artist news, software & events
This Thief of Bagdad image has been You enter the studio from the parlour. The lace curtains are
inspirational to me since childhood. It period and have a swallow motif. My drawing table is right
symbolises all sorts of possibilities. behind the easel that holds a bulletin board.

Horses are very

important in my life,
and my favourite
subject to draw. Thus, I
have another collection
atop my other two filing
cabinets that my friends
call The Shrine. There
are all manner of
horses, unicorns, zebras
and anything vaguely
equine grouped
together – and it’s
always growing.

Across from my
drawing table are my
scanner, printer and
digital copier, as well as
my flat files where
I store my artwork.

Timmy, my whippet, is a
wonderful little friend
and companion.

Here are some of my

anatomical models
and specimens – they
often come in very
handy for my work.

The closet is mirrored, so I can easily bulletin board, with cards and mementos
reference myself for expression and gesture. that are important to me. My little Whippet
A studio becomes very individual, and Timmy is very much the guardian of the gate
mine is no exception. Atop two of my filing and mascot. He spends much of his time
cabinets are some of my animal anatomy snoozing in the studio, or alternatively
collection, including a large skull of a draft begging to be petted. Whatever pose he
mule. Perched against a wall is a little strikes is always beautiful, and I’ve used him
California quail, found in an antique store. as a model for many, many projects.
Above my Cintiq are old prints (including Terryl is an internationally regarded animal
the Thief of Bagdad movie poster - so artist and creature designer. You can see her
inspirational!) and another small fabric work at www.talesofamalthea.com.

September 2015 23
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 Artist news, software & events
Hatboy
by Vaughn Pinpin

Blades of glory nd

© Ninja Theory
Mind games Ninja Theory’s Hellblade title aims to
show a sensitive and accurate portrayal of psychosis
“Understanding mental health isn’t
simply about books or lectures,
but from deeper engagement on
all levels,” says Paul Fletcher, a
psychiatrist and professor of health
and neuroscience from
the University of Cambridge.
He’s been working alongside
independent games
developer Ninja Theory
during the development of its latest
release, Hellblade.
Telling the tale of Senua, a Celtic warrior
who’s left traumatised by a Viking invasion,
the game will follow her journey into a vision
of hell, conceived by her own mental illness.
The 15-person Cambridge-based team
A modular, kit-part approach to
created the game under the Independence asset creation and set dressing
AAA development model, which has given was taken by Dan Attwell.
them total creative freedom but with the
production values of bigger blockbusters. initially played around with photogrammetry,
Principle artist Dan Attwell but it was clear that to achieve clean results
was the only environment would require a lot of post processing.”
artist on the team, which Professor Fletcher concludes that, “Maybe
enabled him to make quick this type of approach when designing games
decisions based on the will contribute powerful new ways of
Maya, Photoshop, ZBrush,
academic advice. “We all have to have more challenging stigma.” xNormal and Unreal 4 were
of a sense of autonomy when it comes to You can find out more about Hellblade all used to create the game’s
artworks and assets.
creative decision making,” he explains. “We over at www.hellblade.com.

September 2015 25
 ImagineNation

Your art news that’s

YoUR FEEDBaCK & oPinionS grabbed our attention
Contact acting
cting Editor, Beren neale,
eale,
on beren@imaginefx.com or write Kirsty Rollinson
to imagineFX, Future Plc, @KJRillustration
Quay House, the ambury,
Bath, Ba1 1Ua, UK Just some of the materials that Jim Pavelec uses in his
“Bird skull studies for
traditional fantasy art pieces. See more on page 104. next piece!”
Follow us on twitter:
www.twitter.com/imaginefx
all else is extremely motivational and a very
tell us your thoughts on: praiseworthy aspect of ImagineFX. In short:
www.facebook.com/imaginefx the magazine is great. Never mind the
haters, you’re doing one hell of a job!
Two-tone ‘tastic! David Farrel, via email
I totally agree with Ryan Davidson’s
letter in issue 123. Whether it’s Beren replies Claire’s not around to
comic art or portrait, work in black respond to your email, but I’m certain she’d
and white (B&W) is really appreciate your kind words - and we all
awesome. Personally I love to work appreciate your love for the mag.
in B&W, especially when it comes
to portrait art. For me, less colour Trad love
digs deeper into the soul of the I just wanted to say thank you for the minastan
person being painted. I only do wonderful magazine. I’m a traditional artist, @minastan
faces without colour. I’d love to see primarily using graphite pencils on Bristol
an ImagineFX issue featuring paper. Your magazine is jam-packed with “Superman Fan Art”
haunting B&W work. useful information that I’m able to apply to
Since reading ImagineFX my skills have Étienne’s portrait of my style of art. Your magazine contributors
developed significantly, so thank you. I’ve
Robert De Niro is a good
example of the artist’s
love of black and white.
nd
produce the most amazing art work.
attached some of my portrait work and Michael Guest, via email
I hope you like it!
Étienne Pascal, via email Beren replies Nice one Michael! And if
you’re reading this, you should head over to
Beren replies Thanks Étienne, and that’s Jim Pavelec’s tips workshop on page 104. It’s
actually quite a timely letter to be writing! a fascinating look at his process in creating
I can’t say much more than… buy issue 126. graphite and charcoal portraits. Even if
You won’t be disappointed. beautiful grotesque isn’t for you, his insight
is definitely an eye-opener.
Long live Claire
As a huge fan of ImagineFX since 2006, I’ve Gender quota
been so thrilled with the magazine and I I agree a quota system (mentioned in
think you’ve been doing a wonderful job. Letters, issue 120) to create a gender balance
It’s my favourite magazine and every month of featured artists is not the way to go. That
Imran Siddiq
I’m always super excited to get the newest said, two of this century’s superstars who @Flickimp
issue in the post. are worthy of an issue each happen to be
I just wanted to write to vocalise my young women – Fiona Staples and Victo “What do I do when
support for Claire since reading that letter in Ngai. An interview with Diane Dillon about my back hurts? I lie down
issue 122 that attacked her as intentionally being a prominent female artist for over 50 and draw.”
sexist, and the previous letter that seemed years would not go amiss either. Occasional
to imply you were somehow accidentally cover art picturing males instead of females
sexist. One of the beautiful things about art would also be appreciated.
communities and in particular ImagineFX Dame, US, via email
as a magazine and platform is its focus on
art and artists, no matter who they are, Beren replies Thanks Dame. The great
where they come from, the colour of their thing about this Letters page is to hear back
skin or what’s between their legs. from you guys. Opening up a dialogue
As such, it’s especially saddening to see want in on about gender inequality, visibility and
animation…
people trying to throw slander around, representation may bring with it strong,
…but missed out
divide the community and drag identity on issue 124? differing opinions, but it’s so important,
politics into one of the most equal and open Turn to page 38 especially if it results in the celebration of
art platforms I’ve ever seen. As Hernan to see how you great artists. The more we hear from you Just finished something you want us to shout
about? Send it our way on Twitter
mentioned in the third letter of the same can get hold of it about the artists you love, the better for you, (@imaginefx), or find us on Facebook!
issue, the consistent focus on the art above and others, too! the artist, and the magazine.

26 September 2015
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September 2015 29
 ImagineNation Artist Q&A

Struggling with a painting technique or get your

topic? email help@imagiNefx.com
x.com today! resources
See page 6 now!

Denman Rooke
Denman started working as a
freelancer in 2007, creating
art for games, films and
advertising. He now lives in
Dublin, where he works at
Digit Game Studios.
www.denmanrooke.com

charlotte creber
The Welsh freelance character
artist lives in London and
creates concept art and
illustrations for games, film
and publication. She works
mainly in oil and digital.
www.creberart.com

pJ holden
PJ has been drawing comics
professionally for over 15
years. Best known for Judge
Dredd, he’s currently drawing
giant mech suits versus
monsters, for Gunsuits.
www.pauljholden.com
Question
Sara forlenza
Sara creates art for book
How can I dress my warrior in animal furs?
covers, cards and RPGs. After Zac Toomey, US
many years with traditional
techniques, she was

Answer
introduced to digital art.
It was love at first sight.
www.saraforlenza.deviantart.com Denman replies
when designing an outfit for a Using a variety of composition would suit the aggressiveness
David Brasgalla character i’ll pick a main
materials – in this case,
and power i want to convey. Finally, i throw
Dave is a busy graphic the character’s skin,
element, then add a couple of leather and the animal in a simple background to tie the
designer and illustrator from fur – helps separate and
Stockholm who works both complementary materials to define each element of illustration together. and since i want to
digitally and traditionally. He’s help sell it and balance the design as a the character’s design. focus on the character and his movement,
produced film concept art
and matte paintings. whole. i’ve heard it said that one usually i keep the image loose and implied.
www.pixelhuset.se wants to have about three different materials
in a design to help separate each form.
For this example i decide to dress a
warrior in some wolf pelts. the grey wolf
fur will be what defines the main shapes,
and i’ll counter the soft fur with some
Artist’s secret
Need our advice? depicting perfect fu r paint
leather, and then lastly the exposed skin of toshop’s natural media brushes to
i use pho
Email help@imaginefx.com sh, the bristles
fur. using a custom wet flat bru the paint nicely.
our character with a splash of red blood. to
with your art questions and add to the mood of the character i want to blen din g
simulate hair while also
on of materials in
Make sure to balance the variati a furry mess!
we’ll provide all the answers! put him in a dynamic pose with a lot of
e just
your character, so you don’t hav
movement. i decide that a simple triangular

30 September 2015
 Your questions answered...
Step-by-step: Question
Depict an attacking What’s a good way of adding drama
fur-clad warrior and interest to a character portrait?
Sandra Simmons, Scotland

Underlighting adds
atmosphere to
character art, using
bold rim light to
suggest the shape
of facial features.

I start by collecting the right

1 references. Knowing how to use
reference is key. You’re looking for general
shapes, texture and colour to inform your
decisions. Nothing that holds you prisoner
to it, but just to get the creative wheels
turning. Then I dive into the sketch by
roughing out the gesture to the character.

nd

Answer
Animal furs tend to have uneven, rough Charlotte replies
2 edges. When painting the edges, make underlighting is a reliable way to add the base of your chin, the upper lip, the bottom of
sure to have lots of rough fur sticking out. drama to a portrait. the key here is your nose, the lower eyelid, the underside of the
Unlike a regular cloak, fur’s silhouette is being able to envision your cheek bone and just beneath your brow.
often spiky and uneven. When approaching character’s face in three dimensions By adjusting the opacity of the layer and fine-
folds, note that the fur “fabric” is thick and and work out which parts of the character are tuning your edges with the erase tool, you can
you often won’t see tight folds. Think bulky facing your light source. Start out by painting quickly create realistic-looking lighting in your
shapes and coarse edges. your character with a soft, low fill light. avoid portrait scene. once you’ve blocked in your
dark shadows or bright highlights for now, unless underlighting you can start to add important
you’re using multiple light sources. details, such as the shadows cast by the bottom
now create a new layer in color dodge mode lip and eyelid, as well as adding specular light to
with a highly saturated colour (pick a similar hue your character’s eyes and hair. Finish up by
to your light source) and apply colour to the creating a linear dodge layer and using a large
planes of the face that should be illuminated. For Soft brush to suggest a fill light from the source
underlighting, this checklist normally includes of your underlighting.

Getting into the final render, I make

Artist’s secreth shadows
3 sure the fur is soft, but I don’t paint n wit
creating realistic skisatu ration of your edges
Boost the
r
where light meets shadow on you
every hair. Think of fur in larger shapes.
I add colour variation to the fur, making
character, using colo r dod ge and
a bright red /orange hue. this
sure I define the darker roots of the fur
with lighter tips. I also like to add a bit of
I’ve found that the easiest way to approach complex mimics the look of light
leather and rough-cut animal skin near the the layer beneath.
edges of a fur coat, to add to the realism.
lighting is to start your portrait with a low contrast fill light
and build on that with new layers. penetrating skin to illuminate

September 2015 31
 ImagineNation Artist Q&A
Question Here’s the finished
pattern adorning a
Please help me paint warrior’s shield.
Notice how the
authentic Celtic patterns pattern goes above
and below the
Rose-Marie Hodgson, Canada repeating elements.

Answer
Denman replies
when i start creating an
authentic original celtic pattern
i always keep a couple of key
points in mind. most celtic
patterns primarily feature repeating
geometric knotwork, spirals and sometimes
animal, floral or human motifs appear in
the mix. to answer rose-marie’s question
i decide to use a simple knotwork pattern
with a wolf design
when i’m tasked with developing a Celtic animal motifs
are generally stylised
symmetric pattern like this, i usually start and minimalist. The
off by creating a smart object of the desired main elements of the
body are often turned
symmetrical effect. here, i’m replicating it into the geometric
in quadrants. i want to use it for a round knotwork of the pattern
as well. Think of the
shield design in my illustration, so i make motifs as designs more
sure to create some circular guides. i usually than realistic depictions
of animals.
concept up a couple of ideas, and after a few
sketches i lay them all out and pick the one
that i like best.
the main feature of the knotwork is to
“weave” the pattern over and under each
overlapping element. when adding flora
or fauna motifs to your celtic pattern,
make sure to keep the design more stylised
in nature as opposed to a realistic
approach. you’ll quickly realise that you
can create any shape or design to look like
a celtic pattern when you start applying
this simple technique. after finishing up
the basic design i want to implement it
into an illustration, so i put together an
image of a celtic/Viking style woman
holding a big sword.

Question
My waterfall environment looks a mess.
Do you have any tips that I can follow?
Andrei Hannigan, US

Answer
Charlotte replies
the golden rule for painting soft, billowing edges of the mist at the
convincing moving water is bottom of the waterfall. make sure you
watching the direction of your keep this rule in mind when using Smudge
brush strokes. this applies to tools and Blend modes, too.
rivers, seascapes and waterfalls alike. make waterfalls offer a good opportunity to
sure you’re painting in long strokes that experiment with a variety of textured
follow the direction your water is travelling. brushes, benefiting particularly from
this helps to convey speed and motion blur splatter and traditional-style brushes as the
– and can even be used as a composition water transitions from its smooth state
tool to lead the eye of the viewer to the upstream, to a rough cascade as it breaks on
focal point of your image. rocks in freefall before collapsing into a fine
Focusing on motion and i use hard brushes to emphasise this spray on the river below. the more powerful
texture, I create a dramatic effect, which is especially exaggerated on a the waterfall, the more mist and spray is
waterfall environment.
waterfall. this gives a nice contrast to the produced as it collides with the ground.

32 September 2015
 Your questions answered...
Question
How do I show a character’s musculature
underneath a superhero outfit?
Katie Phelps, England

Answer Light feathering

moulded to the shape
PJ replies of the underlying
muscle, as well as
the simple solution is to creases, help show he’s
wearing clothing rather
think of clothing as another than body paint.
layer of skin over the body.
So the first step is to have a
good understanding (okay, simple-ish)
of the character’s basic anatomy that you
wish to convey.
in the case of our superhero the
Judge, his physique is granite-like but
not ‘cut’. in other words, he’s muscular
but unless he’s exerting himself in some Even in this sketch, you
can see that the outfit
manner, it’s more relaxed muscle. sits on top of the body
once i’ve roughed out the figure that rather than being
vacuum sealed to it.
i want to draw, i begin to add the fabric
around that. often that means taking in
to account the kind of material the
outfit is made from, as well as any
design elements on the suit. while most
superhero outfits don’t tend to wrinkle,
it can add a note of realism to an outfit.
and as a simple rule, you’d expect to see
wrinkles around the parts of the body
that are compressed together. of course,
where wrinkles are compressing there’s
usually a corresponding stretching Artist’s secret
taking place opposite that compression, evveerryytthingg is storytelling is a
hin
and how much wrinkling occurs
the fabric
rendering
finds themselves in. leather material takes
depends on the kind of material. a lot of deep shadows and specular great opportunity to get in
once i’ve established the outline highlights, while fabric will have a lot a lot of micro-storytelling.
of the material and where it’s folded, of subtle feathering. when rendering the folds can do the job of
i can begin the rendering process. though, it’s important to follow the expressing movement and
ry a lot of
rendering depends largely on what the curves of the underlying muscle structure, speed, and the shadows can car
. don ’t let realism weigh down
material and colour of the fabric is, as so even where contrasting fabrics meet dramatic weight
well as the environment the character there’s a consistency on display. your decision-making process.

