2DARTIST MAGAZINE | ISSUE 115

Editor’s Letter KEEP UP TO DATE

WITH 3DTOTAL!
Welcome to 2dartist issue 115!
This month we have some inspiring work from both
new and experienced artists. You can try our tutorial
demonstrating how to use photo manipulation facebook.com/3dtotal
facebook.com/layerpaint
techniques to create a zombie, and discover how game
twitter.com/3dtotal
artist J.C. Park creates his fantasy scene Silver Falcon. twitter.com/layer_paint
youtube.com/
Also in this issue, we have a spotlight on the talented 3dtotalpublishing
Sylwia Bomba, an interview with up-and-coming artist vimeo.com/3dtotal
ANNIE MOSS Oscar Gregeborn, and a look inside the sketchbook vimeo.com/layerpaint
Junior Editor
of Ubisoft’s Joseba Alexander. Brush up on your pinterest.com/3dtotal
environment painting skills in Maciej Drabik’s guide to
2dartist is now on creating an earthquake scene, or learn how to create an instagram.com/3dtotal
Facebook! explosion with Jorry Rosman. Jessica Tung Chi Lee also
continues our series on painting air vehicles with depth google.com/+3dtotalcg

perspective. Enjoy!
3dtotal.tumblr.com

Contributors
OSCAR GREGEBORN MACIEJ DRABIK
Oscar Gregeborn is a freelance digital artist from Oslo, Maciej Drabik is a concept artist and illustrator, based
Norway who is passionate about art. His main focus in his in Poland. His work is mostly focused on creating
work is creating conceptual landscape paintings, but he environment designs for the videogame industry. He has
also likes to dabble in graphic design work too. previously worked for Inifinity Group and Sensis.

SYLWIA BOMBA JORRY ROSMAN

Sylwia Bomba is a digital artist who has worked on Jorry Rosman is a freelance concept artist from
collections for Disney and Pixar. Since graduating in film Amsterdam, The Netherlands, who specializes in
animation she has become an Instructor of Drawing at environments. He’s worked on Guerrilla Games’ Killzone 3,
the AnimSchool Academy, Utah. and the recently announced Horizon: Zero Dawn.

JOSEBA ALEXANDER JULIEN LASBLEIZ

Alexander is a self-taught traditional and digital artist Julien Lasbleiz is an artist working in the movie
working for Ubisoft Barcelona, Spain. His creative industry, based in Vancouver, Canada. He is lead
knowledge is based on his experience working in the film lighting technical director at Digital Domain, and has
industry, advertising and videogames. worked on movies including Maleficent and Pixels.

MATHIEU ‘FREAKSFX’ ROSZAK PARK JONG WON (J.C PARK)

Mathieu Roszak is a self-taught freelance creature J.C. Park is a concept artist and illustrator from Seoul,
designer from France. He has created monsters in South Korea. He works on films and animations, and
Photoshop since 2012 and recently in ZBrush. He works he has created concept art for videogames such as
mainly in the film industry. Aion and Legend of the Criptids.

JESSICA TC LEE WOULD YOU LIKE TO SUBMIT TO 2DARTIST?

Jessica TC Lee is an award-winning concept artist and We are always looking for tutorial artists, gallery
freelance illustrator, based in San Francisco. She is submissions, potential interviewees, writers and
currently working on the project League of War, and an more. For more information, please send a link to
upcoming unannounced project. your work to: annie@3dtotal.com.

2 | 2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 115

Magazine.
Your
Junior Editor
Annie Moss
annie@3dtotal.com

Sub Editor
Adam Smith

Graphic Designer
Aryan Pishneshin

Advertising Manager Get the most out of it!

George Lucas
george@3dtotal.com If you’re having problems viewing the double-page spreads that we feature within
Studio Manager this magazine, then follow this handy little guide on how to set up your PDF reader!
Simon Morse
simon@3dtotal.com
Top tips for viewing
Managing Director For optimum viewing of the magazine, it is recommended that you have the latest version of
Tom Greenway
Adobe Acrobat Reader installed. You can download it for free here:
Advertising
Media pack and rates are To view the many double-page spreads featured in 2dartist magazine, you can set the reader
available upon request. to display “two-up”, which will show double-page spreads as one large landscape image:
Contact George Lucas:
george@3dtotal.com
1. Open the magazine in Reader;
International 2. Go to the View menu, then Page Display;
Translation opportunities
and international licenses are
3. Select Two Page Scrolling, making sure
available. Contact that Show Cover Page in Two Page View
Melanie Smith: is also selected.
melanie@3dtotal.com

Subscriptions
Subscriptions can be
Jump to articles
purchased via
In the Contents pages, we have direct links to all articles within the magazine. If a certain
2dartistmag.com. article catches your eye, simply click (or tap on handheld devices) on the page number within
12-month subscription – the Contents, and you will be taken straight to that article.
£23.99 ($38.99 US approx.)
To enquire about
subscriptions, contact: Download resources
support@3dtotal.com Whenever you see this symbol, be sure to click it to
download free resources to accompany that article!
Distribution
2dartist is an e-magazine
distributed as a
For lots more tutorials and exclusive articles, visit
www.layerpaint.com
downloadable PDF and on
digital newsstands.

Disclaimer
All artwork, unless otherwise
stated, is copyright ©2014
3dtotal.com Ltd. Artwork that
is not copyright 3dtotal.com
Ltd is marked accordingly.
Every effort has been made
to locate the copyright
holders of materials included
in this issue of 2dartist
magazine in order to obtain
permissions to publish them.

Special thanks to 3DHype,

Hiperia 3D and Veegraph
for supporting 2dartist with
banners. Contact George
Lucas if you would also
like to show your support:
george@3dtotal.com

2dartist magazine is available as a downloadable PDF magazine. If you have an iPad or iPhone, you can drag your
magazine into your iTunes library – it will automatically add the PDF to your bookshelf in your iBooks app!
 2DARTIST MAGAZINE | ISSUE 115

Contents Issue 115

006_ Exploring endless possibilities
Up-and-coming freelance artist Oscar Gregeborn
discusses his signature style

018_ Paint imaginative realism

Discover Pixar animator Sylwia Bomba’s stunning
traditional paintings

029_ Exuberant ink sketches

Ubisoft’s Joseba Alexander shows us the
sketchbooks behind his work

046_ The gallery

Be inspired by the work of Gilles Beleoil and
Alexander Zienko in our top 10 images

060_ Photo-manipulate a zombie

Turn yourself into a grizzly zombie using this
quick and fun photo-manipulation tutorial

066_ Design a dynamic dropship

Jessica Tung Chi gives us her take on creating a
vehicle using two-point perspective

080_ Create a post-earthquake city

Shake the landscape of your art with Maciej
Drabik’s guide for our environment series

092_ Craft explosive destruction

Learn how to alter an environment with an
explosion with Jorry Rosman

104_ Classic portraiture

See how Julien Lasbleiz creates his striking
realistic portraits of women

112_ Build a futuristic scene

J.C. Park shows us how he constructed an image
with impact in his piece Silver Falcon

120_ Digital Art Master: Thomas Scholes

Thomas Scholes demonstrates how to rework
previously abandoned images with Snowfall

SAVE 30%!
Subscribe today
Go to page 064 for details

4 | 2DARTISTMAG.COM
2DARTIST MAGAZINE | ISSUE 115

5
The Artist

Oscar Gregeborn
oscargregeborndesign.com

Interviewed by:
Jess Serject-Tipping

Oscar Gregeborn is a
digital artist from Oslo,
Norway, who is passionate
about art. His main focus
is creating conceptual
landscape paintings, but
he dabbles in graphic
design work too.

Exploring
endless possibilities
Digital artist and graphic designer Oscar Gregeborn shows us his luminous
landscapes and talks to us about the unlimited possibilities of digital painting
2DARTIST MAGAZINE | Exploring endless possibilities

Originating from Oslo, Oscar Gregeborn is a Norway. I am a freelance digital artist and right now I kept me going for so long. The transition from the
freelance digital artist and graphic designer. am attending school to further bolster my education analogue, traditional medium to the digital medium
Although he is still studying art, he has developed in the field of concept art. happened relatively easily. I first dabbled with GIMP,
an eye-catching, individual painting style. He but quickly changed to Photoshop out of curiosity.
specializes in creating mesmerizing landscapes Besides attending school, I also release a lot of Learning to paint digitally was a struggle at first,
influenced by traditional impressionist painters. paintings to the public, which I enjoy tremendously. but through watching some amazing online videos
I live and breathe art, and it has been my passion produced by the likes of Feng Zhu, Tyler Edlin and
Passionate about art, Oscar began drawing since I first started drawing in kindergarten. It is Sycra Yasin, I improved massively, and it led me to
with traditional materials as a child, but soon something I love and intend to keep doing until I bite where I am today.
switched to digital painting when he discovered the dust!
the endless possibilities for creativity that using 2da: What was it about the digital tools that made
digital painting software presented. 2da: Could you tell us a bit about how you learned you want to pursue a career in the industry?
to paint digitally, your journey into the industry, and
His bright, energetic works show Oscar’s how you have got where you are today? OG: For me, working in the digital medium is
determination to push his creativity, explore new all about exploring the endless possibilities of
avenues and as he describes it ’level up’ to fresh OG: I have always had a fascination and an technology. Photoshop as a program offers an
approaches. 2dartist magazine talks to Oscar enthusiasm for drawing and painting. Like so many incredibly large and versatile toolkit which helps me
about his inspirations, influences and how he others, this fascination stems from my childhood. do the things I love to do.
creates his magnificent artworks.
Though unlike many of those childhood artists, I All the buttons to push, knobs to turn and sliders
2dartist: Hi Oscar, thanks for chatting with us today! never let go of my obsession with art. I continued to move keep me engaged for many hours at a
Can you tell us a little bit about yourself: Who you to draw and paint throughout school, while being time. It is something that is never quite achieved in
are, what you do, and where you are located? reinforced by incredibly supportive parents. the traditional medium. Working in a program like
Photoshop is also a huge step up in terms of utility.
Oscar Gregeborn: Hello! Thank you for the lovely If I look back at the work I did back then I would You can Ctrl+Z, manage layers and blending modes,
opportunity to talk with you. So as mentioned above be overwhelmed with embarrassment, but those correct colors and tweak entire pallets with ease.
my name is Oscar Gregeborn, but some people call paintings still went on the fridge-door. A drive to
me ProjectOsxar which is a name I sometimes work create and a love for art are the most important All of these things help me to stir the creative pot in a
under. I was born and raised in the eastern part Oslo, factors learning the subject, and these are what has way the traditional medium never could.