Step-by-step: creating a waterfall in photoshop

I start by blocking in the base colours I start the surrounding environment I use a large, opaque chalk brush to
1 and shapes of the scene at 100 per 2 and use a heavy bristled brush with 3 suggest heavy spray along upper
cent Opacity, using the Lasso tool to deep vertical strokes to add motion. Using parts of the waterfall. I add an earthy
define the different zones of the painting, a small Soft brush, I dab highlights along bounce light to the water from the rocks
separating them on to their own layers. At the length of the waterfall. I then blend and finally use a large soft Round brush (in
this stage you should already be implying these vertically using a textured Smudge Color Dodge mode) to create the billowing
texture using brushes and bounce light. tool to depict the body of the water. mist at the bottom of the fall.

September 2015 33
 ImagineNation Artist Q&A
Question
Do you have any advice for creating a dynamic group shot?
Rosanne Hayes, Ireland

Answer
Sara replies
A well-balanced group image staircase and put in semi-natural objects
should show the various (some standing stones in the background).
characters in an effective I also add tufts of grass and worn rock,
manner, and emphasise their before creating a very rough and ready
characteristics and dynamic nature. The sketch of the characters. I keep my elements
figures in the foreground will clearly have on different layers, which enables me to
more prominence, but they can’t all be in make corrections to the image towards the
the foreground. I’ve found that a useful way end of my painting process.
to show them is to use a view that’s slightly Usually, I’ll want to emphasise the
from above, which especially suits a importance of the main character and so
portrait-format image. I would normally place them in the centre
One technique to lift the characters from of the composition where the viewer’s eye
the background and give them a degree of will look first. However, in this case I’m
dimensionality is to introduce architectural keen to create greater dynamism and so
or natural elements. Note that these I leave that area free. I want the viewer’s eye
elements need to be in keeping with the to move from top to bottom, taking in all
scene’s setting. In my illustration I add a my characters as they do so.

Leaving the central

point of the illustration
clear of important
elements means that

Artist’s secret
the focus isn’t placed
on a single character.
oup
Layers and Layers greach character,
I work on dif ferent layers for
ge doesn’t seem
so I can move them if the ima to be
nd balanced. If I feel tha t I’m abo
of
ut
layers, I create
overwhelme d by the num ber
nise them accordingly.
layer group and orga

Step-by-step: Develop a group dynamic

I start the design phase of Active characters help to
1the image by drawing
2 ensure the scene has
medians and diagonals, dynamism. The sorceress casts
locating the centre of the a spell, the raven-woman
image. In this case I create a spreads her wings, the deer-
grid, dividing the width and man charges with a spear.
height in three, but other Next, I focus on the anatomy,
artists might use the Golden which is essential to ensure
Spiral or different kinds of credibility and gives a
grids – each solution is valid! naturalness to the characters’
I sketch the characters in a gestures. Only at the end do
rough way, so I have an idea of I add details such as hair,
the pose and perspective. clothing, weapons and armour.

At this point in the creative Ambient light doesn’t cast

3process I introduce
4 sharp shadows, but gives a
colours. I usually start by more defined look so I can
painting the background, so show off the characters and
I choose the type of lighting their details. I pick desaturated
and where to place the light colours to maintain the dark
sources. In this case, the look of the sky, except for the
environment is characterised magical light of the spear and
by a leaden sky, a prairie and the spell of the sorceress.
some mountains, so I paint a I ensure that my characters
cold, ambient light. I also use are affected by aerial
a warmer rim light, which perspective, so I desaturate
introduces visual contrast. colours where necessary.

34 September 2015
 Your questions answered...
Question Question
How can I give a pattern a Please help me paint a
realistic underwater glow? character with a big smile
Vicky Smit, New Zealand Jimmy McGoldrick, England

Easter Island-like figures with

unusual turtle shell “hats” are buried
on the sea bottom. Strange
machines or dreaming creatures?

I can emphasise a character’s beaming smile

by using bright light along with light shadows.

Answer Answer
Dave replies Sara replies
Since your original artwork nd
The glowing cracks of light in the “shell To paint a face with a particular expression, I usually
used a glowing design on a crab, hats” are made with the same flat Brush/ hold a mirror next to me and mimic the expression.
Vicky, I’ve employed similar Eraser I’m using throughout. Instead of a Having this reference on hand, which I can see from
elements inspired by turtle uniform glow effect applied to the cracks many angles, helps a lot. A smile, because of its
shells. Bright sunlight through water can be layer, I use a new Overlay layer and paint characteristic of spontaneity, is very difficult to paint and is
dramatic, but will tend to wash out the the glows using the same colour. I want to often in danger of looking fake, not very expressive, or wicked.
effect we’re after, so I create a composition vary this, so that the cracks facing the I’ll try to do my best!
that has some shadowed or darker areas to viewer release more light. This colour Touching my face also helps me to understand what’s
help bring out the effect. Water naturally corona technique helps the glow feel more happening when I laugh. When my mouth first widens, it opens
diffuses light more than air, so we’ll take natural and less like a preset filter. Junction in a crescent, the lips become thinner and the teeth are revealed
that into account. I’m also keeping my points are highlighted, while the distant (usually only the top ones, but if the smile is very expressive you
glowing elements on separate layers, to light arrays have a much more diffuse and can also see the lower ones).
easily keep full control of the effects. overall soft glow. The cheeks become rounded and they rise near the eyes,
creating two folds around the mouth. The eyes become half-
Distant objects closed and widen. Sometimes the nose curls or widens
become low-contrast
silhouettes, and slightly, too. Finally, the head usually tilts a bit. I keep these
distant light sources characteristics in mind as I prepare a sketch. I have to highlight
have much less
strength and these features using colour.
sharpness, with a I add a shadow under the lower eyelid to the narrowed eyes.
larger, softer glow.
On the cheeks I add a touch of light to point out the roundness.
I pay attention to the folds on the sides of the mouth, because if
they’re too dark and large they make the character appear very
old. But they are essential for a beaming smile.

Artist’s secret
paIntIng wIth LIght glow effects,
For great
make a separate layer
set to overlay mode and
use a texture brush on a When a character
low opacity to paint has a beaming
It’s
highlights and fused glows.
smile, many areas
dif of the face are
ful to see area s literally light up
wonder affected. Try to
but use rest raint! consider them all
with this technique, as you paint.

September 2015 35
Take your manga art skills to the next
level with our packed special issue!

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in TesCo
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AvAilAble to buy todAy

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 Need our help?
If you have a question for
our experts, email us at
help@imaginefx.com
Question
What are some good ways to render cybernetic
implants that are integrated into the human body?
Mathilda Dennis, Canada
Elegant wearable tech combines with body

Answer
implants for the completely connected
trans-human... The fact that she looks like the
Bride of Frankenstein is just a coincidence!
Dave replies
Looking at a lot of cyborg art,
I notice how much of it has an
emphasis on revealing a
simulated body. I want to find a
different angle. Wearable tech and early
forms of implants are certainly already
here, and it seems this technology will
initially be centred around fashion and
wealth. The current thinking is that implant
technology will be mainly accessible to the
rich, so I decide to approach the concept
from that direction, and to aim for an air
of privilege and elegance in my image.
I also want to blur the line on where the
implants actually become part of the body,
so it’s a melding of replaced body parts
and wearable technology.
There’s an old 1960s Star Trek episode
featuring Diana Muldaur as a blind woman
who uses a beautiful jewelled sensor mesh
worn over her clothing to see her
surroundings, and I use that as a stylistic
starting point. I also drape some rich fabric
to create a fashionable feel. Instead of being
brutal in design, the implants and
wearables are delicate and ephemeral: the
optic interface seems to become glitter eye
shadow. Does it penetrate the skin? Is it
sprayed on? I like the ambiguity here.
Artist’s secret
The figure’s hand, however, is clearly CheeCk out pInterestis great for
partially artificial. I think a stylised pinterest
technique here works better with the
I look at progressive
fashion trends in
inspirational images and
overall theme, because my main goal is to prosthetic technology reference collection. the
show that the character isn’t only
to get a sense of how
real-world people form
images are all from other
comfortable with the cybernetic implants, relationships with their users’ curated boards, and
but also graceful and perhaps even proud.
artificial body parts
and extensions. you can pin them to your own project boards.

Step-by-step: Blurring the body lines

I sketch the idea out, looking for a The headpiece/eyewear is deliberately For the cybernetic hand, I decide that
1 more posterised, almost comic-like 2 vague about where it ends or how it 3 a highly rendered surface won’t fit the
treatment. I let lines and colour areas stay even connects, appearing almost as a painting style and so I treat it more as a
loose. I like the impact of more graphic fashion accessory. I add the same specular flat, knockout-type area. I make a rough
compositions, and so I sparkles to her tunic, mask for the hand and
work at simplifying the and I like being fingers, and try
lights and darks into deliberately obtuse brushing on different
larger, unified shapes. about what these textures and images
By keeping these areas devices and wearables for a more stylised
flatter in tone, I’m might actually do, look. The bright tips tie
hoping the lighting hot rather than conveying the focus with other
spots of the tech will an explicit, obvious specular points around
jump out more. function to the viewer. the image.

next month: DESIgn a BIg ScI-FI gun | paint a castle ruin | DEpIcT a BLack hoLE
compose a fantasy market scene | rEDESIgn a myThoLogIcaL BEaST | and more!

September 2015 37
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September 2015 39
 masters
modern The

fantasy
of

illustration
We speak to 10 artists whose style and
commitment to their art is inspirational

W hen you start out on your art journey it can be a

daunting experience. Can you ever be original?
Will your work stand out in the crowd? Will the
community accept your art and your potential? These
are all questions that bounce around the heads of artists
as they post for the first time on their online gallery.
But as we discover, this questioning is only natural. As the
10 artists presented here testify, the fantasy art community
is a friendly and welcoming place that’s open to new ideas and
ready to offer a helping hand to new artists.
These 10 artists have, over time, created portfolios of amazing
imagery that never fails to grab your attention and makes you
want to pick up the Wacom and start painting. While their
processes and styles vary, they all share common goals: to
become better, experiment and progress their art.
On the question of style, this is something all artists say is
defined over time. Some heavily pursue the idea of creating a
new visual language; others say they fell into a style of method
by focusing on things they love. Whatever your process, ability
and involvement in the wider fantasy art community, the 10 artists
we meet here have inspirational experiences and art to share. They
prove that with hard work, creativity and support from the wider
art community, anything is possible.

Contents
41 Ruan Jia
42 Tran Nguyen
44 Donglu Yu
46 Wylie Beckert
48 Miles Johnston
49 Jana Schirmer
50 Rafael Sarmento
52 Ross Tran
54 Tom Bagshaw
56 Jeff Simpson

40 September 2015
 Ruan
Jia
Colour and light
help define Ruan’s
whimsical style

There’s a romantic, ethereal feeling to Ruan

Jia’s artwork that his friends refer to as
“entirely glowing,” in which every part of the
image feels like it’s imbued with colour and
light. “This is because I love to add saturated
colour to places where it is not supposed to
glow,” explains the artist.
At the heart of Ruan’s style is his ability to
control colour. When he chooses the colour
for his portraits he’s considering the emotion
that needs to be conveyed; red or yellow to
express anger, blue or purple for sadness.
“After deciding the key colour for the
overall mood, I continue adding colour
changes to my painting,” says Ruan. “I love
dramatic lighting, and I often make the light
fall on the focus point, to make the main
object stand out.”
While Ruan’s personal work consists of
fantasy illustration, his day job is spent
creating sci-fi concepts for Halo 5 at 343
Industries. For Ruan, his personal fantasy
paintings are a form of escapism: “I feel that it
is a little boring in the real world, and I love to
imagine like I am in another world, seeing
many images and incidents that cannot be
found in the real world… When I am not
working, I draw what I like, create my world
and draw my dreams.”
www.ruanjia.deviantart.com

Artist tip
CheCk your values,
not the Colours
“If your colours aren’t working, the values may
be at fault. Change the image to greyscale to
check and adjust the values, then create a
Color layer and add your colours on this layer.”

September 2015 41
 Tran
Tran Nguyen paints figurative work with a prefer it if my work was free of any
hint of surrealism and a splash of fantasy, compartmentalisation.”
and she’s clear that the fantasy genre is a Tran goes on to explain that she loves to
place she belongs to. paint “therapeutic imagery”, and tries to

Nguyen
“Fantasy encompasses a perspective that’s pinpoint the concept behind each of her
perpendicular to reality,” she says. “I think paintings. She aims to tap into a specific yet
depicting imagery that captures space which universal emotion that everyone can relate to.
could never exist in our daily lives expands our “It’s my hope that the viewer can relate,
imaginative capacity.” recollect and thus foster well-being from what
But when asked if her illustrative work they interpret,” says Tran. “It’s ubiquitous to
belongs to a particular community she’s a little say that life is a series of hardships and each
more guarded, or rather ambiguous, on who year yields emotional baggage. In all, I’d like
For Tran, it’s all about finding a would enjoy her work. “I can easily see myself for my visuals to serve as a buffer in getting
categorised into the pop-surrealism through tough times.”
message and purpose for her art… movement,” she replies, “although I would www.pockypuu.blogspot.co.uk

nd

Artist tip make your mistakes early on

“Try to take a lot of risks while you’re in school or college – it’s
imperative that you stop worrying about impressing your peers.
Instead, you should embark on experimental failures, and focus on
illustrating without any timidness.”

42 September 2015
 I’d like my
visuals to serve
as a buffer in
getting through
tough times

nd

September 2015 43
 nd

What matters
the most is the
team work, and
not the concept
art itself

Artist tip
Time is precious – don’T wasTe iT
“I don’t spend more than 40 hours on a painting. Beyond this and
I have a tendency to linger on small details. Know when to stop.”

44 September 2015
 Modern masters

Yu
The concept artist who’s
Though she works digitally, Montreal-based
concept artist Donglu Yu began her art
career in a traditional way, first with private
drawing and oil painting classes, and then
pursuing art at college and university where
she studied illustration and animation.
Yet it was a close family member who set
begun to teach her craft her on the path: “My grandfather is a Chinese
traditional calligrapher. So I’ve been exposed
to Chinese watercolour from a very early age.”
That sense of inspiration is what drives the
artist to share her ideas and techniques
wherever possible. After work, away from
Ubisoft, Donglu teaches a digital art painting
class at a local art school in Montreal.
“It’s always a pleasure to witness the
progress of the young students, and to be
proud of them when they finally land a full-
time job in the industry,” says the artist,
explaining that she’s taken her teaching skills
to the internet, to pass on the skills needed to
encourage the next generation of new artists.
“I’ve learnt so many techniques of
producing concept art because of the
talented people with whom I worked with,”
explains Donglu.” I’ve also learnt to be
disciplined, to always get better within the
digital domain. I feel challenged and inspired
by the talent around me.”
It’s clear Donglu knows what she wants
from the art industry, but she also knows that
the only way to fit into a big game production,
such as Far Cry 4, is to embrace cooperation.
“What matters the most is the team work, not
the concept art itself,” she says. “This pushed
me to work even more closely with the level
artists and the modellers. So we grow as a
solid team, instead of individual artists.”
www.donglu-littlefish.blogspot.co.uk

nd

September 2015 45
 Wylie
Beckert
An artist who fell in love with the fantasy
community and found her style grew naturally

Wylie Beckert describes her work as “dark I am as an artist comes through in the finished time to improve my skills really drove home
and whimsical” with an emphasis on product almost of its own accord,” she says. the point that there were better uses for my
characters and storytelling. “For me,” she “When I first started freelancing,” recalls time than just taking any job that came along.”
says, “developing an identifiable style has Wylie, “I was inundated with jobs that paid Working in the fantasy genre is a big plus
been less a conscious choice, and more a next to nothing and had very little to do with for Wylie. “I love that fantasy illustration is free
by-product of the tools and process I work what I really wanted to be illustrating. I ended from the pretentiousness that’s stereotypically
with, combined with an eye towards up pretty well burned out on art, not making a associated with the fine art world; artists and
continuous improvement.” living wage, with a portfolio of random, rushed fans are passionate about the genre, and
Indeed, she feels her work blossomed when work with no real common thread.” The there’s an appreciation for craftsmanship
she stopped reaching for a style and instead solution was to take time out, put a minimum and narrative work that can be hard to find
focused on making the most technically on her commissions and wait it out. “The jump elsewhere,” she says.
proficient piece she could. “In doing this, who I experienced in my career after taking some www.wyliebeckert.com

nd

46 September 2015
 Modern masters

Artist tip
Document your process
“If you’re trying to build your art skills or
master a new medium, keep a camera handy
while you paint and document the process. As
I’ve been moving from digital to traditional
media over the past year or so, having
snapshots of my works-in-progress at various
stages has made it easier to see what
combinations of techniques resulted in
success and what missteps resulted in failure.”

nd

Artists and
fans are passionate
and appreciate
craftsmanship
and narrative

September 2015 47
© Applibot

nd

Miles
Johnston
This young English artist is using his pencil
sketches to drive his fervent creativity

Miles Johnston was still a teenager when he and sometimes I’ll work a whole image
caught the eye of ImagineFX during the first outwards from a single focal point.” Finding
Rising Stars campaign. Four years later, he’s spontaneous shapes and ideas is what
become an inspirational artist to many. matters: “I like to leave my process open
Miles found his feet online in the digital art enough to follow those impulses,” he says.
community, posting work on sites like At the heart of Miles’s approach to art is the
conceptart.org. “The whole online art scene belief that you should always be challenged,
feels like a cool, extended friendship group, to continually wrestle with your doubts and
and it’s been exciting meeting so many people fears to drive forward. “The best thing about
that I’ve known from online.” painting, in my opinion, is that you never reach
Now Miles has turned to perfecting his a limit, and the challenge never goes away.”
pencil work. His engaging sketchbook posts http://ifxm.ag/miles-j
see the artist settle on a theme and explore it

Artist tip
in as much depth as possible. “I try to be
honest about what I’m interested in, even if it
means making a bunch of drawings around
ideas that might seem a little weird.” AlwAys drAw
For Miles, experimentation is key to finding “I spend a lot of time in my Moleskine, even
new forms and shapes in familiar drawings. doing a lot of finished work in them. I like
“Sometimes I’ll take an old-school approach, having my setup be really simple and
with lots of thumbnails and careful planning, portable, so I can vary where I work a lot.”

48 September 2015
© Applibot

nd

Jana
Schirmer
The Berlin-based artist has recently turned to
portrait art, in an effort to find her true style

After facing problems at school and I went to a workshop I met an artist friend for
dropping out at 15, Jana Schirmer devoted the first time, after knowing her online for
all her time into her painting. “Art felt like more than 10 years. It’s amazing how the
the only thing that was left for me,” she says. community can connect people.”
Jana’s art is beautiful and light, semi- Outside of her commissioned work, Jana has
realistic but with overtones of manga. “I used begun exploring portrait painting, “I love
to draw and paint manga during my teenage portraits that are made up with a bunch of
years, and it’s very hard to get rid of these loose brushstrokes,” she says, adding that
‘trained mistakes’ that comes with a specific many portraits often feel too tightly painted.
style,” she says. “It’s liberating to just paint from blobs of colour
Style and a place in the industry are that I throw on one single layer.” But Jana’s still
subjects that leave Jana confounded. Most of learning: “I’m still looking for my language as an
her clients are based in fantasy art, but it’s not artist – so far I feel more like a craftsman.”
a style she truly enjoys. “I don’t care about the www.janaschi.deviantart.com
fantasy genre, unless it’s dark fantasy. But

Artist tip
what art you do and what you’re interested in
aren’t always on the same page anyway.”
That said, Jana loves the feeling of being
part of a wider community of artists and art OrgAnise yOur lAyers
lovers. “It’s great to meet the people behind “Always try to keep layers organised, because
beautiful artwork. For instance, the last time then it's a lot easier to make changes.”

September 2015 49
 Rafael
Sarmento
For this artist, finding a voice and a place
in the art community is important…

After starting freelancing four years ago some point – somewhere between figurative
Rafael Sarmento decided to “get serious” and abstract imagery.”
with illustration and use his professional Helping this journey is the wider art
work to “explore his inner creative urges.” community that Rafael believes is vital to
Right now the artist is on the cusp of exploring his art. “We’ll always be related to
something interesting. His art defies a style. this ongoing cause, underneath the trends and
Neither illustrative nor fantasy, it feels like a revolutions in the art world,” he says.
work in progress of some larger, broader It’s a question of acceptance on a broader
piece. “It’s like a perpetual motion machine, level, and Rafael doesn’t envisage his art being
whose rhythm is getting faster as the time popular, “which honestly doesn’t matter,” he
passes, and it creates the impulses that makes says, “as long as I find the niches that welcome
me paint,” says Rafael. me and my work as something valid.”
“I’m always looking ahead, foreseeing what With a growing fan base, Rafael is certainly
I want or need to achieve in the future. The on track to find his place in the art world.
goal is to move into a more undefined area at www.rafa-insane.deviantart.com

nd

Artist tip
Be open to fresh
possiBilities
“I’m guided by feelings, so I keep
the painting process open to
improvisation, from the initial
pencil doodle, to the very last
stroke on the canvas.”

50 September 2015
nd

I’m always
looking ahead,
foreseeing what
I want or need
to achieve

September 2015 51
 nd

The eyes let

the viewer in and
engage them. They
help the viewer
know their story

52 September 2015
 Modern masters

Ross
Tran
An artist keen to keep
learning and share
knowledge

As an only child Ross spent a lot of time

nd finding new ways to entertain himself. “I

remember exploring the back yard of my
grandma’s place and getting lost in the
worlds I created for myself,” he recalls. Soon
that imagination was put to use in his art.
“Fantasy allows for anything to happen!
It’s just a whole world of make-believe and
unlimited things to draw from,” says the artist,
who has found success with a vibrant portfolio
of fantasy figures and concepts. His portraits
in particular are striking and evocative. In a
few simple strokes he manages to capture
your imagination, and it’s all in the eyes…
“They let the viewer in and engage them, then
allow the viewer to gander around. The eyes
help the viewer know their story and it makes
a great focal point,” he confirms.
Over time, Ross has begun to define his
style. Explaining that an artist’s style comes
from their experiences and purpose, Ross has
started to pare back his work. “Lately I’ve
been trying to simplify a lot more and get into
graphic design,” he says.
Key for Ross is the broader art community
that he finds inspirational. “I think it’s essential
to share and pass on knowledge. I wouldn’t be
the creator that I am today without humble
talented artists sharing their experiences and
knowledge with me.”
To this end Ross has launched a YouTube
channel (www.youtube.com/c/rossdraws) to
give back to a community he values. “If I could
help [artists] further succeed in [their] journey
in any way, I’ve done my job,” says Ross.
http://instagram.com/rossdraws

Artist tip
Never ever stop
learNiNg
“Every experience will feed into your work
and make you who you are.”

September 2015 53
 Tom
Bagshaw
An artist who puts a story behind his art and
is even more interested in the viewer’s take

Although Tom Bagshaw shuns the idea that points out that there are still certain barriers
he has a style – “honestly,” he says, “I’ve to be breached. In early 2015 Tom contributed
never really thought about it” – there’s a to the Dreamlands show featuring edgy
unique line of thought that runs through his modern art at CHG Circa gallery in Culver City,
paintings. His influences include religion, the California. “There’s still a barrier between the
occult, folklore and broader fantasy, and the fine art/collector’s market and how digital art
idea of the story: his paintings often begin is viewed,” Tom says. “Digital art isn’t really
with a narrative behind them. an issue if it’s in the context of advertising,
However, he insists, “It’s always far more publishing, editorial illustration and so on, but
interesting to hear the viewer’s interpretations once you cross into that fine art market then
of what I paint. I’ve had quite a few occasions galleries and collectors, even other artists, still
where other people have come up with far have an issue with digital. It’s getting better
better stories for my work than mine!” with time, but is still very much a problem any
The wider community is important to Tom, digital artist faces.”
and he feels it brings people together. But he www.mostlywanted.com

nd

Artist tip
Be ready for ideas
“Ideas pop into your head at odd
times, like when you’re actually
working on another piece. Having
a notebook to hand enables me
to quickly jot it down, along with a
quick scribble, so I can come back
to it later. It’s all these little notes
that help to shape future works.”

54 September 2015
 Others have
come up with
better stories
for my work
than mine

nd

September 2015 55
 Jeff
Simpson
This concept artist likes to break
With a mother who worked as an art teacher
and a creative father, Jeff Simpson has
always felt he was born into the life of an
artist, “I grew up as the ‘art kid’ as far back
as I remember. I never really questioned it!”
While Jeff earns a living as a concept artist,
it’s his personal paintings that catch the eye.
His portraits break the rules: they’re a collision
art’s long-established rules… of colour and shapes that merge forms and
become an expression of something broader.
Jeff says he hasn’t worked on honing his
style. “I think people have associated me with
having a style simply because I paint what
I like to paint,” he says. “I like certain colours,
certain shapes, certain levels of detail… I feel
as though I’ve been blessed with a brain that
has the ability to be interested in something as
simple and abstract as a shape or a texture,
and just obsess over it.”
When painting, Jeff admits his process is a
mess, and spends far too much time tinkering
with colour adjustments and minute details
many people won’t notice. “I don’t think I’ve
ever made an image that looked exactly the
way I wanted it to in my head,” he says. “I’ll
usually start rendering something relatively
realistically, then tear it apart. I’ll crop, import,
cut, flip and invert my paintings dozens of
times before I finally get bored of it and call it
a day. This is how I like to work; when I’m
painting on my own time I like to have no
direction at all. Because mistakes and happy
accidents are part of my process, it’s really
hard to be fast or consistent.”
Despite his chaotic workflow, Jeff’s art is
admired by the online community, and it’s
something he’s always loved. “Everyone
seems to know everyone now thanks to social

nd media – it’s hard not to feel a part of the

community,” he says. “There are so many
more artists now showing their work, it’s
actually really intimidating and I’m very glad
to have started out in the smaller, more closely
knit groups from five or ten years ago.”
www.jeffsimpsonkh.tumblr.com

Artist tip
study art’s progress
“It’s all good to learn the core skills and
techniques, but looking at work that breaks
the rules is also important. Learn the history
of art, of painting… see where it’s gone, why it
changed, and where it’s going.”

56 September 2015
nd

I don’t think
I’ve ever made an
image that looked
the way I wanted
it to in my head

September 2015 57
 profile
Chuck lukacs

cs
Country: US

uk a
Chuck is an award-winning

k L
artist who’s best known

Chu c
for his illustration work on
Magic: The Gathering and
Dungeons & Dragons. He’s
also written art tutorial books, and has

bbing
created sci-fi and fantasy art on a

cre a t ures r u range of media, including ceramics

stical
and wood. He teaches character

k es to d raw fan ta
n d o f 7 0s si t-coms design at the Pacific Northwest
College of Arts in Ohio, US.

This artistitlih characters from the la

www.chucklukacs.com

shoulders w
The Young one
“This was an insectoid character, born from a
Fantasy Genesis role, along with being a concept
test for creating a creature to function as both an
adult and a young adolescent.”

nd

“TV’s Frank mY inner

Cannon, Compo Canadian
& Friends”
“I love to freeze-frame old 70s
“A self-portrait from when I was
thinking of dual citizenship.
Och, they’d probably nae
shows and sketch all the folks that have me… The runes say,
time’s forgotten. Here are the ‘Take off to the Great
characters from Last of White North.’”
the Summer Wine.”

“Sometimes it’s the photo

reference that leads the
mind through the sketch”

58 September 2015
 Sketchbook Chuck Lukacs
muddY
Fingers
“Sometimes it’s the photo
reference that leads the
mind through the sketch. This
bloke appears in a couple of
my sketches and paintings.
Here he’s a giant, rooting
around for something, but
he’s been at least four
other characters over
the years.”

nd

September 2015 59
 BroCColi
sheep
“I used this character as a
sample for my class as we got
into anthropomorphism. I think it’s
important to pay attention to
period, multiculturalism and ritual
or rites of passage, because so
much can be said about your
character’s world, without
ever saying a word.”

Bela
lugosi
“I almost never go to
this level of finish on a
sketch, but I started this
as an in-class demo and it
just wanted a bit more
time. I love to lay down a
“So much can be said about
tone over the line work,
then cut deductive your character’s world,
nd without ever saying a word”
marks in with
an eraser.”

piraTe Fun
“What I really love about
sketchbook characters is that you can
create a whole cast, with narrative
archetypes, behavioural intricacies and
complex expressions within a couple
hours. It’s almost like casting who
will be in your painting.”
60 September 2015
 Sketchbook Chuck Lukacs

nd

gun
ConTrol
“This page came from a
homeless cat that I needed to get
down right away before I forgot
his wonderfully puckered
features, and a role from my
game book Fantasy
Genesis.”

Want to share your sketches? Email us with a selection of your artwork, to sketchbook@imaginefx.com
NEXT MONTH’S SKETCHBOOK: DarrEN YEOW

September 2015 61
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 get your
resources
See page 6 now!

Workshop assets
are available…
Download each workshop’s WIPS, final image and
brushes by turning to page 6. And if you see the video
workshop badge, you can watch the artist in action, too.

Advice from the world’s best artists

64
This issue:
64 Add movement
to your figure art
Jana Schirmer steps out of
her comfort zone, embraces
green and paints a beguiling
figure for our cover.
69 Get familiar with
Krita’s basic tools
Learn more about Krita tools
and find out how to use
variables to control them,
with Katarzyna Oleska.
70 Paint like an
Old Master
Andrew Theophilopoulos
channels John Singer
Sargent’s distinctive style
to depict Cersei Lannister
from Game of Thrones.
74 Create an intense
Star Wars battle
70 74 82 Ben Zweifel uses 3D assets
and 2D painting techniques
to show a Rebel fleet taking
on the Imperial navy.
76 How to design an
original sci-fi asset
Lorin Wood does the visual
research and ideation to
develop a sci-fi vehicle with
historical origins.
82 Model a scene
using 3D tools
Concept artist Matt Kohr
demonstrates how he
designs an environment
using 3D software, before
painting over it.