A landscape of ruins featuring the remains of hieroglyphics

2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 115

Oscar’s favorite image Nests was a breakthrough moment in his artistic development

2da: Could you choose one of your favorite past you feel like you have achieved or learned something influenced by impressionist artists like Claude Monet
images (that you’ve created) and explain a little important by creating a piece of art. I like to call and Edgar Degas. I forced myself to paint more
about its creation, and why it’s your favorite? these points ‘level ups’ because the feeling is akin ‘unrealistic’ colors than usual, and to try to conceive
to leveling up in a videogame. One of the most a somewhat alien palette. I really enjoyed the final
OG: As is the case with every artist, there are memorable level ups I have had came with the piece, and the unusual and impressionistic use of
breakthrough points in your development where making of Nests. During its inception I was heavily color has become a staple of my work ever since.

9
2DARTIST MAGAZINE | Exploring endless possibilities

Playing with bright, contrasting colors can give a sci-fi world more impact
2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 115

“You can find inspiration

from a book you read, a hike
in the city, or from the latest
TV-series you saw. Inspiration
is all round us”

2da: Where do you draw your inspiration from? What

influences your work and motivates you?

OG: I could probably write an entire book listing

what inspires and influences me, but I will have to
keep it brief for now! Like most digital artists, I love to
browse sites like ArtStation, Behance and DeviantArt
to find new and exciting art.

Although I think that what helps me the most in my

never-ending quest to find inspiration is to never
limit my source; the internet is not the only place to
look. You can find inspiration from a book you read,
a hike in the city, or from the latest TV-series you saw.
Inspiration is all round us.

Even dreams or strange hallucinations can be an

incredible source of inspiration! I personally tend
to draw a lot of inspiration from the works of other
artists I come across.

2da: Do you have any favorite software, techniques

or processes that you apply to your artwork, that you
would consider your signature style?

OG: I rarely ever start a painting with a line-drawing.

The first few minutes of a new painting are usually
taken up with creating a collage of older works of
mine and random splashes of colors.

I distort, twist and deform the piece. I change the

colors drastically and mold the painting until I see
recognizable shapes in the mess I have created.
Then I paint. I paint and paint and paint until I call
it a finished artwork. I really enjoy the painterly look
in art, and it is something I try to recreate in the
paintings I make myself.

We all have our own way of seeing and interpreting

the world around us, and this will of course shine
through in the artwork we create.

2da: Are there any other areas in the digital art world
that you’d like to branch into (and why)?

OG: At the moment I am very focused on painting

landscapes, and this is both a blessing and a curse.
Being well known for something distinct is incredibly
useful if you wish to build yourself up as a brand, and
it is absolutely necessary if you intend to work in the
freelance industry.

11
Oscar starts an artwork by making as much mess as possible, then tirelessly reworking the image
2DARTIST MAGAZINE | Exploring endless possibilities

An epic landscape is contrasted with minute figures in the foreground

OG: I always try to keep my work fresh. I try to get me wrong; timing yourself can be a good thing.
“Take your time when you improve my knowledge and skills as much as I can, But the only situation where you really want to be
are painting. Creating art is a and I think my portfolio reflects this. I have also made worrying about the amount of time you spend on a
marathon, not a sprint” opening Photoshop and working on something painting is if you are working towards a deadline for
However you can also feel forced to cater to regularly a habit. a client.
whatever your audience or clients expect, which in
my case is landscapes. By doing this I have a constant stream of new work If you are still a novice, learning to improve the
rolling out to the different portfolio sites. quality of your art is so much more important.
I definitely want to branch out into doing other forms Getting noticed for high-quality work is very
of art, whether it be posters, portraits, abstract art It can be very difficult to make painting habitual, but I prevalent. Getting noticed for swiftness on the other
or anything in between. I have had an increasing think that it harkens back to the notion that you have hand, is much less frequent.
interest in designers like Tom Muller and Olly Moss. to love art to make art. You have to love what you do
or else you will burn out completely. This holds true if Take your time when you are painting. Creating art is
They produce incredibly fascinating work. I know you wish to work in the industry, or if you just want to a marathon, not a sprint.
that it might seem like a big leap from what I create improve your artwork on a casual basis.
currently, but poster design and work that is more 2da: How do you spend your time when you aren’t
graphical is definitely something I wish to explore in 2da: Do you have any advice for artists looking to creating awesome images?
the near future. break into the industry?
OG: I definitely try to carve in some recreational time
2da: How do you keep your portfolio up-to-date? OG: Something that I think is very prevalent in the into my life beside everything related to art. I love to
Any tips? digital art community is speed-painting. Now, don’t watch movies, to play games, and to just hang out

2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 115

Oscar likes to use ’unreal’ colors that are unexpected in nature, like in this artwork: Swamp

15
2DARTIST MAGAZINE | Exploring endless possibilities

with friends. Although I think it is very important to

try to balance your time as much as possible.
Spending your entire day painting can burn you out
creatively very quickly. I have experienced it myself
where painting began to feel like a chore, and the
one thing that helped me to recover my love of
painting was cutting back on the amount of time I
spent working .

I also endorse the practice of browsing portfolio sites

on a regular basis, because looking at the work of
other artists gives you both inspiration to keep going
and new ideas for your own work.

2da: Finally, what can we expect to see from you in

the future?

OG: I will definitely continue to produce paintings

at the rate I have been up until this point. However, I
have been very focused on releasing single paintings
instead of a series of maybe three or five paintings.

I generally think that this is detrimental to my

development as an artist, and it is something I wish
to discontinue in order to focus more on creating a
number of series instead.

I might also start theming my paintings and series

more heavily, which is more akin to client work.
Something I have been toying with but just not come
around to doing, is to include 3D in my workflow.

I know it can be very beneficial in some cases to start

painting on structures and environments prebuilt
in 3D, and I want to get my hands on it in the near
future if possible.

Thank you Oscar for talking to 2dartist magazine!

Naypidaw, an old future-slum

based on an idea of a future
Myanmar (Burma)

2DARTISTMAG.COM
2DARTIST MAGAZINE | ISSUE 115

17
 The Artist

Sylwia Bomba
sbomba.com

Materials Used:
Traditional & Photoshop

Sylwia Bomba is a digital

artist who has worked on
collections for Disney and
Pixar. After graduating from
a course in film animation
at Academy of Digital Arts
in Florence, she became an
Instructor of Drawing at the
AnimSchool Academy, Utah.
She is also currently working
for Neko Productions.

T R A D I T I O N A L S P O T L I G H T

Paint
imaginative realism
We take a look at some of Sylwia’s stunning portraiture as she talks about
what inspires her mesmerizing work, and explains how her traditional
artwork informs her digital work
2DARTIST MAGAZINE | Paint imaginative realism

Creating artworks of stunning beauty and 2dartist: Hello Sylwia! Thanks for talking to Painting is not about being just ‘good’, but being
realism, Sylwia Bomba uses her passion for 2dartist. First off, could you introduce yourself REAL. It’s about finding the inspiration inside our
traditional art to fuel her digital work. She with a bit about your background and projects? fears and joys.
has built up a successful career as a freelance
digital artist, with her work capturing the Sylwia Bomba: Hey! Thank you for this wonderful It’s not easy nowadays; a lot of people look for
attention of high profile clients such as Disney, opportunity to talk to you! I am an illustrator and shortcuts to be popular on social media. Seeking
Marvel and DreamWorks Animation. concept designer, and a huge fan of the power of popularity may win the sprint, but a true love for
traditional art. art wins the marathon. This belief helps me to
Yet, Sylwia is still dedicated to using keep my inspiration while drawing.
traditional art methods to create her I studied Film Animation at the Academy of Digital
work. Working with materials such as oil Arts in Florence. I’ve since had the pleasure to 2da: You manage to capture really powerful
paints, pencil and pastels, she allows her work for clients such as Disney, Pixar, Marvel, expressions and light in your paintings; do you
striking work to develop slowly through Coca-Cola and many more. paint from life, use many references or are they
experimentation, and by simply allowing from your imagination? What advice would you
herself to have fun with her art. I am a drawing instructor at AnimSchool offer for improving in these areas?
Academy, Utah and I am also working for
By embracing the challenges that traditional Neko Production, North Hollywood on a very SB: Thank you! Light has always had a strong
methods present Sylwia is able to let her truly interesting and top secret project! Hopefully next meaning for me. It has something mysterious
expressive style shine through. Her work is year I will be able to tell you more about it. and unexplained about it. Like God’s will or our
skilled, immersive and calls the viewer into inscrutable existence on this planet. I always seek
its enticingly atmospheric world. As a teacher 2da: What does your creative process involve? perfect harmony between darkness and light.
of Color Theory and Anatomy at Animschool, What medium do you usually prefer to work with, Each combination has its own unique charm and
Sylwia pays particular attention to the use of and why? hidden emotions.
color, light and movement in her work.
SB: I prefer to paint and draw in a traditional way. Sometimes I use references, especially when I
Sylwia talks to 2dartist magazine about how It’s very easy to choose colors on a computer, paint from difficult perspectives, but I try to use
her love of film, light and color inspire her delete layers or change the luminosity. You can’t my imagination when I can, feel the lighting, and
incredibly powerful works of imagination, and do it so quickly during an oil painting, you need to give life to my emotions. You need to find a place
why she believes it’s important to develop an stay focused and organized. That’s why I admire for your inner inspiration and vision; not just copy
individual sense of style. traditional painting. It’s more challenging. from references.