September 2015 63
 Workshops

add movement to
your figure art
Jana Schirmer reveals how she stepped out of her comfort zone,
embraced green and painted a beguiling figure for this month’s cover

his was truly a fun This isn’t my first cover. I’d worked on a Furthermore, I feel as though I’ve

Jana Schirmer
t commission! My initial
thoughts were that I was
safely in my comfort zone
book cover that didn’t turn out so well, so
I treated this commission as if it were my
first cover request. The subject matter
produced a lot of over-detailed
commission work in the past few years, so
it was a nice change to keep things simple
Country: Germany when I was asked to “paint a fantasy- wasn’t new to me – I’ve probably painted and focus on just a few details, instead of
themed girl with some moving fabric.” a female fantasy character a hundred overloading the whole image. I think I’ll
Jana works as
a freelance But knowing that it would appear on the times now – and so I was keen to bring restrict my detailed approach to my
artist and cover of ImagineFX added some pressure! something fresh to the project. I achieved personal work in future.
illustrator, I think I struggled a little at the beginning this goal by working with green. I usually I wanted to focus on giving the image a
creating art
mostly for the video
of the process, but then it was a great don’t like green at all, even though you cool, fresh feeling, in direct contrast to my
game industry. In her feeling to finish the image and I learned a can make any colour work (depending on studio, which becomes a bit too hot and
free time she loves to lot about how to make a piece of the context, of course), so it helped that stuffy from time to time. Okay, it’s time to
collect stickers.
http://ifxm.ag/JanaSch
character art work on a cover. I erred on the side of turquoise! take you through my painting process!

get your
resources
See page 6 now!
nd

How to paint
a realistic sky
Photoshop’s Gradient
Map is ideal for creating
realistic colour blends in
the sky. Study a few sky
references and select
believable atmospheric
colours. Add a Gradient
Finding an idea Working with the layout
Map adjustment layer by
choosing Layer>New 1 The coloured image is the first one I send to the 2 I change the sword to a flute at the request of the team. If
Adjustment Layer>
Gradient Map. Click the
ImagineFX team. Looking back, I realise my first sketch wouldn’t you compare this image with the final one you’ll see that the
gradient and a new have worked at all. I think it’s a mixture of pressure and warming pose of her arms is slightly different: I need to make more space
window will appear, up to the subject. Then I do three thumbnails that are a closer for some cover text. I actually prefer how the arms look when
enabling you to
match to the assignment. The bottom-left image is chosen, so they’re higher up – it makes for a more dynamic pose. But this
customise the gradients.
I continue with this idea. solution is a lot better for the cover!

64 September 2015
In depth Add movement

September 2015 65
 Workshops

Final sketch and colour choices Colour block-in stage

3 Next, I erase all the lines that I feel aren’t helping the sketch, and then I add more 4 I block in some basic colours with a Hard brush on three
details. I don’t draw lines for most of the hair because it’s easier to block in hair directly, by layers: orange on top, followed by purple and then blue. I like to
painting its outlines and then filling it in with another colour. I assemble my colour palette on keep my layers as simple as possible. It also helps when I’m
the bottom of the canvas. Note that the image will turn out slightly different to what these creating selections of certain areas, for speedy paint-overs!
colours might suggest, because of all the adjustment layers that I’ll add towards the end of the
painting process, to make the image pop.

nd

Introduce local colours Shadows and light

5 I lock the Layers’ transparency and fill them with local 6 I place a layer on top with a light grey tone for the shadow
Copy layer
Ctrl+J (PC) colours. None of the colours should stand on their own; they and then I create a layer mask to erase where I’d like the light to
)
Cmd+J (mac need to have a counterpart. This makes the picture less busy, too. hit the figure. I want to cover her with shadows, to suggest a light
th the clipping mask
Use wi I want to keep the painting light, hence why the character’s source that’s behind her. This enables me to play with subsurface
as without
to try out ide
original wearing mostly white and has pale hair. Using a reduced colour scattering on her hair and skirt. I also create a Linear Dodge (Add)
altering the
ts. palette helps to keep the image simple and balanced. layer containing green to bring in some diffuse light from the sky.
layer’s conten

getting lost
in the details
Sometimes it feels as
though there’s no end to
the painting process.
I often get lost in
rendering the details
without feeling that I’m
making progress. For
commissioned work in
particular, I would
suggest making a
checklist of the key
Setting the scene at sunset Merging the layers
elements that the
image needs in order to 7 The image could benefit from more contrast and darker 8 Once I’m happy with my colours I merge my shadow and
be finished. Now you can
colours, so I create another Multiply layer to add some warmer light adjustments, plus the outlines, with the three layers from
mark things off once
they’re in place. This shadows. I also use the erased parts of my shadow layer as a earlier. Now the rendering starts! Since my lighting scheme is
helps you to remain selection to fill in a dark brown colour on Linear Dodge (Add). already in place, all I need to do is to tighten up and add more
focused on the painting’s
That gives it a sunset feeling. I add a gradient from bottom to the detail. I also introduce more painterly brushstrokes, because
key features.
top, which makes the dress darker and increases focus on her hair. I want to make it look like an actual painting.

66 September 2015
 In depth Add movement

duplicate im
age
on a new laye
Shift+Ctrl+a
r
lt+e (PC)
Shift+Cmd+a
lt+e (mac)
This flattens
and copies
your whole im
age on
to a new layer.

Adding texture
9 Adding texture is a great way to bring in more colours. 10 Giving my character more hair
To be honest I’m really lazy when it comes to painting hair, so I use a selection of one of
I place a number of rust textures over the painting and lock them my older paintings of a girl who has wild-looking hair. I spend time altering it with the
to my three base layers with clipping mask. On the left side is Transform tool so that no one will recognise the original source material. I think I’ve pulled it
how it looks like when you put those textures on Lighten mode. off! All the single hair strands also instantly make the image look more detailed.
I love this layer mode because it will only affect those colours
that are darker than the texture.

nd

Bringing in more detail

11 An easy way to show details, such as the trim of her little 12 Making use of layering and overlapping details
Selections are a key part of my painting process. For the detail on her torso I draw the
pouch, is to draw using solid colours first. The Layer Effects pattern without any perspective and then copy and mirror it, before applying it on her body.
option enables me to add shadows and shading to this block-out I then use the Transformation tool to make it fit her body. I notice that the ribbon isn’t entirely
without painting them. I use Inner Shadow and Drop Shadow readable, so I add another knot. This technique of layering and overlapping objects helps to
for the trim. I make sure that the colour and angle of the make the painting more visually interesting and creates depth.
shadows matches the scene and my lighting scheme.

Checking
your values
One simple way to check
your values during the
painting process is to
make a copy of your

13 Toning down the contrast

I’m nearly finished, but I need to make some general 14 Finishing touches
I darken the background around her head to develop the
image and go to Image>
Adjustments>
Desaturate. Now you can
contrast changes. I feel there’s too much contrast in the shadow contrast between the background and the hair, and enhance the
see if your image still
areas: at the start of my the painting process I strived for a clear glow using an Linear Dodge (Add) layer. I also paint colours on works in black and white,
contrast between light and shadow. But now I decide to use a big her dress where the sun’s shining through it. I add saturation or if the lighting is off.
Try to avoid overusing
airbrush with an orange colour to go over all the shadow areas. where light hits a shadow, such as the area between the sleeve
pure black and white.
Using one colour brings all the shadow areas together again. and the light on her shoulder. I also soften up some edges.

September 2015 67
 00
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2
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nd

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 Quick technique Krita basics

Krita Desktop
get to Know
Krita’s basics
Learn all about the software’s tools and find out how to use variables
to control them, as Katarzyna oleska
leska explains Krita’s core aspects

rita offers a good variety of Docker and Tool Options Docker are

K tools for painting and editing

images. These include
creating diverse brush strokes,
both turned on and visible.
In order to do that, you simply need
to select Settings>Dockers from the top Katarzyna
the most useful
tool options
a D
selecting objects on the canvas, resizing menu and check these Dockers from oleska
your artwork, as well as the ability to country: England
the list. Then, depending on which
stretch and crop a painting. Tools Docker tool you decide to use, Katarzyna is
To take full advantage of all the tools the Tool Options Docker will change a self-taught
b
illustrator
e
the program provides however, you’ll accordingly, displaying all available
who works
have to make sure that your Tools options for that tool. for various
publishers and
private customers, c
Brush strokes specialising in portraits,
1 and colour fill
caricatures, fantasy and
sci-fi illustration. She has
There is a variety of ways you can create illustrated a range of

brush strokes with the available tools:

leading book titles. a. paint with brushes tool
http://ifxm.ag/kataro The most interesting feature in Brush
Paint With Brushes (freehand), Draw Options is the distance parameter, and it’s
a Straight Line with the Current Brush useful to adjust it. If you paint with a small
(tap on the canvas to start and finish a zoom (far away) and a large brush,
it’s good to set the distance setting to high.
line), Draw a Rectangle/Ellipse/Polygon Brush strokes will be more fluid and you’ll
(with various fillings) and Draw a see that it’s harder to paint with smaller
Polyline/Path/Freehand Path Tools. brushes and movements. For the same
reason, keep this parameter low when
You may also fill a selection with solid working with a big zoom (close up).
colour, pattern or gradient.
b. Draw a straight line tool
Selecting an area Even though it seems this tool is a
2 One way to select areas on the
combination of a brush and a vector tool,
it can still work with brush pressure. Tilt
canvas is to use the tools that offer a and rotate depending on your choice.
predefined shape (rectangle or circle for
c. Draw a rectangle/
example). Another is to draw a shape circle/polygon tool
by brush, polygon, outline or path. To Those three tools use the same settings.
make a selection by colour you may select You may choose what kind of filling you
want (Not Filled/Foreground/Background
a contiguous area of colour(s), or select Color/Pattern), or if you want an outline
all areas in the picture that contain the to be visible (No Outline/Brush).
colour of your choosing.
D. contiguous area
selection tool
To select a colour within a contiguous
area, click a colour to select it and,
depending on a fuzziness setting, similar
adjacent colours. You can also Grow/Shrink
the Selection and change the Feather
parameter (blurriness of the selection
edges). You can add, subtract and intersect
consecutive selections.

e. transform a layer or
Transforming your work a selection tool
3 To crop an image freehand, pick the Crop Tool, select an area
You can transform a layer or a selection
freehand, but the Tool Options enable more
and hit Enter. To resize, rotate or distort a selection or layer, choose the precise transformations. You can control
Transform Tool, click a selection or layer (the Transform controls will Vertical and Horizontal Translation, Shear
and Scale. You can also tilt and rotate the
show this) and hover over one of the controls until it changes into the selection/layer around the X/Y/Z axis.
desired mode. Simply click it and drag into the position you want.

September 2015 69
 Workshops

Paint in the style

of an olD Master
andrew theophilopoulos
philopoulos channels John Singer Sargent’s distinctive
portrait work and paints Cersei and the dead king from Game of Thrones
or this workshop I’ll be museum to understand the massive scale my Photoshop files to be as large as a fine

andrew
f attempting to simulate a
painting by John Singer
Sargent in Photoshop, using
of Sargent’s career.
When we look at an image through the
internet we wonder, how have the painters
art canvas. This way I can print the work to
be close to life-sized. It also helps to keep
me in the mindset of the Old Masters.
theophilopoulos nothing more than the Round brush and created such tight and realistic works of I, like they, want my work to be
Country: US a few handy tools. art? The answer usually lies in the size of grandiose. My only wish for this painting
Andrew is a
I’ve studied Sargent since college and the original painting and in Sargent’s case, is that Lady Cersei and King Joffrey were
freelance continue to be surprised by his feats as a these portraits were massive! When to have sat for their portrait. The model is
concept artist, master painter. While teachings from him viewing an original Sargent up close you’ll the life and soul of Sargent’s paintings:
art director, fine
art painter and
are few and far between, the best way to notice the gesture, the energy and oily you can almost feel them breathe. Let’s
teacher travelling the learn from a dead artist is to see the work gloop required to fill a life-sized portrait. see what we can do with a photo shoot,
world to spark inspiration in person. It takes one good trip to a As a large-scale oil painter myself, I prep and some of our imagination.
and inner exploration.
www.andrewtheo.com

get your
resources
See page 6 now!

Draw what
you see
Too often we artists pull
from our memory to
create a drawing. This
can sometimes be
crippling to those who
are attempting realism.
Draw what it looks like,
not what it is. If you don’t
draw what it looks like,
it’s not going to look like
what it looks like! In
other words, why draw
fingers and a hand the
Furious thumbnailing No more white canvas
way you remember them
to be. Instead, draw the 1 When coming up with the concept for an illustration, 2 Sargent would work with a toned canvas, probably a mid-
potato-looking giraffe
I like to run through 50 to 100 thumbnails before settling on value, neutral colour. If you’ve ever toned a canvas, you’ll be used
which has the
personality of the hand’s the final sketch. I generate several types of concepts in a to the wonderful textures created before the painting begins.
pose at this point in time. sketchbook and go through a dozen compositions for each Here, I create an abstract photo bash using my original artwork.
It’s all about capturing a idea. At less than 2cm per thumbnail, I can push out the bad Combine three illustrations on the layer blending modes of your
unique moment.
and make way for the good ideas in no time flat. choice and see what kinds of textures you can create!

70 September 2015
In depth Old Master

September 2014 71
 Workshops

Go to the
museum
Spend time in front of
original paintings.
There’s so much to learn
by meticulously studying
the work of a master
painter. Sargent is one of
the best to learn from
because he was so
gestural. In his work, you
can see the energy
behind every piece of
the canvas. Up close you
notice the direction of
Develop a colour sketch Achieve the perfect reference photo
his stroke, the speed and
dryness of a certain 3 Using a scan of my thumbnail, I edit the colour and value of 4 The sketch helps a model find their pose in the photo
passage, the long
the abstract background to fit my concept using blending modes. shoot. Grab a friend or neighbour, find the right time of day and
smooth fades within a
luxurious material and To push back the darks I use a Multiply layer mode and paint bring the camera! For Cersei, I had my model sway back and
the softness of a around the figures. To give the character’s shape some clothing or forth, fidget and turn from side to side in the faint light of dawn.
woman’s face. fleshy colour, use Overlay, Color or Hue layer modes. I then clean Joffrey’s photos were taken around 2pm. I like to take 100 or
everything up on a new opaque layer to create this sketchy style. more photos to get everything I need for a perfect reference shot.

liquify filter
(PC)
Ctrl+shift+X
(Mac)
Cmd+shift+X
ly liquifying
I’m constant
when in need
my painting
dge.
of a quick nu

Using Adobe Photo’chop Render the image

5 The differences between my cartoon sketch and the photo 6 My sketch is slowly moulding into a more accurate
shoot are immense, but not to worry, Lasso tool is here! Make a depiction of my subject. I work like a sculptor, pushing and
selection with the Lasso, then select Copy Merge and Paste in pulling until the shapes and proportions become more
Place. This will create a flattened layer of your selection that can coherent. After a break, I get my fresh eyes on the painting
now be scaled and distorted to fit into place. I use an airbrush to and continue to push the drawing, colour, value and of course,
erase the cut marks for a clean finish. my brush quality.