Early stages of an oil painting on canvas

2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 115

Building up texture with oil paints

21
2DARTIST MAGAZINE | Paint imaginative realism

This miniature uses traditional symbolism of birds and flowers

Detail from the above miniature

2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 115

Framed portrait in position

To create unique artwork, don’t try to redraw 2da: You manage to achieve stunning realistic matter which color I pick — I just play with them.
what everyone else can easily see with their own skin tones and textures in your figure studies; I never use colors from photos or references
eyes. Use your unique instrument of creation, what are your techniques for this traditionally and because it kills the fun of creating. The more I
and make others see something extraordinary digitally? Do you build the colors up gradually? play, the more skin looks realistic. I use the same
and new. rule when I create on canvas. I discover them; feel
SB: To me, color is an emotion. Before I paint them with my soul — not only with my eyes.
Believe in anything you create, don’t make your colors I need to feel them. When I draw digitally,
art dependent on others. You can create your own I choose random colors. Sometimes I start with 2da: How do you like to spend your time when
independent vision. a yellow skin or an unnatural blue one. Doesn’t you aren’t creating beautiful art?

23
2DARTIST MAGAZINE | Paint imaginative realism

A pensive child painted from the imagination

2DARTISTMAG.COM
 “The greatest satisfaction is
sharing everything we can
with other people. When you
give back the good, you will
be the richest being on this
planet. That’s why I enjoy
professions which allow me
to bring inspiration and make
people smile”
SB: I enjoy writing poems, traveling, and reading
books about astronomy, the power of our minds
and other secrets of this planet Earth. There are
so many unknown mysteries I would love to
discover during my life. I just feed my curiosity
with whatever I can. I always try to have my mind
open and take each day as a new challenge.

2da: Finally, what are your big aspirations and

inspirations? And what can we expect to see from
you in the future?

SB: My biggest aspiration is to work on shows

and movies. I love how they interact with people,
teach them, open their minds and make them
dream for a while.

The greatest satisfaction is sharing everything we

can with other people. When you give back the
good, you will be the richest being on this planet.
That’s why I enjoy professions which allow me to
bring inspiration and make people smile.

Roman Polanski is one of my favorite Polish film

directors. I have admired his movies since I was
a kid. My biggest idols in art however are Egon
Schiele, W.A. Bouguereau, Stanisław Wyspiański
and Alphonse Mucha. They inspire me each day
to get better at my work.

Cinema and art are definitely my biggest loves.

I can’t imagine my future without them! I would
love to work in movie art departments. I have
worked on shows in theaters and I admit I am
crazy about the entertainment world. You will find
me only there!

Thank you very much for taking the time to

speak to 2dartist!

The Artist

Sylwia Bomba A light study entitled The Mystery

sbomba.com
 Discover Your Story
Where every discipline in the computer graphics and interactive techniques
community weaves together a story of personal growth and powerful creation. Discover unique
SIGGRAPH stories using the Aurasma app, then come to SIGGRAPH and build your own.

[ DOWNLOAD AURASMA FROM YOUR APP STORE AND SCAN IMAGE ABOVE ]

9-13 August 2015

Los Angeles Convention Center

 LU S FREE
P
VIDEO
NG!
TRAINI

Subscribe today
and receive 4 free issues!
“A great source of inspiration and tips on how to improve your skills
and speed up your painting process. Besides very detailed step-by-step
tutorials, 2dartist magazine will also ensure there are a large variety of
topics covered as well.”
- Blaz Porenta, illustrator

SAVE 30% • SIMPLE, EASY PAYMENT

NEVER MISS AN ISSUE • 12 ISSUES PER YEAR!
Click here for more information and to read the Terms and Conditions
 Image - Lorenzo Zitta
© 2014 NewTek, Inc. LightWave is a trademark of NewTek. All rights reserved. All other marks are the property of their respective holders.

Download the free trial at www.lightwave3d.com

Italian digital artist Lorenzo Zitta knows how to create thought provoking still
images with LightWave 11.6. Whether the still is computer-generated with
LightWave, an artful arrangement of digital photos, or a combination of the two,
the composition of the scene – with its attention to detail and unusual merging of
objects – demands a closer look.

“Thanks to LightWave, I can quickly test many different approaches for my projects.
I love bringing models into Layout and switching on Radiosity, then start working
on shading and lighting, bringing in more elements, and testing and improvising
to get the look I want.” - Lorenzo Zitta.

By artists for artists.

 A l e x a n d e r
Joseba

s,
and videogame
by films k and
Inspired xander uses in ed in bars to
Ale uc
Joseba r sketches prod cenes...
lo ls
waterco ressive etherea
p
create im

The Artist

Joseba Alexander
artstation.com/artist/
alexanderjoseba

Alexander is a self-taught
traditional and digital artist
working for Ubisoft Barcelona.
His knowledge is based on his
experience working within
the film, advertising and
videogame industries.
 Sketchbook of Joseba Alexander

Ubisoft’s Joseba Alexander I love to draw portraits with

shows us his sketchbook... a calligraphy Japanese
brush. I know that is not
Sketching new worlds, sketching lies, the best option, but the
sketching with the imagination another texture is awesome
place far, far away from where I am working;
that is everything I do. I don’t do an intricate Before I create a new
drawing; I don’t like to focus on details work, I like to make some
when I’m working on my sketches. The most thumbnails with markers.
important thing for me to do is to capture the Simple shapes drawn
image that I have in my brain; to express with on paper. Sometimes I
only a few lines the whole idea. need three or four and
sometimes twenty. But it
I always carry different sketchbooks and tools is an important part of the
around with me, like pencils and watercolors. process for me
I love to draw in bars, drinking a good coffee
or a good black beer. It can be a good place to
sit and observe other people and the world
around you.

Another important aspect of working in a

sketchbook is creating with the sketches
something different, with a personal style. I
mean, you need to make your work look much
better than other artists, because you need
something that will make you different from
the other guys.

Inspiration and ideas

Most of the time, I get inspired by movies,
videogames, books; a combination of visual
ideas, moments and incidents. I also get inspired
by some artists; there are many amazing artists
around the world, both living and dead. However
the fountain of inspiration in my life is my
nightmares. I have a lot.

We have a lot of visual references now on the

internet; we can search for anything. Sometimes
we forget that inside, all of us have new worlds to
discover. Sometimes they are much better than
the reality.

Materials
I have different materials that I like to use,
depending on the sketch I am working on. I love
to use a simple pen, a fine line 0.05 or 1.0, to
draw quick sketches on paper. I use a calligraphy
Japanese brush to draw portraits, markers to
draw shadows, and watercolors to paint simple
images and compositions.

Sometimes I like to use other materials to

experiment with textures, using sponges, dry
brushes, and tracing papers and so on. Basically
by experimenting with different materials, I am
able to improve my knowledge, and sometimes
get ideas for textures and brushes to use later on
in Photoshop.

30 2dartistmag.com
 Sketching techniques
I love to use different sketching techniques,
depending on the type of sketch and what I
intend to use it for. I use realistic light and style
for the portraits for example. When I am sketching
from the imagination I use basic and simple lines
to draw an impression of an idea.

When I begin sketching I usually work in small

sizes and use small sketchbooks. This is because
they are easier to transport and my intention in
this first process is only to draw the idea, nothing
more. The final process will be digital.

More sketches and studies with a

calligraphy pen

Pen and marker sketches. I love to

start the day and finish the day with
some quick sketches about robots or
astronauts, it’s relaxing. This is the most
fun part of the creative process
Watercolors. I know that the digital
process is faster than watercolor
painting, but why not? It’s fun to explore
different techniques!

Portrait studies
Sometimes after reading a history or a book I like to draw some
scenes about it. This one is about An Inhabitant of Carcosa by
Ambrose Bierce. I used markers and pen

Some sketches, more astronauts and robots using markers and pen
Sketches for a personal project

More sketches for a personal project

Some sketches for a book cover. Normally I prefer to start the Some more sketches for a book cover project
first sketches or ideas in paper, maybe because I feel more
comfortable on paper
This technique is awesome! I used markers on
tracing paper. The texture is impressive. The effect
is simply lovely.
Would you like to see your sketches
featured in 2dartist magazine?
We’re always on the lookout for talented artists
and their artwork to adorn the pages of our
magazine. If you think you have what it takes,
get in touch!

To submit, simply email Annie at

annie@3dtotal.com with a selection of your
images or a link to your portfolio online, plus a
little information about you.

We look forward to hearing from you!

2DARTIST MAGAZINE | The Gallery

Each issue the 2dartist team selects 10 of the best digital images from around the world. Enjoy!

Halloween
Frédéric le Martelot
Year created: 2014
Web: faust-lab.com
© Frédéric le Martelot

2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 115

Submit your images! Simply email annie@3dtotal.com

47
2DARTIST MAGAZINE | The Gallery

The Path
Anastasia Ovchinnikova
Year created: 2015
Web: artstation.com/artist/nastasja

2DARTISTMAG.COM
2DARTIST MAGAZINE | ISSUE 115

49
1920 - Hussar
Jakub Rozalski
Year created: 2015
Web: artstation.com/artist/jakubrozalski

2DARTISTMAG.COM
2DARTIST MAGAZINE | ISSUE 115

Fog
Alexander Zienko
Year created: 2015
Web: zii-art.blogspot.com
© Alexander Zienko

51
De Molay execution
Gilles Beloeil
Year created: 2014
Web: gillesbeloeil.com
© 2014 Ubisoft Entertainment. All rights reserved.

2DARTISTMAG.COM
53
2DARTIST MAGAZINE | The Gallery

2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 115

The Girl and Dog

Anna Maystrenko Zombie Girl 1
Year created: 2015 Margaux Saltel
Contact: annamayart@gmail.com Year created: 2014
© Anna Maystrenko Web: margaux-saltel.com

55
Pilot
Mathias Zamęcki
Year created: 2014
Web: facebook.com/mzamecki
© Wydawnictwo [Publishing House]
Fabryka Słów 2015

Art Nouveau
Samuel Pirlot-Petroff
Year created: 2015
Web: samsh.artstation.com
© Samuel Pirlot-Petroff 2015
2DARTIST MAGAZINE | The Gallery

Amitabh Bachchan
Realism Painting
Vivek Arvind Mandrekar
Year created: 2015
Web: behance.net/vivekmandrekar

2DARTISTMAG.COM
 LayerPaint allows you to browse the gallery, interviews, news, tutorials and products all dedicated to 2D digital art. On top of that, we have
included a free custom brushes library that is available to everyone.

We wish LayerPaint to be a definitive resource for digital painting, creating a friendly and educational environment that not only helps
budding and experienced CG artists alike, but also showcases some of the best computer generated artwork in the world.

PARTNERED WITH 3DTOTAL.COM | LAYERPAINT.COM | FACEBOOK.COM/LAYERPAINT | TWITTER.COM/LAYER_PAINT

 The Artist

Mathieu Roszak
freaksfx.blogspot.fr

Software Used:
Photoshop

Mathieu Roszak is a self-

taught freelance creature
designer from France. He
has created monsters in
Photoshop since 2012 and
recently in ZBrush. He works
mainly in the film industry.

Photo-manipulate
a zombie
Creature designer Mathieu ‘FreaksFx’ Roszak demonstrates how to
turn an ordinary photograph into a grizzly action shot of a zombie
 2DARTIST MAGAZINE | ISSUE 115

A quick and fun way to make a

zombie character... 02 Zombie’s face: I use the Stamp tool
to erase the visible eyebrows. I import
a picture of a human skull and try different
Have you ever dreamed of being one of the blending modes and adjust the opacity.
Walking Dead? Here is a simple tutorial which
will help you to turn you or your friends into I erase the part of the skull I don’t need. In this
a creepy zombie! Using photo-manipulation case, I just keep the upper skull (the cheekbones
techniques this step-by-step tutorial will show and the brow bones) in order to have an
you how to quickly alter an action shot into a emaciated effect. I overlay a few times the same
grizzly scene. layer, and I try different blending modes such
as Multiply, Overlay or Hard Light with different

01 Prepare your background image: I

decide to use a personal picture as the
base for my work, so I ask a very skinny friend
opacities to create something cool.

I work now on the mouth area. I import images

to be my model. To save time I choose a creepy of decay textures and I play with blending modes
and dark place for my background, and then I and opacity to make a raw, rotting mouth. I erase
ask my model to have a dynamic and twisted what I don’t need.
pose (I wanted to see his rib cage) and pull an
aggressive facial expression. Now it is time to
darken my picture: I duplicate my original picture Duplicate the photograph, alter the
twice. I desaturate the second one and I change blending mode and opacity on one of
its blending mode and play with opacity. When I the images, and then merge the images
am satisfied, I merge them. I now duplicate this back together
new layer and change the color: I add a blue tone
in order to have a colder mood. My background Use references of skulls and decay to
image is ready. develop the zombie’s face

61
2DARTIST MAGAZINE | Photo-manipulate a zombie

03 Textures on the body: I use different

textures of decay and rust to cover the
whole body. I use the Select tool to pick some
dark elements of my texture pictures up, and
play with their blending mode and opacity,
duplicating them a few times, and changing the
size and the position of the layers. By overlaying
all of the images, I start to have a decaying body!
Again I erase all the parts I don’t need.

04 Moving the shapes: I merge all my

layers together. I rectify the symmetry
of my zombie’s face and I shrink his ears using
the Liquify tool. Now I duplicate my layer and I
desaturate it to add more darkness and deepen
the mood.

05 Adding colors: I use the Eyedropper tool

to pick a dark color up. With the brush
tool set on a low opacity, I enhance the shadow
area and details on the skin (under the eyes,
under the cheekbones and the decaying parts of
the belly). I now paint the eyes; I choose a white
color to make it look like there are cataracts in
the zombie’s eyes. I zoom into my picture and
check the detail transitions on each area because
sometimes I forget to erase some parts of my
different layers. I use the Stamp tool to rectify any
mistakes. I also add a black shadow in order to
hide the lower part of the body.

06 Using effects: I merge all my layers

and I duplicate my new one. I use the
Watercolor effect to link all my colors. I duplicate
this layer and I add a Radial Blur. I erase the part
where my zombie‘s head and belly are and keep a
few body elements in the blur such as the hands The body begins to decay by overlaying Use the Watercolor effect and Radial
and abdomen. dark textures of rust and decay Blur on aspects of the image to show
some movement

07 Final touches: I add few little white

spots using my brush tool to give a shiny
effect to the eyes, and then I check my shadows
Make small adjustments to the face,
shrinking the ears with the Liquify tool Make final touches by adding white
spots to the eyes, check shadows and
and the light areas for the last time! My zombie Enhance the shadows on the skin and the light
is ready! add cataracts to the eyes

2DARTISTMAG.COM
The Artist

Mathieu Roszak
freaksfx.blogspot.fr
 114

Issue 114 | June 2015

plus
• 10 of the best digital images
• Narrative fantasy sketches
• Craft an air vehicle
• and much more!

OR IONS
ATE A SC
T E N E O F
CRE
PROP
EPIC
ne
large scale sci-fi sce
ga
hniques for creatin
tec
n shares invaluable
Rolda
Juan Pablo
SAVE 30%!
when you subscribe to today!

• Save a huge 30% – the equivalent of

four issues
• Hassle free – no need to visit
the shop every month
• Simple, easy payment options
with PayPal Subscriptions allowing
you to pay with your PayPal account
or credit/debit card
• Never miss an issue and no need
to re-subscribe each year

“Contemplated signing up for so long. Don't know why I waited

before signing up as this magazine offers an incredible insight
to the world of 2D art. Can’t wait for next release.”
3dtotal customer

Subscribe online at
www.2dartistmag.com/subscribe
Offers are available worldwide. You will receive 12 issues in a year. Minimum subscription term is 12 months. If at anytime during the first 60 days you are
dissatisfied, you can email us support@3dtotal.com and we will refund you any undelivered issues. The PayPal recurring subscription can be cancelled
at anytime. Prices and offers are subject to change.
 The Artist

Jessica TC Lee
jessicatcl.com

Software Used:
Photoshop

Jessica TC Lee is an award

winning concept artist
and freelance illustrator,
based in San Francisco.
She is currently working on
projects for the League of
War game, and an upcoming
unannounced project.

Design a
dynamic dropship
Use two points of perspective to add points of interest to your work!
Jessica TC Lee also shows us how to convey depth of perspective in
Photoshop through color temperatures, lighting, and the essential
rules of perspective
2DARTIST MAGAZINE | Design a dynamic dropship

Learn how to use perspective going to be in the scene? With these thoughts one point or extreme two point perspectives
and depth to compose an being kept in mind, it is much easier to spot are usually best to show off depth on a flat 2D
interesting image... inspiration when you are doing research. surface, if it’s an interior scene. However, since
extreme-two-point perspective contains more
This aircraft painting tutorial shows how to In order to convey depth with perspective, we diagonal lines than one-point perspective, it
create a sense of depth starting from sketches have to understand the power of perspective makes the image more interesting. Two-point
to line drawings, and then using perspective lines; that things appear to be moving away perspective usually becomes the better choice
rules plus color temperatures, lighting and when lines are diminishing to a point. We also among the two for interior scenes.
values to complete the image. Also, the have to understand atmospheric perspective
tutorial briefly mentions what you should try (things appear farther away with less value However, if the scene is set outdoors, the
to keep in mind when designing a prop, in this contrast) and the power of overlapping; atmospheric perspective and overlapping of
case, an aircraft. In addition, the tutorial also arranging elements in foreground, mid-ground objects become much more important than
explains how to construct a believable and and background. the perspective lines. This is because there are
interesting interior. not as many lines of structure to show off the
The technical knowledge required for perspective lines as there are in interior scenes.
When starting out with a design, it is very accomplishing this painting is very basic; the
important to have a clear idea of what is most used tools in this tutorial will be the I also set the camera angle very low to show off
required for the end result. In this case, it Lasso tool and Pen. The image adjustments the scale of the objects, and to help create the
should be a sci-fi aircraft, and the scene will be made using Levels. epic feeling of the scene.
should convey depth with perspective. With
a project brief as open as this one, it is even
more important to figure out before you start
sketching the four Ws; what time the scene is
01 Brainstorming compositions and
designs: I brainstorm rough thumbnails
while thinking about the power of perspective
Whenever I want to show off the scale of
something or give a scene an epic feeling, I
consider using a low camera angle and bring
set, where you want the scene to take place, lines, atmospheric perspective and overlapping in a third vanishing point. Our sense of scale
what is going on in the scene, and who is objects. According to the rules of perspective, is strongly tied with the horizon line and the

2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 115

vanishing points, especially when the ground

level is clearly indicated in the scene. By setting
the camera angle low the scale of the image
seems more impressive.