PhotoshoP
stanDarD brush:
rounD brush

I’ve been using the

Round brush since eighth
grade. It’s the DNA of all
brushes, and with its
high-end pressure
sensitivity you can create
Achieving a colour match Photoshop tricks
anything! Looking for a
challenge? Create a 7 I want to create more harmony within the piece so I’ll 8 Ever draw with the Smudge tool? As long as you’ve set
custom brush by
need to dance the colours throughout my painting a bit. The red yourself up with some nice colour, you can create long, clean
painting a rock or tree
stamp with the Round glow within Cersei and the wine glass has no influence through sweeps for a fluid brush effect. Set the tool to 90 per cent
brush. Then you’ll see the entirely blue Joffrey. With a Hue layer mode, I’ll brush on Strength and glide like butter!
how powerful the Round
some of the oranges and reds within the shadows of our King.
brush truly is.
Likewise, Queen Cersei will be needing a hint of blue, eh?

72 September 2015
 In depth Old Master

brush size
alt+right-click
(PC)
Cmd+opt (M
ac)
Drag the curso
r up, down,
left and right
to change
your brush siz
e and
softness.

Apply a pattern
9 For the royal pattern, I create half of an icon, then mirror a 10 Introduce a texture
My paintings always have a crisp digital feel to them –
copy of that half to create a symmetrical design. Now that we have yuck – so it’s time to go outside and shoot some grunge photos.
a single icon on its own layer, I’ll duplicate that layer so that we On a layer mode of your choice, combine the shot of my photo
have two copies of the same icon. Using Free Transform, I place the texture and a detailed crop from an oil painting to give this
copy so it’s the next icon in the pattern. Hit Ctrl+Shft+Alt+T and digital artwork 100 years of personality. You can even add a
Photoshop makes the next step in the pattern. Repeat! canvas texture if you like.

nd

Make use of Dodge and Burn

11 It’s easy to cover some ground with the Dodge and Burn tools. Turn off Protect tones and set the exposure to, say, 13 per cent.
Use Dodge (highlight) to develop nice warm highlights, and Burn (mid-tones) for your colourful shadows. I’m careful not to overdo this.

September 2015 73
 Workshops

nd

12 The story behind your edges

The most notable way to describing something is to show how it interacts with its surroundings. I’m talking edges. Doesn’t the
softness of a woman’s hair work well as a lost edge, or the sharp cut tell us about the personality of architecture? Blur your eyes and
look at your subject, to identify the sharp edges and see which portions of the painting seem to fade into each other.

talk to
yourself
Describe what you want
from your painting with
a consistent inner
monologue. It’s how I
push myself through to
the next step,
recognising the issues
and putting them into
words helps keep me on
track with my personal
critique and shines light
on the game plan. I’m
constantly using words 13 Suggesting the background
In Sargent’s portrait paintings there was always a hint of 14 Above all, have fun!
Sargent eventually grew sick of his portrait work. At one
to describe the type of
background. He would accomplish these backgrounds with a point in his career, John, on his way out of the industry, would
brush stroke (slice,
scribble or soft fade) or simple suggestion of the lights and darks with barely enough request an ungodly amount of money for a portrait commission
the type of colour detail to set his character into an environment. I follow his lead. in hopes to scare the client off. Much to his surprise, the wealthy
(diabolical yellow or
would pay whatever it took. If I may leave you with any advice at
crisp deep blue).
all – follow your dreams, not the cash. Good luck y’all!

74 September 2015
 Celebrate Star Wars through the eyes
of the world’s finest artists

A
I N T E RR T &
VIEW
G re g H S
Christ i l d eb
ian W randt
Ra l p h aggon
M c Q er
Steph u
en Ha arrie
Ro g e r y fo r
Kastel d
I ain M
c C a ig
nd

LIMITED EDITION
HARDBACK SPECIAL

ON SALE NOW!
For print and digital: www.bit.ly/Art-of-Film
Hardback edition: www.bit.ly/artoffilm-hardback
 Workshops

Mischief & Photoshop

concept an
sci-fi vehicle
using mischief
lorin Wood does the research and ideation to develop
an o
original vehicle that has its roots in US history…

or this workshop I’ve decided function and believability that

lorin Wood
f to create a sci-fi vehicle for
a personal IP that I’ve been
developing on and off for
hopefully becomes infused
into your concept. And the
more you do this, the more
country: US several years. The subject matter – which proficient you’ll become at
Lorin is a
is close to my family’s history as it creating truly unique and
conceptual happens – transplants a 19th-century original designs.
designer with covered wagon into a spacecraft for On the subject of originality,
nearly 20
interstellar migration. I think it’s achieved by taking an
years of
experience in film, Whenever you develop a design that existing object and looking at it from
television, video games has its roots in reality and real historical a new angle. So will it be with this sci-fi
and product design.
foundations, it’s important to bring in covered wagon. I’m taking the
He has contributed to
projects with Walt as much of that history to the design as fundamental blueprint of a wagon and
Disney Studios, 20th possible, to give the final concept a augmenting it for use in a new frontier:
Century Fox, Warner weight and authenticity your viewer space travel. It will have the basic
Independent Pictures
and Gearbox Software. will recognise, even if it’s on a silhouette, but obviously retrofitted to an
www.lorinwood.com subconscious level. extreme, to meet the needs of my
I’ve found that the best rule of thumb intergalactic pioneer scenario.
get your with science fiction is to put as much of For the bulk of the process I’ll be using

resources
See page 6 now!
the real, functional world into it as
possible, then stylise and distort as
my favourite sketching program,
Mischief. I’ll then run a final polish in
needed to fit the needs of your story. Photoshop. So a basic understanding of
When you do this, as a designer, you’re both Mischief and Photoshop are
mentally building a database of plausible required for this workshop.

Don’t begin
with white!
Narrative breakdown Reference morgue
Darken the canvas
background to a medium 1 Before beginning any design process, have a purpose for 2 For reference, covered 19th-century wagons are my
tone, preferably grey.
it. An elaborate narrative isn’t necessary, but some concept of starting point. Though the final design will bear little
This gives you a neutral
starting point and why this design exists should be developed. This step is critical resemblance to a wagon, I want it to carry the essence of one.
enables you to work by because it creates a realistic design viewers will buy into. A back- I divide the morgue into sections, using Mischief’s Pins feature.
playing with shadows
story gives context as to why it was made, who made it and for The canvas is virtually infinite in size, so you can space the
and lights evenly.
what purpose. This helps you naturally evolve the design. groups about, set them with a pin and jump right to them.

76 September 2015
 In depth Sci-fi vehicle

free
copy of
mischief
…when you su
bscribe
to imaginefX
!
Head over to
http://ifxm.a
g/mchief
for more det
ails.

Creating thumbnails Lorin’s rules of design

3 This is a good stage to run through, especially if you’re 4 Here are some helpful rules of thumb to keep in mind during the early stages of the
working for a client. They’ll want to see options, and so it’s a creative process. Will your viewer be able to understand the design’s story just by looking at it?
good demonstration of your versatility as a designer to show Does the overall design have a good silhouette that exerts an intended mood? Can you
them your thought process. Show some diversity, but be aware identify the purpose and function of the design in three seconds? Does the design seem
of the stated design requirements. Each sketch should maintain plausible? If you answer any of these questions with a no or a maybe, then it’s a good sign that
the feel of a covered wagon. you may need to rethink your approach. It’ll save you time later on, too!

September 2015 77
 Workshops

Duplicate the
smart way
To create duplicate
images within Photoshop
files, group individual
layers that you want to
make up the new image
layer. Create a new blank
layer, then go to Image,
select Apply Image and
click OK from the
subsequent dialog.

Concept design Apply tone

5 I draw a basic perspective grid. I keep it loose – it’s to 6 I use a darker grey marker and solidify the primary shapes
guide the design, not shackle it. The point is to inspire. I then use of the vehicle. In addition, I layer in tone to further define the
the Marker tool and select a grey tone a shade darker than the mass and light direction. Just like working with real media,
background. I lay out the basic shapes of the craft here, using I start light and then add darker tones.
broad shapes. I don’t worry about details – just focus on
proportion, perspective and an interesting angle.

eyedropper
)
i or opt (mac
alt (pc)
e this to
In Mischief, us
ly se lect a colour
quick
yo ur canv as for
in
re.
use elsewhe

nd

Refinement
7 Contrast equals greater form change, so continue to cut
out the design using the darker marker until you’re satisfied.
Remember that the darkest shading will be in objects closer to
you. Refer to Scott Robertson’s excellent textbooks, How to Draw
and How to Render, for more tips on the fundamentals of both
basic drawing and rendering techniques.

Definition through line art More refinement

8 The ship is still a bit of a mess, so we need to define the individual pieces and shapes 9 Next I add in more line-art and decide that the ship
into a coherent whole. Focus in on the guts of the ship where all the earthly belongings of the doesn’t have enough girth, so I drop the front of the main hull
pioneers are carried. How are the engines yoked to the main craft? These details come into down to round the ship out. In my backstory, this vessel was put
focus at this stage. At this point I’m more interested in making the design look cool. The story together with used or salvaged components, which is why
of this being a space wagon is established, so now it’s time to fill in all of the fun sci-fi gizmos! neither engines are identical.

78 September 2015
 In depth Sci-fi vehicle

10 Introduce highlights
I’m pretty happy with the design, but it still needs some
punch and the best way to do this is adding a nice rim light.
This further brings the ship into three dimensions. I also add
some LED lights next to the cockpit. Their intensity will be
brighter than the dull metal hull material so they can pop.

mischief hotk
eys
Z, B, e (mac
& pc)
Use these Mi
schief hotke
to speed up ys
your
workflow: Z
for Zoom,
B for Brush an
dE
for Eraser.

nd

Export the image

11 Go to Export Image from the File menu. Select the Visible 12 Clean up in Photoshop
The fun part of working with real media is living with
Canvas option to export everything on screen as a PSD file. This the mess. I also love the freedom that Photoshop affords me to
enables you to have all of the individual layers when you open it change an illustration. To help focus on the central portion of
up in Photoshop. Be sure to export at a large-enough DPI value the ship, I want to remove some of the haphazard marker. I add
(300 for print and 72 for web). a mask on the marker layer and use a pressure-sensitive airbrush
to gently fade the marker away around the cockpit.

hold off on
adding detail
Maintain high energy in
the drawing – don’t feel
the need to fill in every
detail, especially if
there’s symmetry or
repeated elements.
Keeping a basic form
language will be enough
for the viewer to fill
in the blanks.

13 Post work
To punch up the shading, I use my rectangular, pressure- 14 Final touches
I love monochrome marker illustrations. A smart step to take before adding any extra
sensitive marker brush, to produce a smooth gradient. I push visual effects is to create a new empty layer, and create a light effect using LensFlare Studio.
some side details back and add an airbrushing of black to the top Because flares require a flattened image, I’m going to make a duplicate. I depict the flares with
of the wagon and underbelly, to show it’s rounded away from the a blue LED hue. They’re small but powerful. They serve as the equivalent to a candle-powered
light source. To pull out subtle highlights I use a marker tool and lamp hanging off of the wagon. I finish off by adding some red beacons and throw a
select a dim grey from the ship side. weathered name on to the craft.

September 2015 79
 Charlie Bowater creates a unique
–
black, white and gold cover image
find out how!

80 September 2015
 Black & White
Discover the beauty of striking values, and
find out if you’re suited to the freelance life!
All this… and more!
Dramatic lighting
See how Brian Matyas
worked this rough up
into a dramatic piece of
sun-kissed concept art.

Anti-hero chic
Tara Phillips works over
a pretty boy to create a
compelling anti-hero
character design.

Make your mark

Patrick J Jones takes you
through the possibilities
of using charcoal in
fantasy art.

Artwork to value
We speak to 10 artists
who work with pared-
Reader Q&As down colours to create
Get your art questions and queries bold, striking imagery.
answered by pros, and discover how
to paint folklore in a fresh way.

Issue 126 on sale Friday 14 August

September 2015 81
 Workshops

Photoshop & Blender

model a scene
using 3d tools
Concept artist matt Kohr demonstrates how to design an
environment using 3D software, before painting over it
82 September 2015
 In depth 3D tools

nd

September 2015 83
 Workshops

ow often do you choose to to show how valuable 3D tools can be. To and use it as the foundation for my

matt Kohr
H draw city skyscrapers from
dynamic camera angles?
Probably not very often. Even
prove the point I’ve chosen a scene with
some linear perspective nightmares:
repeated arches, stairs, figures at different
painting. To see this whole process in
action, check out my video.
In this workshop you’ll see how
country: US after getting comfortable with drawing in elevations and a circular layout. This powerful 3D can be for the illustration
Matt is a
three-point perspective, some subject setting would be a challenge for even the process. But before we start, a word of
freelance matter is tricky to draw accurately. When most seasoned draftsman, so instead I’ll warning: 3D doesn’t replace drawing. If
concept artist, things are difficult, we avoid them. In my let Blender do the heavy lifting. you think you can slap a 3D background
and creator of
the tutorial
years as a concept artist, 3D software has The painting is broken up into two behind your character instead of learning
website Ctrl+Paint. been an essential starting point for phases: the model and the paintover. First to draw in perspective, you’re sadly
www.ctrlpaint.com architecture and other technical subjects. I block out the scene in 3D, based on my mistaken. I’ve reviewed a lot of beginner
Here I’ve decided to tackle an thumbnail sketch, and export a render. portfolios, and trust me – you’re not
get your especially difficult interior environment Then I take the render into Photoshop fooling anyone.
resources
See page 6 now!

ion
invert selectc)
shift+ctrl+i (P
(mac)
shift+cmd+i
lection.
Invert your se
with
Works great
ers.
selection lay

Produce a sketch – or sketches!

1 All paintings should start with a well-considered sketch. This sketch is one of 10 that I produced. Sketching enables me to
problem solve, make mistakes, and stay as open-minded as possible. Every artist plans differently but I like to work in greyscale: it
gives me more information than a line drawing would, but is faster to create than a full-colour sketch.

get Blender!
Blender is open-source
software, which means
it’s free. It offers most of
the same tools found in
3ds Max and Maya, but
without the hefty cost.
Identify objects to model Sketch 3D elements
I’ve used a variety of 3D
packages over the years, 2 Now that my space is designed, I consider which parts I’ll 3 Because I’m faster at sketching than I am at modelling, it’s
and find Blender to be
be modelling. I like to look for repeated elements, because 3D good to spend a minute and plan out these objects. You can see
the best value for
illustrators on a budget. software excels at ‘instancing’. This means I can spend more time that the drawings aren’t detailed, but it’s helpful to clarify my
The interface can be on one element, and clone it for my scene. These clones are thoughts before I open Blender. As a concept artist, these sort
tricky for new users, but
linked, so whenever I edit one the others update. This scene has of drawings are often used to share ideas with co-workers,
is well worth the effort.
two ideal candidates: arched doorways and cloaked figures. although they’re rarely showcased publicly.

84 September 2015
 In depth 3D tools

Create a texture sheet Model and texture basic forms

4 Think of the texture sheet as the ‘skin’ for the arches I’m 5 Unlike game assets or movie props that are finished artwork, these 3D models are only
about to model. Using the Brush tool instead of photographic an intermediary step. I’ll be painting over them in Photoshop, so it’s not worth adding a lot of
overlays, I’m painting in Photoshop at 2,048x2,048px. Photos detail now. And you might be wondering why I only modelled half of my arch. The answer is
are great, but I want these models to blend in naturally with the simple: it’s faster to mirror symmetrical 3D shapes than to manually create both sides.
rest of my painting. Since I’ll be repeating these arched
doorways, it’s worth spending some extra time in this phase.

nd

Assemble the building’s interior

6 Creating this floor plan is all about repetition. Half an arch can easily be mirrored into a full arch. Then I clone the full arch
eight times into a long, straight row of arches, before applying a Bend modifier to wrap my row of arches into a full circle. Next,
I quickly model a circular floor and duplicate it to use as the ceiling. Finally, I add the figures.

September 2015 85
 Workshops

Light, render and export Render a selection map

7 It’s time to light the scene using my thumbnail sketch as a guide. I love this phase in 8 The other image that I like to render in 3D is this rather
3D software, because it’s so easy to experiment with different lighting layouts and colours. strange-looking colour map. You can probably tell that it’s a
Unlike in a painting, moving these lights around only takes a few clicks – and the shadows render of the exact same scene, but with all of the lighting
are extremely realistic. When I’m satisfied, it’s time to hit Render, resulting in a 3,600px wide turned off and the textures replaced the with solid colours.
.PNG image that I’ll bring into Photoshop. Clearly, it’s not a beautiful image, but in the next step you’ll see
why it’s key to my creative process.

nd

Prepare masks for speedy selections

9 Half of digital painting is about making selections. Marching ants, marquees, masks… these are the tools that enable you to
paint inside the lines and have good edge control. The slow part is creating these selections by hand – but I don’t have to! Using the
Magic Wand, it’s easy to isolate individual areas of my colour map, which are turned into selections. Hide this layer on the top of your
stack and turn it on to grab a quick selection!

86 September 2015
 In depth 3D tools

add layer sh
ape
to selection
shift+ctrl+c
lick layer (Pc)
shift+cmd+c
lick layer (mac
Click the lay )
er thumbnail
to add shapes
to
your selectio
n.

10 Start the paintover

The 3D render is just a starting point: now it’s time to start 11 Paint the portal
This is a great example of 3D being less effective than
thinking like a painter. I want to control the light and colour to hand painting. Knowing I want the portal to be detailed and
improve my composition. In this phase I keep the render intact organic, I only blocked it in as a basic 3D sphere. To refine this
and make my changes with adjustment layers instead of the element I’m using the Brush and Eraser tools. For specific
Brush tool. Adjustment layers are a great way to experiment with details, I’ve gathered a collection of real-life reference photos:
colours without damaging the lower layers. lighting, the sun and solar flares.

nd

12 Add details and texture

Once I’m happy with the overall feel of the composition,
it’s time to get specific. I zoom in, get out the Brush tool and
slowly add detail to the entire scene. Since I’ve created a strong
focal point with the circular portal, that’s where I’m focusing my
energy. Polishing the image takes time, so I put on some good
music and get comfortable: this will take a while!

the thumbnail
is king
When working with
elements like 3D models
and masks, it’s easy to
get bogged down. The
secret to staying on
course is my thumbnail
sketch. Every 15 minutes
or so I compare my
current progress against
the initial thumbnail. Do
they look similar? Good.
If not, it means I’m

13 Tweak the composition

Sometimes you realise the image has gone off track. 14 Make final adjustments
Now that I’m happy with the overall image, it’s nice to
drifting off course and
need to be careful about
my design. The
Sometimes the image lacks punch. Even near the end of the do a final polish pass. Especially when you’re shifting elements
thumbnail isn’t just the
process, it’s never too late to shift elements around. I decide to around, it’s easy to accidentally leave an ugly seam or hole. first step – it’s your road
add a bit of dynamism to my composition by tilting the entire This is my last chance to add polish and fix problems before map, blueprint, and
instruction manual. Don’t
image. Additionally, I enhance the sense of depth by overlapping calling the image done.
ignore it!
a couple of figures over the portal.

September 2015 87
 The number one
destination for digital art
news, views and how-tos.
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 Artist’s
Choice Award
Art resources with a five-star
rating receives 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

nd

Sketch by Chuck Lukacs

haRdWaRe tRaining
90 Nomad 95 Anatomy
Summer’s here and it’s time to head of the Torso
out of the studio for a spot of plein Painter and illustrator
air drawing. Is this the ideal art bag Patrick J Jones continues
to take with you? his solid series on anatomy
with an in-depth look at
soFtWaRe
Re the bit in the middle.
93 Clarisse iFX 2.0
Ever wanted to mix some 3D with Books
your 2D art? Clarisse could be the 96 New reads
perfect way to do so. this month…
The Art of Mad Max:
93 PaintCan Fury Road;
Transform photos with painterly The Art of Inside
effects, using smart brushes that Out; VHS Video
adjust themselves. Cover Art.

Ratings explained Magnificent Good Ordinary Poor Atrocious

September 2015 89
 Reviews

nd

Nomad art satchel

in the bag Summer’s here, and it’s time for a spot of plein air
drawing. Is this the bag to take with you into the great outdoors?
Price £76 Company Stylus Monkey Design Web www.nomad-artist.com

he Nomad’s build quality The interchangeable while the other side has a mesh pocket create a secure lattice. They work

t
strap boards mean
immediately makes it that you can use any for supplies. Both halves have remarkable well, and if you grew up
stand out among the sketchbook type. interchangeable strap boards attached playing Tetris you quickly realise how
plethora of art bags we’ve to the casing via large strips of velcro. much gear the boards can hold.
seen in the ImagineFX office. It’s well The straps on one board run vertically There’s also two soft-fabric lined
engineered, robust, attractive and while the other board has them pockets on the outside front, the
highly adaptable. The outer material orientated horizontally, which caters for extra padding inside ensuring the
is ballistic nylon backed with rubber, sketchbooks with different bindings. safe transit of your tablet.
making it resistant to moisture. Each elasticated strap has rows of Depth is at a premium, mind. We
The weather proofing doesn’t stop rubber stitched through them to aid tried getting an A4 hard-backed
there, though: the exterior YKK zips are grip – the idea is that you interlace your sketchbook in, along with a collection
also guarded by a rubber seal, which tools through one or several straps to of art materials in their original boxes,
prevents wet stuff from getting inside
and damaging your art materials. And
it’s the interior of the satchel being
The Nomad is one of those stand-out
where things get interesting.
Inside, the Nomad is divided into two
art products that makes you want to
halves: one side for your sketchbook, pick up a pencil and start drawing
90 September 2015
 Art tools Hardware
Combined with a tripod and the Nomad Artist interview
Darren
becomes a sturdy travel easel, for
extended sketching sessions.

Yeow
The creator of the Nomad on
spotting a gap in the market

Why did you make the Nomad?

Put simply, I wanted to sketch away
from the drawing table more easily.
Sketching in most places without a
table is awkward and ended up
being an experience that was more
trouble than it’s worth, despite the
surge of inspiration. After a
particularly unpleasant experience,
I looked online for a product that
would help me to sketch on-the-go
more easily, and found nothing
Use the Nomad’s rubberised
straps to stop your art tools that matched my requirements.
from floating around in the bag.
What was the Kickstarter
process like?
I was totally unaware of what was
required to manufacture a quality
product, sell the idea to people, and
deliver that product to each
customer. I was a self-taught
concept artist in video games and
advertising – what on earth did
I know about manufacturing and
retailing products? One thing that
nd was obvious to me before I started
putting money into the prototype
phase was that I wouldn’t be able to
bankroll the whole process myself.
I think it had taken about six
prototypes and probably eight
months or more before I got to the
model that I finally filmed for the
Kickstarter campaign.
Did you face any challenges?
Time was dwindling quickly,
people were becoming impatient
Begone, water! The
YKK zips help keep
and money was beginning to run
out the wet stuff. The outer pockets are padded, ensuring your that very low. I had to dig into my tax
tablet will be protected from bumps and scrapes.
money to keep food on the table
and the prototype development
churning. I finally understood the
and things got a little too snug. We’re interface plate on the Nomad’s reverse
phrase “failure is not an option” –
willing to let this slide though, because side. This means you can attach it to a
it really wasn’t anymore. This
the Nomad’s design negates the need camera’s quick release and fix it to a
Features Kickstarter had to work, otherwise
for a hard-backed sketchbook. tripod, turning the satchel into a
n Configurable I wouldn’t have enough money to
Although storage and safe transit of drawing easel. It secures well and is shoulder strap design
n Tripod plate
pay my tax bill or anything else,
your drawing materials has been well very sturdy with no discernible balance
n Water-resistant and my wife and my child would
thought out, where the Nomad really issues. Nomad add-ons are on the rubber seal protecting
outer zips
suffer for my overzealousness.
starts to shine is when you start using it drawing board, and we’re hoping that
n Cushioned pockets Despite all the insane challenges,
to draw. Clever strap design enables additional straps for carrying a tripod n Modular strap
system for art tools
this has been the most positively
you to go from the typical off-the- are heading our way.
n Rubberised straps transformative period in my life,
shoulder to more of a sling-type The Nomad is one of those stand- grip art tools
n Interchangeable
both professionally and personally.
configuration, supporting your out art products that, once you take a
strap boards
sketchbook against your stomach closer look, makes you want to pick up n Dimensions:
much like an usherette’s tray. This a pencil and start drawing. Around 30x35x7cm Darren is a concept artist and
n Weight: 1.8 - 2kg illustrator who also teaches his
works when sketching in either portrait these parts we’re big fans of such when loaded craft at RMIT University in
or landscape orientations. inspirational objects, which is why the Melbourne, Australia.
Rating
Another piece of inspirational design Nomad has definitely found its home
www.stylus-monkey.com
is the inclusion of a removable tripod within the ImagineFX setup.

September 2015 91
 MAGAZINE IPAD EDITION
The iPad edition of net has been completely rebuilt from the
ground up as a tablet-optimised reading experience.

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 Art tools Software
Clarisse’s object-based workflow is a boon if
you have many different elements in a project.

PaintCan has just the

right learning curve

Clarisse iFX 2.0

for aspiring artists,
yet enough freedom
for the more
discerning painter.
Easy as 1, 2, 3D Want
to mix some 3D with
your 2D? Try Clarisse…
Price £636 or free edition
Company Isotropix
Web www.isotropix.com
rating

Since Clarisse iFX’s initial release,

this rendering software has gone
from strength to strength, with big
effects studios ILM and Double
Negative chipping in to the

PaintCan
software’s development. As a
result Clarisse 2.0 includes new iOs
features that take the software’s
output into the heady realms of
Hollywood-quality renders. PiCturE PErFECt Transform photos with painterly
Among these features are effects, using smart brushes that adjust themselves
volumetric and OpenVDB support, nd
Price Free Company Adobe Web www.adobe.com
improved sampling quality,
occlusion and improved colour
management. If you’re new to all aintCan sits somewhere Brush size can be

P
adjusted to suit, while
this, it essentially means that the between a photo filter app the Eraser’s strength
images Clarisse produces sport the and a flexible art tool, and can be controlled with
the Opacity slider.
kind of depth and volume that you’d is bound to appeal if you’re
expect in a blockbuster film scene. creative in other mediums but still
Not into 3D? Developer Isotropix working on your confidence to oil
is keen to embrace the digital paint from scratch. It enables you to
painting crowd. You can combine create painterly representations of
Features
2D elements to create a digital imported photos and images. That n Light, heavy, coarse,
matte, or if you’re feeling brave you said, it’s not just a one-click effects outline brush presets
n Structured, organic,
could play around with 3D models app: there’s plenty here for the dab face and line detail
to act as a backdrop. hand too, such as smart brushes and preset handles fine features adroitly, settings for subjects
n Import from
There’s no getting around it: preset manipulation, and it should resulting in nuanced portraiture, while Camera Roll or
3D software can be intimidating please anyone feeling the loss of the Lines and Structured presets smartly Photo Collection
n Full manual control,
to newbies, but Clarisse doesn’t Oil Paint Filter in recent versions of hook on to angular, architectural brush size and opacity
overwhelm with menus and scripts, Photoshop CC. elements in a scene. Manual settings, settings
n Peek/hide original
and YouTube tutorials are your You open an image and paint over on the other hand, make it possible to images
friend in this case. Best of all, you it on a separate canvas layer. The app take your own course entirely, which n Auto-zoom for tight
spaces
can try it for free: the Personal boasts intelligent, intuitive controls, and should prove a boon for experienced n Multiple undo/redo
Learning Edition includes most its context-sensitive brush strokes are artists. Multiple undos are also a tap n Multiple share
options
features from the full-price software, generated using an underlying image’s away, and the snapshot tool enables n Eraser tool
but only for non-commercial use. existing colours and composition, but you to save a specific image state to n Snapshot option for
saving WIPs
when used with presets and zoom return to it at a later time.
offers a high degree of freedom. At first you’ll find yourself making fair system
requirements
The Light, Heavy, Coarse and Outline use of this feature – experimentation is iOs: Requires iOS 7.1
presets consist of broad Background key to getting the hang of the app – or later. Compatible
with iPhone, iPad, and
strokes for laying down your scene; but with time and a little patience the iPod touch. This app is
combining them with Details presets – results can often be sublime, leaving optimised for iPhone
5, iPhone 6, and
using Light strokes with the Organic you free to snap a photo (or even iPhone 6 Plus.
preset for painting natural landscapes download one), open it up in PaintCan
rating
With procedural modelling you can make big
for example – can result in impressive and begin working up your next oil
changes to scenes while objects stay in place. (and impressionistic) effects. The Face paint masterpiece.

September 2015 93
 SCI-FI • FANTASY • HORROR

THE WORLD’S NUMBER ONE

SCI-FI AND FANTASY MAGAZINE

nd

LATEST ISSUE ON SALE NOW!

WWW.MYFAVOURITEMAGAZINES.CO.UK/SFX
 Inspiration Training

Patrick uses his finished paintings to

show the principle he talks about.

You’ll see how body

parts seen from
different angles relate
to each other, giving
you the confidence to
try your own poses.

From the earliest

stages, you’ll see how
to differentiate the
female form from the
male without resorting
to over-exaggeration.

nd
Anatomy of the Torso
BODY TALK Painter and illustrator Patrick J Jones continues his solid
series on anatomy with an in-depth look at the bit in the middle
Publisher Patrick J Jones Price £7 Format Download Web www.pjartworks.com

aking his cue from great Patrick chooses to go with a

T teaching artists like

Andrew Loomis, Patrick J
Jones is capturing his
woman’s torso, which should make this
video extra-handy for certain male
artists who don’t appear able to grasp
Artist profile
Patrick J
knowledge in a series of videos about
the human body. Anatomy of the
how breasts and bottoms should look!
The curves of the female body make it
Jones
Torso is the latest, following on from one of the most artistically pleasing
Patrick’s Anatomy of the Head two- things you can draw; Patrick shows Patrick was born in Belfast. He
parter (which we reviewed in issue how to show the best of women’s became inspired to take up art by
122). Each video works fine on its bodies without resorting to the fantasy work of Boris Vallejo
own, but collect the set and you’ve unbelievable shapes. and Frank Frazetta, and moved to
got a lot of wisdom at your disposal. As Patrick moves from the back view London – the first step on a path
Patrick follows the same structure he to the side view, he also offers an that would see him travel the world
used for his Head videos, drawing a enlightening discussion of how the as an illustrator and artist. He’s
torso from the front, then the back, Topics covered body balances itself as it moves, and worked for most major science
n Basics
then the side. There’s some basic measurements
how to reflect that in your drawings. As fiction and fantasy book publishers,
measuring to establish proportions, n The front view with previous instalments, the beauty and film companies, painting
n The back view
and you’ll see how to locate landmarks n The side view
of Anatomy of the Torso is the way it covers for authors including Simon
around the body – certain bones or n Male and female shows drawings developing over time, R Green, Mary Shelley and Bram
bodies
muscles that are easier to spot – as you n Maintaining balance
so you can see how complex images Stoker. His painting
build up the body structure. But in the figure have the simplest of foundations. Conan The
Patrick’s emphasis is on helping you Length
We look forward to future chapters, Conquered was the
understand the body’s forms and 65 minutes with the body’s limbs being next on winner of 2014’s IBA
shapes as you draw them, so that your Rating
Patrick’s list. But it would be good if he Grand Jury Prize.
figures feel like they’re living creatures could sort out the audio recording,
www.pjartworks.com
rather than mannequins. which suffers from hiss.