02 Figuring out the main prop: It is a

good idea to dig into the design of
the main prop in quarter view, once you have
decided which thumbnail to go for, but BEFORE
fleshing out the line drawing of the entire scene.
The reason that I use quarter view is that it allows
me to design both the structures and silhouette
of the scene in 3D while not having to worry too
much about any special perspective, in this case,
looking up.
of the interior design, the basic values and the For the lighting, I want to lead the viewers’ eyes
The reason why I do this before fleshing out lighting of the scene. from left to right, so I make it look as though the
the line drawing of the entire scene is because light is coming in from the entrance on the left
different parts of an aircraft are connected in When designing interior structures, it is a good side. Human eyes tend to be drawn first to where
much more complex ways than a portion of an idea to think in terms of ‘structural parts’. Instead the contrast of light is strongest. I also think about
interior is. It is much easier to figure out where of thinking about walls, think about how the walls how the decorative lights can lead the viewers
everything should be positioned before you put are made up of pillars, parts between pillars, and to the focal point of the scene. Well designed
the aircraft into a special camera angle. how the room is supported by these parts. decorative lights can effectively lead viewers’ eyes
around an image.
In addition, when I design the prop, I think Instead of simply creating doors, think about
about the four Ws I have decided upon, and get how you can create an entrance or an opening,
inspiration from movies like Elysium. Instead of suitable for your scene, where objects can move Initial thumbnail sketches of
more futuristic streamline shapes and a fighter in and out. It is also good to have a general idea concept ideas
jet, I want to use boxier shapes to convey the of where the main pathway in the space is. In
near-future feeling of the design and to show this case, it is the corridor on the right and the Exploring ship designs based on the
it is more a dropship. I also consider the basic entrance for the ships. silhouette of the chosen thumbnail
mechanisms which will define the overall
structure of the aircraft, such as how it lands and Think about how big a human is in the entire Starting to flesh out the interior setting
takes off, and where the gas emits from. space, and design the scale of the parts of the scene using perspective lines
accordingly. In addition, I use almost only

03 Fleshing out the composition: After

gaining a good grasp on how I want
the aircraft to look, I start to flesh out the details
diagonal lines to give the composition a lot of
‘criss-crossing’, which is a great way to make a
scene full of motion.
Working out the structural elements of
the scene, pathways and lighting

69
2DARTIST MAGAZINE | Design a dynamic dropship

04 Overall color tone: I use a Gradient Map

layer to bring in the basic color tones to
the scene. The combination of green and yellow
is a classic sci-fi color scheme, especially as I
am going after a near-future setting, and dark
green is associated with military objects. Also,
because I want the yellow light to be saturated
and eventually have a lighter value, I keep in mind
that I need to make the green less saturated and
darker, in order to pull off this complementary
color scheme.

To add in more points of interest to the scene, you

can throw in some random images as an easy way
to bring in some basic color variation and texture
to get a quick head start.

05 Defining overall lighting: This is the

most critical step of the process which
fundamentally defines how the final painting is
colors usually bring objects forward and cool
colors do the opposite; therefore I decided to use
cooler lighting in the far background. It’s usually
Also, thoughtfully placed supportive lights can
sometimes greatly enhance the form of the
objects. If it is placed on the opposite side of the
going to look. In this step, I think about how the more interesting and exciting to have some main light source, and behind the main object, it
temperatures of the lighting affect the sense of supportive secondary lights in a scene than just can create a nice rim light to the object and bring
distance in the scene. As a general rule, warm one light source. out the silhouette.

2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 115

06 Assorting layers and refining shapes:

I merge all the layers, and it is now
time to assort the layers in order to easily make
adjustments on different parts later. I use the
Lasso tool to select out foreground and mid-
ground elements, and then either copy or cut
them to their own layers. The Pen tool is a good
tool too for selecting. I use both of these tools to
get sharp, clean edges while refining the shapes
and details.

When I am painting the light side of the object, I

combine these selecting techniques with setting
my brush mode to Color Dodge. I use a Soft brush
to gently bring in the rim light and light side of the
object while maintaining both the soft edge and
the nice sharp edge. However, once I have the Use Lasso tool to select parts that need Select the foreground using the Lasso
basic value and color set, I switch back to normal color and value adjustments in order tool, then copy or cut elements into
brush mode to keep refining the details on the to expand the overall value spectrum their own layers
light side. of the image, and bring the various
elements forward Use both the Lasso and Pen tools to
Use a Gradient Map layer to add basic get sharp, clean edges, while refining
color tone to the scene Keep in mind how the temperatures of shapes and details
the lighting affect the sense of distance
Overlay an image with 60% Opacity to and how the reduction of value contrast Once the basic value and color is set,
get some random texture and a basic in the far background increases the switch back to normal brush mode to
color palette in to the painting sense of distance continue refining details

Continue to add
details to the fore
and mid-ground of
the image

71
2DARTIST MAGAZINE | Design a dynamic dropship

07 Detail elements and dramatic

lighting: I start to add details to the focal
point of the image and the surrounding areas.
pipes, vents, and a lot of sub-structures. There are
also different architectural materials that can add
interest in the design.
one of the biggest elements of composition.
Good lighting brings in value contrast, enhancing
shapes, creating rhythm to the shapes and values.
While adding details, I keep in mind the elements Usually, casting a diagonal light is the most
I saw in the reference images of factories, both I also bring in dramatic lighting to make the effective way to create dramatic lighting that adds
interior and exterior. There are different sizes of composition more interesting. The lighting is interest to the scene.

2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 115

Here I pick color from a lighter section of the the light clean, and also to maintain the sharp Refining and adding details with factory
image and change my brush mode to Color edges. Pay attention also to how I gently bring elements in mind
Dodge to gently brush in the light with Soft brush. in some light fog to separate the ship from the
background interior structure. Add dramatic lighting to the

08 Refining and the second ship: I keep

using normal brush mode and Lasso
tool and Pen tool to refine the details, and I add
Because the second ship shares the similar
perspective lines as the focal point ship, I copy
composition using colors from
elsewhere in the scene

another layer and set the layer mode to Linear and paste the first ship and then I use Transform Copy and paste the first ship, then scale
Dodge. I select the area I want and use the Soft and Distort to make the copied ship fit into the and distort it to fit in the perspective.
brush to gently brush in the decorative lights. perspective. Then, in order to push it back to how Then use Level to adjust the value to
far away it should be, I use Level to bring down push it back to the distance
Selecting the area where I want the light to be both the values and the contrast, by flattening
helps me to keep the sides that are not lit by the bar. Use a Soft brush to gently brush in
decorative lights
73
2DARTIST MAGAZINE | Design a dynamic dropship

09 Outside focal point: It is now time to

flesh out the areas that are not the focal PRO TIPS
point, which include the far away cityscape and Observe and analyze references
the far background in the interior. When the deadline is pressing, an effective way to get the most out of a reference is to
observe and list the elements you notice that make a place or an object what it is.
For the far away cityscape, I use textures to
speed up the process. It should be kept in mind List concepts out first
that shapes with obvious and random ‘ups and I always list out the important four Ws and what details I feel I want to convey in the scene
downs’ have more rhythm than repetitive, similar right at the beginning. Even before I start researching.
rectangles and shapes.

2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 115

I also flesh out the far background area of the

interior. When adding details to the ceiling, I
remember to put in various pipes, which are
signature elements in a factory where structural
elements are usually left open if covering is not
necessary. I also think about the rhythm of the
lights on the ceiling, and break down and variate
the sizes of the rectangular lights.

10 Scale and final touches: In the last

step, I started to bring in elements that
might suggest how high a human is in the scene,
and now it is time to really bring them in. As there
are more colors involved, and I don’t know the
values they are in the scene, I directly adjust the
Use a reference image to create a city in Refine your first figure, then copy-and-
reference photo, color picking from the values
the distance paste it to create more figures. Use the
and colors of where I want.
Levels to adjust the contrast to fit
Use the Lasso tool to remove part of each person
I also add in more decorative lights to give the
the skyline
scene more life. For enhancing the focal point, I
Duplicate the entire image and blur
also copy and paste the entire image, and blur
Creating more ‘ups and downs’ add it (masking out the focal point which
it, and then mask out the focal point area. These
interest to the city in the distance doesn’t need blur) to enhance the sense
final touches can bring an image to life, but they
of depth
can be effective only if the fundamental elements
Add figures to the image by using a
are solid already.
reference image to color pick

75
The Artist

Jessica TC Lee
jessicatcl.com
 Brush up on the latest digital painting
techniques with the sixth volume of this
essential series for any digital artist.
“The latest edition of Digital Painting Techniques is a wonderful
collection of tutorials, giving unique insight into the creative
processes of many industry-leading artists. It will be a great
addition to any creative’s reference library, professional and novice
alike. Well worth checking out!”
Derek Stenning, Concept Artist and Illustrator, www.borninconcrete.com

Now in its sixth year, Digital Painting Techniques: Volume 6 continues

the tradition of showcasing the latest digital painting trends and
techniques, from industry experts including Carlos Cabrera (Applibot)
and Jan Urschel (Assassin’s Creed IV: Black Flag). In this latest volume,
artists will learn about the development of character moods, creating
fantasy battles and environments, building sci-fi worlds, and the
fundamental aspects of lighting and atmosphere, forming another
great addition to any artist’s shelf.