September 2015 95
 Reviews

The Art of Mad Max: Fury Road

PetrolheAd PArAdise A legion of cinema-goers left multiplexes
with their minds blown – here’s how George Miller and co did it… nd
Author Abbie Bernstein Publisher Titan Books Price £25 Web www.titanbooks.com Available Now

he original Mad Max trilogy Abbie Bernstein’s approach is

t was the zenith of post-

apocalyptic action
franchises. Not only has the
comprehensive without ever delving
deep into Max’s world from the
previous three films. Instead, the author
series’ 21st century rebirth rocked the provides an episodic deconstruction of
boat by centring on a feminist Fury Road, with a compact
narrative that subverts all the commentary for each set piece.
prejudices of your average Mel In his stirring introduction, George
Gibson lover, but jaded action fans stresses the emphasis on old-school
have left multiplexes marvelling at filmmaking with real stuntmen, rusty
the exhilarating world in which vehicles, and every grain of filth
they’ve been immersed. captured on celluloid. Nonetheless, as
An in-depth print investigation into the sections in each chapter take us Tattoo and piercing designs for the War Boys, who
how George Miller and his team of from rough sketch to finished make up the army that pursues Mad Max in the film.
artists managed to exceed all spectacle, Abbie’s narrative shows that
expectations, bringing such spectacle good use has been made of the kind of story, but in this book, Abbie and the
back to the screen, is therefore digital technology the director couldn’t team behind and in front of the camera
particularly worthwhile, at a time when have imagined 30 years ago. have documented a unique journey,
A key frame that sets
so many films get their own automatic the scene at the start of
As ever, total messianic devotion to showing how a defunct movie
tie-in art book, irrespective of success. Mad Max: Fury Road. the internal combustion engine and the franchise can be revived not just as a
iconography of petrolhead hysteria are cash cow for the film studio, but a
central, with guides to the realisation of genuine cinematic event.
vehicles that make the mind boggle, It’s more of a handbook for fans than
even as charcoal or watercolour an artist’s showcase, and we would
sketches. The Gigahorse, the War Rig, have liked fewer press photos and much
all those gnarly pursuit vehicles… more of the raw artistry that helped
indeed, any roadster that impressed on create this dystopia, but cinema-goers
the screen crops up, with brief but still haunted by Fury Road will be well
intriguing exposition. advised to take the journey.
It seems unlikely that Fury Road will
be the final instalment of Mad Max’s rAting

96 September 2015
 Inspiration Books

The Art of Inside Out

inner sPAce Pixar’s latest delves into a young girl’s psyche –
find out how emotions were given a unique visual identity
Authors Amy Poehler and Pete Docter Publisher Chronicle Books Price £26 Web www.abramsandchronicle.co.uk Available Now

ifty-three years on from the

F debut of The Numskulls in

British comic The Beezer,
Pixar is now portraying the
antics of their transatlantic
equivalents: Joy, Sadness, Fear,
Anger and Disgust, a bunch of misfit
personified emotions who steer the
life of Riley, an 11-year-old girl.
All five kooky characters have their
own highly marketable unique colour
and design, while Riley’s humdrum
existence ‘outside’ very tightly adheres – and wonderful – is that this official It all adds up to a remarkable, warm
to the Pixar template. What’s strange tie-in book entirely favours the and wordless (besides beguiling intros
extremely raw, organic artwork that from Docter, and Amy Poehler on
director Pete Docter’s team played playing Joy) collection of rough,
around with, before a single digit of evocative designs for a Pixar movie
programming had been attempted. that has all the charm that these
Laid out with a conscious emphasis on humble blueprints promise. And with
rough-edged handiwork, the styles each talented artist well credited, this
and experiments pinned to every page works as a beautiful, light-hearted
are certainly worth sharing, as the concept art book all on its own.
Ralph Eggleston’s early
takes on Joy, one of
characters grow and begin to assert
their personalities. rAting
nd
Riley five key emotions.

VHS Video Cover Art

Be Kind, reWind Be prepared for an unfettered deluge of nostalgia
for those long-forgotten days of the eye-catching video cassette case
editor Thomas Hodge Publisher Schiffer Publishing Price £29 Web www.schifferbooks.com Available Now

he youth of the 1980s lurked

t in video shops, eyes keenly

scanning wall after wall of
screaming cover designs,
each tape begging to be watched,
rewound and returned.
The changeable artistry of hordes of
video cover designers provides food
for thought for anyone with an eye for
commercial design, but let’s be honest
here: more copies of this book are
going to be sold in the spirit of camp
nostalgia than as a sincere respect for say, the saucy tableau for forgotten It’s telling that the book’s creators
the kind of artist who came up with, erotic comedy Oddballs. are too young to have worked in the
From the gaudy to the tawdry, the industry at the time, making this more
overblown to the downright tacky, this of a hipster love letter to a defunct
book has it all. The art is presented format than a retrospective on behalf
without comment as high-quality of the artists themselves. Having said
scans, but sometimes it’s good to let this, it’s touching that most of the
no-holds barred imagery do all the original designers have been tracked
Mirrored shades,
sweaty muscles and
talking. In his introduction, editor down and credited. Movie geeks over
a no-nonsense Thomas Hodge says he “based this 30 will flip for this.
expression reveal all
you need to know
collection purely on artistic merit”. How
about The Enforcer II. big was the reject pile, we wonder… rAting

September 2015 97
Learn from pro artists and improve
your traditional painting skills

on sale
in TesCo
whsmiTh,
barnes &,
noble an
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nd

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order your copy at http://ifxm.ag/practicalpainter
InspIraTIon anD aDvIce froM THe worLD’s BesT TraDITIonaL arTIsTs

This issue:

100 FXPosé Traditional

The best traditional art revealed.

110 Epic Tolkien art

Donato Giancola goes large.

112 Animal muscles

How To
o crea
creaTe
creaTe Brynn Metheney fleshes it out.

PorTraiTs
Por
PorT raiTs wiTh
a fanTasy
T
Tasy TwisT
T
Twis
wisT
wisT
Jim Pavelec combines beautiful females 114 First impressions
Lindsey Look talks learning.
with a touch of the grotesque Page 104
September 2015 99
 FXPosé showcasing The FinesT TradiTional FanTasy arTisTs

Maggie Ivy
Locat
LocatIon: US 1
Web: www.maggieivy.com
eMaIL: ivy.maggie@gmail.com
MedIa: Acrylic

Maggie knew she was

going to be an artist from
the tender age of eight,
and her devotion to
painting never faltered.
She attended the Florence Academy of
Art at 17, then moved on to study
illustration at TAD followed by an
apprenticeship with Vanessa and Ron
Lemen at Rev Art Academy.
“Being from the Ozark Mountains of
Arkansas, I pull inspiration from my eerie
walks in the woods, and bike rides
around the lake at night,” Maggie says.
“I’m also someone who gets easily
smitten with stories, especially horror,
faerie stories and folk tales.”

1 t
the
Ac
Red Lady
Acrylic, 9x12in
“The covers of vintage pulp novels
inspired this piece. The femme fatale
theme has always been intriguing."

2 MuMMIfIed
Acrylic, 12x24in
A
“This was painted for the group show
GUTS at Light Grey Art Lab. Artists were
asked to paint a research topic of their
choosing. I picked the mummification of
cats in ancient Egypt.”

3 hangIng aRound
Acrylic, 4.5x7in
“I’ve been a fan of Dylan Dog for many
years, and managed to get a guest art
spot in one of the Swedish re-releases
of the Dylan Dog series.”

4 WoodLand
Acrylic, 7x10.5in
“I’ve been getting into taking long bike
rides in the woods. Taking in the
solidarity and morning mist really
inspired this piece.”

100 September 2015 Email your submissions to fxpose@imaginefx.com

 FXPosé Traditional art
2 3

imagineFX criT
“It’s not often you
see a cat in any
frame of mind
apart from one of quiet
detachment and self-
satisfaction. Maggie
displays a lot of artistic
skill depicting her
mummified moggy in
such an awkward pose.”
Cliff Hope,
Operations Editor

Email your submissions to fxpose@imaginefx.com September 2015 101

 FXPosé
heather
heather Shirin 1
LocatIon: US
Web: www.heathershirin.com
eMaIL: info@heathershirin.com
MedIa: Acrylic, paper and gold leaf

Heather paints Art

Nouveau portraits of
women, influenced by the
works of Alphone Mucha
and Gustav Klimt. She
works out of her home studio in
Asheville, North Carolina, and her
current series focuses on using fine art
papers, metallic paints and gold leaf to
create the woman’s hair, clothing and
the background designs.
“I’m interested in abstracting the
figure into the background.” she says.
“I also want to incorporate the idea of
being in outer space – using nebulas as a
colourful and interesting place to find
someone thinking.”

imagineFX criT
“Heather’s work
must be a real
pleasure to see
in person. Her use of
gold leaf on the swirls
of hair and other
elements enhances
what are already
effective examples nd
of figure art.”
Daniel Vincent,
Art Editor

1 n
netted by the danceR’S touch
Acrylic, fine art paper and variegated
gold leaf on birch panel, 60x48in
“Painted in Golden OPEN Acrylics with
layers of paint watered down to soak
right into the raw wood, like
watercolours. I built up the skin tones
and then applied a thicker paint layer for
the hair with metallic paint added, and
fine art papers used for their dresses.”

2 She Keep
KeepS Me WaRM
Acrylic and gold leaf on birch panel,
Acr
40x30in
“This was inspired from a photo by Matt
Schmidt. I changed the girls’ hair,
background and tattoos using
Photoshop and a projector. Tattoos and
piercings, coupled with an erotic theme,
was pushing the limits for me to see
how brave I could be as a fine artist.”

3 heavenLy vIeW
Acrylic and gold leaf on birch panel,
Acr
40x30in
“My nude figure series focuses on
women in an Art Nouveau style, usually
in space. This woman is born into a
nebula, and has a highly decorative
styling done to her hair. This piece was
reported on Facebook for nudity last
week. Fine art is still finding its way into
the main stream without being
perceived as offensive.”

102 September 2015 Email your submissions to fxpose@imaginefx.com

 FXPosé Traditional art
2

3
submit your
art to fxposé
Send up to seven 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
Quay House
The Ambury
Bath BA1 1UA, England

All artwork is submitted on the

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

September 2015 103

 Workshops
Graphite Charcoal

mix beauty with

the grotesque
Jim Pavelec demonstrates how to combine the delicate beauty of a female face
with elements of the grotesque to create haunting and intriguing portraits

L
ate in the 15th century the artists over successive centuries such as age. It took me a very long time to let go
materials
remnants of ancient buildings Michelangelo, Hieronymus Bosch, of what people were telling me I should
Graphite
– Emperor Nero’s lost palace – Salvator Rosa, Henry Fuseli, William do with my art and truly embrace what
n Powder Pounce
were discovered beneath the Blake and Goya. This rich visual tradition I knew I should have been doing all
n Architect’s lead
Esquiline Hill, the largest of the led authors such as Poe, Baudelaire, along. In this workshop we’ll delve into
holder with E0 leads
seven hills of Rome. Adorning the walls Lovecraft and many others to take up the the techniques I use to create the
of these buried buildings are myriad Other tOOls mantle of the grotesque. More recently, beautiful and bizarre creations that are
decorative paintings containing bizarre n White charcoal pencil we can see the revitalisation of the the foundation of my imaginative life.
figures combining human, animal and n Kneaded and
mechanical erasers
nd
grotesque in the art of HR Giger, Jim Pavelec has spent over 15
vegetal forms. The Italians at that time Zdzisław Beksiński, Allen Williams, years as an illustrator, and now
n Rolled paper stump
named the decorations grottesca (from Wayne Barlowe and Chet Zar. works mainly as a fine artist
for smudging
grotto or cave) or “grotesques”. There is a power in the grotesque, and concept artist. He is also
n Stones, shells and
The influence of the grotesques spread one that wrapped its slithering tentacles the founder of ArtPACT.
other textured objects
rapidly throughout Europe, inspiring around my imagination at a very young www.jimpavelec.com

Pro secrets: a beautiful portrait within a grotesque construct

1 A juxtaposition of elements
Who doesn’t love a big, gnarly, slobbering
creature? I know I do. I’ve drawn and painted many
throughout my career. But what is more challenging,
and in the end I find more pleasing, is combining the
beautiful and the bizarre. And what, I ask you, is more
beautiful than the visage of a woman? Rendering a
get your
beautiful woman’s face has been at the core of resources
see page 6 now!
artistic endeavours from their earliest expressions.

104 September 2015

 Artist insight Fantasy portraits
2 Finding your muse
To do this kind of work in a realistic manner, you’re
going to need good reference material. I would encourage
you to find your own sources, and not just use images
from the internet. If you’re a decent photographer, you
can photograph your friends, or browse sites like Model
Mayhem (www.modelmayhem.com) to find models in
your area to set up shoots. If you, like me, aren’t a great
photographer, use the internet as a resource for
collaboration. If you see a photo that’s perfect for the image
you want to create, contact the model or photographer and
ask if you can use the image as reference for your artwork.
I’ve recently started contacting photographers and offering
a small fee for their permission to use their photos as
reference. Remember, photographers and models are
artists trying to make a living just like you. Treat them with
respect. In this example, I worked with model Kyrian Poole,
who happens to be the daughter of illustrator Mark Poole.

nd

3 Expand your toolkit

Whatever media you decide to use, give
serious consideration to going outside your
comfort zone and trying new tools and
techniques. When I started I was just using
pencil on paper. I soon learned from Allen
Williams about the graphite powder pounce
– a piece of cloth wrapped around powdered whatever media you use,
graphite and cotton balls. This simple tool
enabled me to embark on a new and exciting consider going outside your
path of experimentation. I dab the pounce on
the paper, and graphite filters out of the pounce
comfort zone and trying artist insight
and on to the page. Then I take a kneaded new tools and techniques WOrkinG frOm a
phOtO reference
eraser and press it into a variety of rocks and When drawing a face
shells that I’ve gathered on trips. I then press the from a photo reference,
eraser into the graphite on the page. The result it’s not necessary to
when I lift the eraser up is a unique organic copy every single tonal
pattern, which I use as the basis for finding the shift in the photo.
monstrous portions of the composition. Placing the features
properly and making
them the right size is

4 Have fun with the eyes much more important

When rendering a woman’s face, I try not to alter than rendering every
the features very much. This is the part of the piece that is freckle and wrinkle.
comforting for the viewer, before branching out into the Simplify some of the
chaos. It’s a safe place for their eye to return to the familiar. transitions in the face,
One thing you can play with are the eyes. Don’t change the and then leave the
eye shape, but have fun with the iris and pupil. Maybe complex detailing for
there’s no iris at all and the eye is completely white, or black. the surrounding
You can try a pupil that is grey, or even reptilian. Experiment organic attributes.
and see what has the greatest impact.