This book is the perfect resource for:

• Matte painters and concept artists for the TV, film, and game
industries
• Lecturers and students teaching/studying fine art courses where
they are starting to embrace digital painting as a valuable medium
• 3D artists who want to improve their texture painting and backdrop
paintings
• Photographers who want to branch out and use Photoshop for more
than just corrections and touch-ups
• Hobbyists who want to learn useful tips and tricks from the best
artists in the industry

SOFTBACK 216 x 279mm

288 FULL COLOUR PAGES
ISBN: 9781909414112

3DTOTALPUBLISHING
For more information about our full range of books, please visit:
shop.3dtotal.com
 The Artist

Maciej Drabik
maciejdrabik.artstation.com

Software Used:
Photoshop

Maciej Drabik is a concept

artist and illustrator, focusing
his efforts mostly on
environment design for the
videogame industry.

Create a post-
earthquake city
Design a cityscape shattered by a colossal earthquake using photo-
bashing techniques in Marciej Drabik’s tutorial for 2dartist magazine’s
altering environments series
2DARTIST MAGAZINE | Create a scene of epic proportions

Get tips on creating photo-

realism in a post-earthquake
city using Photoshop...
In this tutorial, I will show you how to use
fast photo-manipulation and digital painting
techniques to create a city after a cataclysmic
earthquake. Using photo-bashing techniques
– compositing and ‘bashing’ photographic
elements into new forms – I will show you how
to dramatically increase the speed of your
creative process.

We will add destruction to a photo base and

then I will show you how to use some tricks to
add mood, atmospherics and realism.

01 Changing proportions: I’ve found a

photo I like, but I want to get a more
cinematic look. This is why I’m extending the
view. In a new layer, I add black borders to help
me focus on the framing, but I can always hide or
unhide some areas.

02 Perspective: It’s good to have some

perspective guides. This will help me
when adding textures and blending photos.

For this, I’m using Sergey Kritskiy’s Photoshop

script from www.hundredsofsparrows.com, but
you can use some free perspective brushes, or
simply use the Pen tool to paint perspective lines.
In this case it’s easy because of the city structure,
with buildings as the reference points.

2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 114

“It’s important to have a

similar perspective or angle
in your photo textures, so you
won’t need to do a lot of image
transformations to match the
illustration’s perspective”

03 Getting textures: Before I start working

on an illustration, I need to find textures
to use. This time I use resources from www.
cgtextures.com and 3dtotal’s free textures
website, www.freetextures.3dtotal.com, as both
websites offer free-to-use images.

As you can see, I’ve searched for destroyed

buildings, debris, cracks, and so on. It’s important
to have a similar perspective or angle in the with (in this case, Layer 0, the background photo Extending the width of the original
photo textures you choose, so you won’t need to layer). This tool is very helpful but sometimes it photo and framing the new composition
do a lot of image transformations to match the just doesn’t work the way we want it to. In that with black borders
illustration’s perspective. case, we need to adjust the color balance and
levels manually. Adding helpful perspective guidelines

04 Matching color: Match Color (Image

> Adjustments > Match Color) is the
function I’ll use to match the color of my photos 05 Filling empty space: Because of my
earlier cropping, I now need to fill the left
The textures collected for this image

to my base image. In the Source drop-down box, side of the image. For this, I’m using a photo of a Using Color Match to match new
I choose the name of the work file that I have demolished building, using the Free Transform textures with the background image
opened in Photoshop. tool to match its perspective. (This is when it’s
good to have guides!) The rest of the empty space Filling holes in the image with
Then in the Layer drop-down box, I choose the is just loosely painted, and I will decide how to new buildings
layer that I want to match my photo textures fill it later.
83
2DARTIST MAGAZINE | Create a scene of epic proportions

2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 114

06 Clearing the road: I decide that no cars

are needed in my version of the scene, so
I just paint them out. I use a simple medium-soft
08 More details: Using the same
techniques as the previous steps –
transforming, painting over, and adding new
technique that I used for the road to add detail,
then copy the windows of the building behind to
fill in the resulting gap.
brush and the Eyedropper tool to pick the color of buildings – I add more destruction, debris and
the asphalt. cracks. The toppled buildings help to establish
what’s happened here. Painting over the unwanted vehicles

07 Adding cracks: I use an opaque,

pressure-sensitive brush to start painting
cracks on the road. At the same time, I’m looking 09 Distant smoke: I want to add some
smoke to help separate the shapes and
Creating realistic cracks in the ground

at references of how real cities look when they buildings. I use the Selection tool and a very soft Taking the earthquake details a
encounter an earthquake. brush to paint in the smoke on a new layer. step further

References are very important; many times,

there’s a big difference between how we think
something looks and how it really looks. After
10 Breaking the buildings: I need to add
some more major damage. The brick
building on the left is perfect for that. Using
Creating distance and atmosphere with
some smoke

painting some rough cracks, I help myself by the Polygonal Lasso tool, I separate part of the Adding more structural damage to
using photo textures to add detail and realism. building and knock it down. I use the same the scene

85
2DARTIST MAGAZINE | Create a scene of epic proportions

“High Pass is nice for

sharpening images because 12 Final touches: I use Adjustment Layers
to adjust the brightness and contrast of
the image, and also to add a blue Cooling Filter
layer and desaturate them. Next I choose the High
Pass filter from Filter > Other. High Pass is nice for
sharpening images because it enhances only the
it enhances only the edges
(Layer > New Adjustment Layer > Photo Filter) edges without destroying the rest. After using the
without destroying the rest”
that changes the atmosphere. I also add some High Pass filter on my desaturated duplicate layer,

11 Particles and smoke: I’ve now grouped

the building layers together, and it’s time
noise and a vignette effect. I set the layer blending mode to Overlay with
100% Opacity. The effect is pretty subtle, but I do
to add extra details on top. Using new layers,
photo textures and painting, I fill the image with
more atmospheric effects and some flying papers.
13 Sharpen: To sharpen the image, I’m
using the High Pass technique. To do this
I need to duplicate all visible layers into a new flat
mask some areas that are sharpened too much,
like debris and far-off elements that should be
less visible.

2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 114

14 Final touches: I’ll use a fake chromatic

aberration effect to blend everything
better. You can find it under the Filter > Lens
A few extra touches help bring the
image together The Artist
Correction. This is the kind of trick that ‘ruins’ the A cool blue Photo Filter gives a
quality a little, but thanks to this it will look more new atmosphere
realistic. I want more blue in the image, so I tweak
the color balance and then break the monotony Applying the High Pass filter to a
by using a big soft brush to paint the yellow light new layer
on the horizon. Finished! This image took eight- Maciej Drabik
to-ten hours in total. Faking the appearance of maciejdrabik.artstation.com
chromatic aberration

87
3DTOTALPUBLISHING AVAILABLE NOW!

An innovative and fun way for people

of all ages to find the inspiration to
pick up a pencil – and draw!

The Sketch Workshop incorporates a luxury

leather-style folder that can securely hold a
workbook and up to 20 quality drawing tools.
We’ve created a number of workbooks that
cover popular topics including:

Designed to be easy to carry and use on the

move, this beautiful art resource offers a
complete sketching solution for beginners,
hobbyists, and artists looking to brush up on
drawing skills, with tuition by pro artists.

FOR MORE INFORMATION ON THE

FOLDER, WORKBOOKS, AND DRAWING
TOOLS AVAILABLE, PLEASE VISIT:
SHOP.3DTOTAL.COM
 The Artist

Jorry Rosman
artstation.com/artist/jorry

Software Used:
Photoshop

Jorry Rosman is a freelance

concept artist who
specializes in environments.
He has worked on Guerrilla
Games’ Killzone 3, Killzone
Shadow Fall, and the
recently announced Horizon:
Zero Dawn.

Create an explosion
Continuing 2dartist’s altering environments series, Jorry Rosman reveals
how to create a convincing explosion in a sci-fi scene
2DARTIST MAGAZINE | Create an explosion

Create a realistic inner-city

explosion using photo-bashing
techniques in Photoshop...
For this tutorial, I will explain how I turn a
photograph of an urban area into a smoking,
exploded warzone using several photo-
bashing techniques. I’ll be covering techniques
like different blending modes, ways to easily
select certain areas of photographs, matching
values and colors, blending photos together
and so on.

Photo-bashing (making an image using

several photographs merged into one picture)
is a common technique in concept art for
videogames and movies alike. It’s a relatively
fast and efficient way of creating ‘mood
paints’ and pre-production concept art. It’s
quicker than painting everything by hand
and the end result is often more realistic. It’s
not uncommon practice in concept art that a
painting needs to be finished in a day or two
(or even less), so speed is important.

01 Setting up your photo: As a start, I drag

the chosen image into a new Photoshop
file of 6,000 pixels wide and 4,000 pixels high. I
recommend always working in larger resolutions
since it is easier to scale an image down rather
that scaling it up. Up-scaling will always result in
quality-loss.

Looking at the picture, I feel the picture is too

02 Removing reflections: I notice there’s
some kind of reflection right in the
middle of the image. It’s ugly and I want to get rid
it down a bit, making the image darker. I then use
the Layer mask to erase the parts outside of the
reflection with a black Soft Round brush until the
cropped and needs more space on the left side of it, so I create a Curves adjustment layer using reflection has pretty much disappeared.
for a better composition. So I select a thin strip on the ‘create new fill or adjustment layer’ button at
the left side of the image using the Rectangular
Marquee tool (M) and drag to the left edge of the
file using the Transform/Move tool (V)
the bottom of the Layers window (the one in the
middle) and select Curves. I grab the middle of
the line in the graph that just popped up and drag
03 Checking perspective: I’m almost
ready to start adding more elements
from different photo’s, but before I do so I want

2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 115

to make sure that everything I add is in the right burned out cars that I cut from photographs using Alt. Everything I add to this layer will now stay
perspective. I use the Line tool (U) to find my the Magic Wand Tool (W) and make sure all the within the boundaries of the layer underneath it.
vanishing point by dragging lines parallel to colors match the starting image using Image >
elements in the picture. Where the lines cross Adjustments > Match Color. I match the values
(on the horizon) is where the vanishing point is. using Levels, hitting Ctrl+L and dragging the black Choosing a picture and opening it
I create more perspective lines using a neat little triangle on the ‘Output Levels’ bar to the middle in Photoshop
trick; I select the polygon tool (U), put ‘sides’ on to get rid of the black.
‘99’, select ‘star’ in the options menu and put Getting rid of the reflection in the center
the indent sides on 99%. I can now drag more
perspective lines with the polygon tool from the
vanishing point.
05 Creating debris: Now I start to add
collapsed buildings and debris to the
area underneath the highways. I select the area
of the image

Finding the vanishing point and creating

using the Polygonal Lasso tool (L), occasionally perspective lines

04 Adding elements: Now I will start

adding elements from other pictures.
First, I add the broken road on the left. I use the
pressing Alt and holding down the left-mouse
button to turn the Polygonal lasso into a regular
one. Once the whole area is selected, I hit Ctrl+C
Creating the broken road and pasting in
burned car wrecks
Warp tool (Edit > Transform > Warp or Ctrl+T > and then Ctrl+V to copy-and-paste the selected
right-click layer > Warp) to have the road follow area on a new layer. I create a clipping mask by Adding collapsed buildings and debris
the curve of the flyover and erase unwanted areas making another new layer on top of this layer underneath the highways
with a Layer Mask (third symbol from the left at (Ctrl+Shift+N) and then clicking in between the
the bottom of the Layers window). I add some layers with the left-mouse-button while holding

95
2DARTIST MAGAZINE | Create an explosion

06 Developing interest: I decide I want

the main point of interest in my image
to be a big building exploding in the background.
right perspective using the perspective lines I
created earlier. I ‘destroy’ the building by pasting
pictures of demolished or bombed buildings
specific colors or color ranges. It’s a great way of
selecting elements that are contrasting with a
blue sky, for example. And again I use the layer
That means the flyover in the middle is in the way, on top of it, again using Layer masks to erase mask to erase parts of the buildings. Using the
so I get rid of it by vaguely painting the buildings areas and matching the colors and values with Gradient tool or a Soft brush in the Layer Mask is
in the background on top of it, using the brush the Match Color and Levels tool. I paste some a nice way of blending in pictures, without losing
tool. I pick my colors by left-clicking while holding textures of damaged concrete on the flyover in the content.
Alt, you can see the brush change into a pipette the foreground, using the ‘darken’ blending mode
symbol. I also add a ruin in the lower-right corner
to create more depth in the image.
to make sure only the dark cracks show up.
09 Creating atmosphere: At this point, I
feel the image is too bright. I want it to

07 Paste and warp images: I look for a

building that I like and select it using the
08 Blending in new buildings: I add more
destroyed buildings to really create that
feeling of a bombed, destroyed city. Besides
depict a war-torn city and I think a dark, dreary
atmosphere would be more suitable for that.

Polygonal Lasso tool (L) and Magic Wand (W). I Lasso tool and Magic Wand, I like to use the So I select the sky using a combination of Lasso
then paste it into my image and warp it into the ‘Select > Color Range’. With this option I can select Tool (L) and Magic Wand (W) and copy-paste it

2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 115

PRO TIP Getting rid of the middle section of

the highway to give the building in the
Matching color background more space
Photographs often have varying color schemes and shadow intensities. A picture that is
taken on a sunny day is vastly different from a picture that’s taken on a rainy day. A good Pasting in the main building and
way of matching these photos is using the ‘Match Color’ option. Select the layer that you blending it with the rest of the image
want to match with the rest of your image then hit Image > Adjustments > Match Color. The using Match Color
Match Color window pops up and you have to select your Photoshop file at ‘Source’ and
choose in ‘Layer’ which one you want to match your layer to. I use this trick a lot. Adding more collapsed buildings in
the background

into a new layer. I look for a photo of a nice, dark top of the city in the layer window, while holding Adjusting the overall atmosphere
sky and attach it to the sky-layer using a clipping Alt. This duplicates the layer. I blur the layer using of the picture so it fits the subject
mask. I use ‘Color Balance’ (Ctrl+B) to give the Filter > Blur > Motion blur in a downward angle, matter better
sky the color that I want. Now I drag the color- and switch the blending mode to darken. This
balanced sky underneath the sky layer and on way the city matches the dark sky.

97
2DARTIST MAGAZINE | Create an explosion

10 Adjusting colors: I keep adjusting

the image’s overall color, playing with
the Levels, Curves and Color Balance until I’m
satisfied. I add a light patch of sky on the left side
using the ‘Lighten’ blending mode and add some
clouds on the right side. Using a black Soft brush,
I erase parts of the layer that’s darkening the city,
getting some light back and creating some clearer
focal points.

11 Adding details: I’m happy with my

overall composition and color scheme so
from this point on, I’ll start detailing and adding
stuff rather than making big changes. I add more

2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 115

destruction on the flyover in the foreground using

the ‘Darken’ blending mode. I add some detail
to the other part of the flyover in the middle and
some buildings in the background on the right
side of the image.

12 Drawing in rebars: I keep on detailing,

adding rebars to the middle flyover
using the ‘Lighten’ blending mode again, and
painting some dark rebars on the flyover in the
foreground using a simple Round brush. I add
more rebars by pasting in a photo of a rebar
with a light background (the sky) and using the
Select > Color Range option to select and delete
the background, leaving me with just the dark
rebar. This method works best in photos with a
high contrast. I also add a splash of orange and
a scaled down and distorted photo of a burning that catch my attention. I add even more Sharpen. Then I add some subtle noise using the
building in ‘Lighten’ mode to suggest a fire. destroyed buildings and debris and I paste some Filter Gallery > Artistic > Film Grain option and
smoke in the background giving the suggestion we’re done!

13 Adding the explosion: Now it’s time

to add an explosion! I start by setting
the building on fire using a photo of a forest fire
that there are fires burning in the distance. I add
some red streaks in the sky using a ‘Linear Dodge’
layer and blur it a bit with the Smudge Tool and Adjusting the image’s overall color,
and putting it on ‘Lighten’. The ‘Lighten’ mode the Eraser with a texture brush. I add some more playing with Levels, Curves and
works great for fires, because most pictures of buildings and a big heap of debris on the right Color Balance
fire have a high contrast and a dark background. side. The image is almost done now.
I paste in a photo of a cool explosion and get rid Adding more detail
of the background, again using the Select Color
Range option and deleting the selection. I use the
Smudge tool to soften the edges of the explosion
15 Finishing touches: As a finishing touch,
I add some flying sparks using a picture
of small fireworks on ‘Linear Dodge’ mode and
More detailing and starting to paint in
some fire
where I feel they are too sharp, and paste parts of blur it using Filter > Blur > Motion Blur. I move
the same explosion in ‘Darken’ mode on the other the layer to the top-right corner holding Alt, Adding the big explosion on the
side of the building. I also add some more orange duplicating it, and I tilt it into a slightly different main building
at the base of the building. angle. I add some lens dirt near the explosion
using a picture of lens dirt in ‘Screen’ mode. As a Adding more fires, red streaks in the sky

14 Altering small details: From now on, I

only add small details and fix mistakes
last step I merge the whole image on a new layer
(Ctrl+Alt+Shift+E) and sharpen it using Filter >
and overall detailing

99
The Artist

Jorry Rosman
artstation.com/artist/jorry
 3DTOTALPUBLISHING

“These tutorials not only

provide interesting exercises
for the beginner to help build a
strong foundation for drawing
and painting, but also provide
important insights into the
mindset of a concept artist. Very
useful and inspiring!”
Lois Van Baarle (aka Loish)
Digital concept artist & animator | loish.net

Following on from the highly successful Beginner’s Guide to Digital Painting in Photoshop, this
latest title explores the popular techniques used in character design.
Beginner’s Guide to Digital Painting: Characters is a comprehensive guide for artists wishing to create convincing and detailed
characters. It features established artists such as Charlie Bowater (concept artist at Atomhawk) and Derek Stenning (freelance
concept artist and illustrator, with clients including Marvel Entertainment and Nintendo) who share their industry experiences by
covering such aspects as posing characters, choosing the correct costumes, conveying emotions, and creating suitable moods.
Comprehensive step-by-step instructions – plus a quick tips section demonstrating how to paint elements that are integral to
character design and a glossary covering essential Photoshop tools – make this an invaluable resource for those looking to learn
new skills, as well as those pursuing the next level.
An inspiring collection of drawings and articles exploring the
sketchbooks and artistic practices of 50 talented sci-fi concept artists.