September 2015 105

 Workshops

5 Shape considerations
As with any design, basic shape is of the
utmost importance. If you just draw a face with
random protrusions going in every direction,
the image can become overwrought and too
chaotic. Start with a strong shape, and then
work on getting the details right.

nd

6 Make use of hard and soft edges

When trying to create an eerie atmosphere in a
drawing, edge work is more important than ever. Edges are
used to help convince the viewer of a three-dimensional
object rendered in two dimensions. Hard edges are those
indicated by a distinct and purposeful line to describe a
cast shadow or define the edge of the form against the
background, while soft edges are gradations of tone used
to define the transition from light to shadow. A successful
drawing will create a balance between hard and soft edges
that’s pleasing to the viewer. Too many of one or the other
can leave a drawing feeling flat.

artist insight
Get Out Of the studiO and take phOtOs
For the embellishments to the head and neck, you need an
extensive visual library to pull from. Do you want her to have the basic shape is of the
horns? Okay, but based on what? A ram, a deer, a rhino? Is part
of her made of stone? What kind? Spend a day at the zoo, go on utmost importance. start
hikes, go to museums, and look and photograph all of the
wonderful textures and designs that nature and your artistic
with a strong shape, and
predecessors have provided you. then work on the details

106 September 2015

 Artist insight Fantasy portraits

7 Tap into the power of Symbolism

Use of symbolism in the grotesque is immensely important. in the late
1800s an entire artistic movement known as symbolism thrived in europe. it
encompassed not only the visual arts, but literature and music. in an article that
appeared in the French publication la vogue in 1886, gustave Kahn articulated
the symbolist ideology by writing, “as to subject matter, we are tired of the
quotidian, the near-at-hand and the compulsory contemporaneous; we wish to
be able to place the development of the symbol in any period whatsoever, and
even in outright dreams.” read up on subjects that are of interest to you, and
incorporate their symbolism into your work. it will give your work layers of
meaning above and beyond that of the “pretty picture.” Don’t worry whether
people will “get it” or not. it is for your personal growth and expression.

September 2015 107

 Workshops

Pro secrets: Creating a grotesque painting

1 dOn’t Be afraid tO fail

and start aGain
This was probably my third or fourth attempt on
2 dOn’t Be afraid tO
experiment With yOur art
Try different combinations of media to see
3 dOn’t Be afraid tO leave
areas unfinished
You don’t need to bring all areas of an image up
this same surface before I got something that what results you get. I’ve been traditionally an to the same level of finish. Bring the most detail
interested me. If something isn’t working, don’t oil painter, but I tried watercolour, acrylic and and finish to the area you want the viewer’s eye
force yourself to push forward on something you soft pastel on this piece before it really started to focus on, and handle other areas in a looser
probably won’t be happy with in the end. Paint to come together. It was only after this that fashion. Ambiguity in areas can add to the
right over it and start anew. I finished it in oil paint. creepiness of the piece.

nd
step by step:
tep: blend
d the beautiful with the bizarre

artist insight
save GOre fOr
the mOvies
People often mistake
gory for grotesque. I
actually try to avoid
gore in my pieces. It’s a
shortcut to disturbing,
and can be too harsh
in the juxtaposition of
beautiful and bizarre
that I mentioned. Gore
1 Basic shapes 2 Placing the features
isn’t beautiful, and will I start out with two simple shapes that define the I move into the face making sure I get the placement
actually detract from head and shoulder area. They have a nice balance, and give and size of the eyes, nose and mouth correct. Sometimes I’ll
the mood you’re the feeling of a sculpted bust. use the traditional grid technique to ensure the proportions
trying to create in are correct. Check the negative spaces in between the
the grotesque. features. Hold the drawing upside down and look at it in
the mirror. You’ll be surprised at what you notice.

108 September 2015

 Artist insight Fantasy portraits

3 Tonal structure 4 Finding the chaos

I use the graphite powder pounce to block in large I take out my bag of rocks and shells and find ones I think will bring out
dark areas. I want to surround the lightest area, her face, textures and shapes that will work well with this design. I press the eraser into the
with a dark shape that is reminiscent of a hair shape. This natural surfaces, and then press it into the dark areas I created with the pounce. The
high-contrast area will pull the viewer’s eye there when the eraser lifts up the graphite powder, leaving an eye-catching patchwork of patterns
piece is finished. and textures that I will weave into something interesting.

nd

5 Adding whites
I use my white charcoal pencil to start adding
highlights to the face. Having decided on the location of
my light source, I want the cheekbone and tip of the nose
to capture the brightest highlights. Build up your lights
slowly, and don’t be afraid to use your finger to smudge
areas to adjust their tone or edge quality.

6 Symmetry versus balance

I like asymmetry in my images, but I don’t want the
piece to be unbalanced. At this point the right-hand side
of the image is too heavy, so I add a twisting appendage
7 Finishing details
to the left-hand side to balance things out. It doesn’t match Completing the piece is simply a matter of going in and darkening certain
the twists of the other horn, but that doesn’t matter when areas and lightening others until I get a pleasing tonal range. A lot of fine tuning of
dealing with the grotesque. textural details occurs at this point, too.

September 2015 109

 Workshops
talk among YourselVes Point of View
when managing the arrangement when dealing with the visual
of over 30 figures, it’s best to impact an original artwork
consider relationships in small will convey, the scale of figures
groups. these vignettes provide within the composition as well
wonderful narrative moments as the final eye line should be
related to but not fully dependent seriously considered. too much
upon the painting’s focal point. dense information at the top of a
large-scale composition can make
your audience feel frustrated
and disengaged, and the content
out of reach.

Pencil Oils Acrylics

visit middle-earth
on an epic scale
Discover how Donato Giancola’s most complex work took him
on a grand journey into the heart of JRR tolkien’s the silmarillion…

O
ne treads lightly in the seeking an epic painting, approximately much brighter, airier landscape. And this
bRushes
halls of the elven King 3x2m, depicting the elvish court and the n Winsor & Newton
was just the start. From costume design
Thingol and his queen moment Beren engages King Thingol in a Kolinsky Sable and to architectural considerations, colour
Melian, especially when dangerous tete-a-tete. REKAB Kolinsky Sable balancing to model referencing, the
you’re one of the only One of the most difficult issues to watercolour brushes various logistical hurdles to be managed
mortals to step foot there! Such was the address was how to bring forth enough n Masterstroke filberts began to mount…
difficulty I faced when commissioned to illumination in a court which is placed in n Squirrel hair blender After hundreds of covers and
create a massive work on the theme of a series of caves. The nature of elves, their n Ox hair flat scores of awards Donato has
Beren and Luthien, Tolkien’s love story engagement with the forest and nature, just begun to paint.
from The Silmarillion. My client was and the emotional moment, called for a www.donatoart.com

110 September 2015

 Artist insight Epic scale
QuiCkening the PaCe under Control
much of the colour structure my workhorse brushes are the fairly
of the image is established small filberts and rounds used
with acrylic washes during to produce my smaller paintings.
the initial colour/value lay-in. the dense visual information
acrylic dries rapidly allowing and complex lighting and colour
for fast, intuitive changes and changes through the painting, and
experimentation. it also helps the require a high degree of control
quick build-up of layers, both over intimate surfaces that these
opaque and transparent. small brushes afford.

step by step: From sketchbook doodles to full-blown composition

1 In the BegInnIng…
Even at this large a scale for the final art, my
pictorial problem-solving process begins in small,
2 DrawIng out the scene
With my model and element references all
gathered, shot and considered, the transfer of the
3 anD now, coLour!
Turning to oil paints after the acrylic washes,
the real work of this image begins. Dozens of
abstract sketches. Shown here are the initial preliminary drawing begins on to the final linen. faces, hands and costumes need to be rendered
studies and a larger concept pitch to the client. Even though I’d executed a smaller version of this and colour balanced within the architectural
This doodle later deviated from the stereotypical drawing on paper (60x75cm), every head, figure landscape. Many of these faces have seen three
vertical architecture elements and opened the and detail needed to be redrawn and embellished or four paint-overs to set them right in value,
door to curving masses, design and light. to work at the full scale of 150x280cm. colour, detail and design.

September 2015 111

 Workshops

Pencil

Depict muscle
groups accurately
Brynn Metheney continues her series on animal anatomy by revealing how
complex muscle groups can be simplified, to help build up an animal’s form

V
ertebrate anatomy is gesture. Using a harder lead for this will switch them out quickly and not waste
MaterialS
consistent and as you study, help keep the drawing light and workable time sharpening.
you’ll notice that muscle as you move forward with your muscle n 2H and HB Caran You’ll notice that once I have my
groups between different study. You’ll notice that my canid skeleton D’ache Graffwood skeleton in place, I lay in basic muscle
pencils
animals are similar, if not isn’t detailed, but the gesture and groups. As you study more animal and
n Acid-free sketchbook
the same. Just like with the skeletons in proportions are in place so that I can human anatomy, you’ll begin to look for
paper
my previous lesson, it’s only the shapes build on top of it with my red Col-Erase these landmarks in your drawing.
n Red Col-Erase pencil
and sizes that are exaggerated and despite pencil. These pencils are great because Brynn specialises in creature
n Kneaded eraser
a few differences, vertebrate bodies all you can easily range from dark to light. design, fantasy illustration and
share the same basic muscle systems. You’ll notice that these pencils do wear
get your visual development for film,
When drawing out muscle studies of
animals, it’s important to start out with
down quickly. If you’re drawing from life,
it’s a good idea to have a few ready to go resources
See page 6 now!
games and publishing. She lives
and works in Oakland, California.
a wireframe and then basic skeleton with sharpened tips, just so you can www.brynnart.com

1 Create a wire frame nd get your

We need a skeleton to attach
these muscles to, so I begin with my resources
See page 6 now!
2H pencil and lay out a quick gesture.
This is of a canid (a dog) walking. I’m
not worried about detail; I just want
the shape, proportion and motion.

Wire frames are the easier way

to jot down an animal’s pose. This
technique is not only useful for
foundation drawing like this, but
also life drawing at the zoo.

2 Add a bit of detail

Now that I’ve got my wireframe I keep my touch light here
in place, I can introduce a few details. still. I’m only looking
These details are what I call landmark for landmarks that’ll
bones, such as the scapula, the ribs help inform where
and the great trochanter. These are my muscles need
bones where muscle groups attach. to attach to
the skeleton.
artiSt inSight
Draw through forms
It’s important to not get caught up on
the edge of the subject. Remember that
what you’re drawing is a living, breathing
animal and it exists in 3D space. Draw
around and through those forms to add
more weight and volume.

112 September 2015

 Artist insight Muscle groups
When I draw muscle groups, I’m
only thinking about large shapes
that house lots of different,
smaller muscle shapes. This keeps
things simple and helps you see
the entire shape of the animal.

3 Large groupings
This is probably the most valuable and
important step. We know that there are complicated
muscle systems in place, but we really just want to find
Pencil tiP the major shape so we can begin to see the whole
shape of the animal. Using an HB pencil, I lay in those
The animaTor’s go-To!
The Col-Erase pencil is a large groups over my skeleton.
perfect for studies because
it’s waxy and allows for
light and dark sketching.
It comes in a range I begin to find those smaller
of colours. muscle systems inside of the
larger muscle groups. I’m always
looking to see where the muscle is
attached to the bone.

4 Break into systems

Now that I’ve got my basic shape, I find those
muscle systems around the body. This is where
textbooks and diagrams will inform you. Remember
that muscles pull from bone. They’re directly attached,
and push and pull the skeleton around.

Adding detail such as texture and

value can help make your study
more readable. The advantage of
using different colours in pencil is
that you can always reference
both the skeleton and the
muscles, to see where
they’re attached.

5 Finishing up
It’s time to find those muscle details. I add
some detail and show the different ligaments and
texture of the muscle. This shows the direction in
next month which things move around. I’m careful to keep my
Xanimals in action pencil loose so as not to lose that ‘flow’ as I draw.

September 2015 113

 First Impressions
Lindsey Look
What’s been the highlight of your career
Learn why this artist so far? Any low points?
The day I left my job so I could focus full
likes the challenge of time on freelancing was one of the
painting something biggest highlights. Being able to support
myself while having complete control
that doesn’t exist… over how I make my living is immensely
satisfying. I’ve had plenty of low points
too. Any time I don’t have a few jobs
Where did you grow up, lined up I start worrying that my entire
and when did you realise career is about to come crashing down
you had a talent for art? around me.
I grew up in Connecticut,
US. I honestly can’t What’s been your most challenging
remember a time when I wasn’t drawing, commission or assignment?
painting or making something. Without a doubt, my first book cover.
I wouldn’t exactly say that I was talented I was interning for Dan at the time, and
at it, just persistent. When I went to grade he called and asked if I wanted to do a
school, I became a highly sought partner cover he couldn’t fit into his schedule.
for anything involving posters or art I said, “Absolutely!” and he said, “Great,
projects. That’s when I began to realise they need it in two weeks.” I was still
I had a knack for it, and knew at that working my retail job full time, and I just
point that I wanted to make a career out about had a nervous breakdown. But I
of art somehow. pushed through it, and with Dan’s
nd
© Penguin, LLC

reassurances and guidance I was able to

Did your upbringing influence your deliver the cover just in time. And the art
style of painting in any way? director called and left the most
Probably. My parents encouraged hard wonderful voicemail about the cover
work, so I’ve always been something The Bloodforged What’s the appeal of sci-fi and fantasy that I still have saved on my phone.
of a perfectionist. I think it’s likely Lindsey painted this for Erin art over, say, modern-day imagery?
Lindsey’s second book in the
attributed to the highly rendered quality author’s high-fantasy series. I find the creativity and imagination that Have you noticed more demand for your
of my work. I actually love that loose, needs to be put into elements of the art? What can you attribute this to?
more painterly approach that many painting which don’t exist or can’t exist Yes, definitely. I think it’s a snowball
artists have, but I always feel this really appealing. It’s not enough for me effect: the more work you do, the more
compulsive need to paint in thin layers to just paint something I can take a exposure you get, the more interest in
and smooth everything out. photograph of, or see sitting before me. your work is generated. I’d also like to
I want to solve the visual problem of think I’ve improved over the years.
figuring out what something fantastical
would look like. What advice would you give to your
younger self?
The day I left my job so I would have told myself that graduating
college wasn’t the end-all to my art
I could focus on freelancing was education. I had this misconception that

one of the biggest highlights I’d start getting work right out of college,
and it just wasn’t the case. I had a lot
more learning to do. I think I’ve learned
How valuable was your internship just as much – if not more – working in
with Dan Dos Santos? the field than I did in college. My
Invaluable. There’s no better education process, technique and the business
than working in the field with someone aspect of what I do is always evolving.
who knows the business inside and out.
Dan taught me how to make invoices, How would you sum up your work, in
gesso boards, hire models and shoot under 10 words?
reference… everything. Having someone Colourful and detailed fantasy, featuring
there to walk me through it made it strong heroines.
much less daunting and sped up my Lindsey has created sci-fi and fantasy art for
redeemer learning process. It was also nice to have a range of clients, including Wizards of the
The cover art for CE Murphy’s
book was based on the classic
someone to hang out with and discuss Coast, Applibot and Penguin Books.
Rosie the Riveter poster. industry-related topics on a weekly basis. www.lindseylook.com

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