Sketches and drawings are the foundations of great art, where thoughts
and concepts first come to life as an image. In Sketching from the
Imagination: Sci-fi, 50 talented traditional and digital artists showcase
their sketches, share their inspirations, and explain their approaches to
drawing sci-fi art. From doodles of robots and aliens, to concept designs
for spaceships and speculative life-forms, Sketching from the Imagination:
Sci-fi is a visually stunning collection packed with useful tips and creative
insights – an invaluable resource that will inspire artists of all abilities.

ONLY 17.99 (APPROX 29.99) | 320 PAGES | ISBN: 978-1-9094142-2-8

 The Artist

Julien Lasbleiz
on.fb.me/1Kzf2n6

Software Used:
Photoshop

Julien Lasbleiz is the lead

lighting technical director
at Digital Domain, and
has worked on movies
including Harry Potter
and the Deathly Hallows,
Maleficent and Pixels.

Classic
portraiture
Artist Julien Lasbleiz explains how he creates
his digital portraits using a traditional style
 2DARTIST MAGAZINE | ISSUE 115

See how Julien Lasbleiz

created Pinky White...
Julien Lasbleiz uses Photoshop to create
stunning portraits which are reminiscent of
traditional oil paintings. Here Julien gives us
a simple step-by-step guide to the creative
process of one of his recent paintings, Pinky
White. He shows us how he painted a life-like
portrait in Photoshop using contrasting colors,
sub-surface scattering, and paying close
attention to light and shading. In this overview
Julien also includes a selection of handy
tips and tricks for you to think about when
painting a portrait.

01 The initial idea: When I start a new

drawing I try to focus on the structure
and dynamics of the picture first. Then I
eventually fill in the main shadows onto the basic
outline. I try to stay away from any kind of detail
at the beginning. What I am looking for here is
more of a visualization of how the portrait is going
to sit in the frame, rather than a detailed base. For
this, a rough sketch is usually good enough.

02 Contrasting colors: Then I put some

plain colors together and see how it
looks and feels on the character. For this picture,
I knew from the start that I wanted a dominant
pink color in my palette. I also wanted to have
a touch of complementary color versus the red-
pink, so I added the green eyes to stand out from
the rest of the color scheme. As I also wanted the
viewer to focus on the eyes more, the green helps
to pull the viewer in. By giving an area more of a
contrast to the main color you can create interest
in this area. Julien began with rough sketches to work out the direction of light and shadow

A color wheel helped Julien to find the complementary

He filled in large blocks of space with contrasting pink colors color green for the eyes

105
2DARTIST MAGAZINE | Classic portraiture

Julien also drew some additional pencil sketches to

practice the look of the painting

Julien worked out where the main shadow would fall by roughly
marking out the direction of the key light in the image

He then added depth to the image by using a color pallete of differing skin tones

Julien began to work on making the hair seem realistic

by painting in waves He roughly sketched out the directions in which the hair will move

2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 115

03 Traditional sketches: Please note

that for this painting, I have done an
extra step, using my sketchbook to draw a few
As the project neared completion Julien worked on the translucency of the skin

traditional sketches of the portrait. This was not

really necessary in my process, but I did it for my
own personal enjoyment, and so that I could
practice how the drawing would look before
going further into colors and values.

04 Shading: I decided when I was filling

in the main shadows on the very first
sketches, that the key light source in the portrait
would come from above, and slightly to the left,
so that shadows fall below my character’s chin
and to the right of her hair. Keeping in mind the
position of my key light, I now started to add
depth to the portrait. I used a palette of slightly
differing colors for the skin tone, picking up areas
where there is the most light in very pale colors
and areas where there is more shadow in darker
reddish and purplish colors. With a top light like
I have in this portrait, you need to take time to
observe and remember how the diffuse lighting
and highlights look on a face.

05 Hair shape: Now I moved on to making

the portrait look like there was more life
to it. In terms of the hair shape, I changed my 06 Skin details and polishing: Once I
was happy with the rough shape of the
through the skin, the light makes the shadow
warmer, brighter and a bit more saturated.
mind in the middle of the process. When I started, hair in step 5, it was time to polish it. It was at Depending on your lighting condition, add more
I did not have an exact idea of what to do with the this point that I finally allowed myself to go into or less variations of color and brightness in your
hair cut, so now it was time to fix it. details. When you get to the details you know that shadow areas to make the skin more translucent.
the painting is kind of done. After the details you
When it comes to hair, look first for the main just have to do the final polishing and that is the As a general note, always remember that
curves and the directions they move in. This will easiest part of the job. materials and lighting condition are always
give you an overall idea of the shape and flow. directly related to each other when it comes to
But before I started polishing this portrait, I had to painting realistic pieces.
Long hair can be complex sometimes. Always use do some work on the skin. How do you get skin to
references if you feel like you need inspiration to
help you draw the hair, as it is an important part
of making the portrait look realistic.
look like skin? It’s mainly the result of replicating
the translucency factor (or SSS, Sub Surface
Scattering). Look at figures 6a and 6b. As it’s going
07 Final touches: The picture was still
feeling too monochromatic to me, and
the chest area was still flat, so the blue cloth
came up. I liked the blue here for the color
The graphic demonstrates the difference between skin tones with and without Sub Surface Scattering contrast. If you check the color wheel I used
earlier you will see that the blue sits in the middle
between the green and the pink.

As a final note, you should also be careful with

edges. Edges can be tricky to master. Even though
I don’t have obvious lost edges in my piece here,
you might notice that there are sharper edges
(center of the face) and broader edges (shoulders
and hair). Edges help to conduct the eye of the
viewer where you want it. Sharp and higher
contrast areas are more eye-catching.

That’s all for this process. The rest is just

polishing! Once you get tired of polishing and you
feel that the portrait looks right, you can assume
that your piece is done. I hope you enjoyed
reading how I make my portraits. Happy painting!

107
The Artist

Julien Lasbleiz
on.fb.me/1Kzf2n6
3dtotal presents the new issue of
3dcreative magazine, a downloadable
monthly magazine for digital artists for
only ₤2.99 (approx. $4.79/€3.69).
Visit www.3dcreativemag.com to see a full preview of the latest
issue, subscription offers, and to purchase back issues.

119

Issue 119 | July 2015

DESIGNING A
MOBILE APP
Jeremy Kool shares an insight
into his interactive mobile
venture The Paper Fox

available
+plus
• Stellar sci-fi concepts
• Epic ZBrush creations
• PBR maps for game assets
NOW
shop.3dtotal.com
• Atmospheric interiors in 3ds Max
• Learn to sculpt muscle groups
• and much more!
3 D T O TA L ’ S A N AT O M I C A L C O L L E C T I O N :
NEW FIGURES COMING SOON

Affordable anatomical reference figures for

traditional and digital artists, including male and
female planar models and the impressive biosuit
figure designed by Alessandro Baldasseroni!
 ORIGINAL MALE
AND FEMALE
FIGURES STILL
AVA I L A B L E F R O M :
S H O P. 3 D T O TA L . C O M
 The Artist

J.C. Park
j-circle.net

Software Used:
Photoshop

J.C. Park is a concept artist

and illustrator from Seoul.
He works on films and
animations, and he has
created concept art for
videogames Aion and Legend
of the Criptids.

Create a futuristic scene

See how J.C. Park created his imaginative futuristic fantasy scene, Silver Falcon, using
separate layers for perspective and quick, precise painting skills
2DARTIST MAGAZINE | Creating Silver Falcon

J.C. Park discusses his highly

personal process...
Hi everyone! I am glad to be able to introduce
the working process for my personal work
Silver Falcon. This process is extremely
personal to me, but I hope that it will be a
good reference for your own work.

At the beginning of the process I thought

about old native people meeting future
civilizations, and the symbol of this future
civilization is a falcon that was made machine.
You can see the machine is made of a very
glossy metal. The point of this artwork is just
that I thought: let’s make a creative scene that
no one has ever seen before.
PRO TIP
01 Paint under color: I started by painting
an under-color that was a little ocher
with a low chroma. The reason that I chose this
Separate layers
Use separate layers for close-range view,
middle distance, distant view. This scene’s
color was that the color tone of the final image layers consist of the sky in distant view
will be a warm color tone. and the roof mass in middle distance. The
falcon, the people and the bridge are in
This process will be progressive, so there was close-range view. The reason that I do this
no sketching at first, simply the background to process is that it makes it easy for me to
begin. So I imagined a sketchy final image, the modify each part when I need to adjust
perspective, the composition, and some image scale, delete outlines of silhouettes, adjust
silhouette in my head instead. the contrast of a mass, and so on.

02 Expression of sky: I drew a clean blue

sky and cloud onto the previous canvas
with a thick rough brush that is in the basic brush
Use separate layers for close-range
view, middle distance, distant view

setting in Photoshop. You can also use a photo

2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 115

image that is similar to your idea, and retouch roofs later, so I had to draw each roof a different Painting an under color that is little
it with the same rough brush. At this time you size. I don’t draw in front of the roofs because I ocher with a low chroma
should think about the direction of natural light. will be locating a bridge here.
The light direction was from top-right to lower-left Drawing a clean blue sky and cloud
in this image.
04 Draw in clouds: I drew some clouds
in front of the roofs, and some below
according to the light direction and the
basic rough brush

03 Rough draw old town roofs: I roughly

drew some roofs on to the previous
image to represent the old town, adjusting the
because this was the landing space for my silver
falcon, who will be suspended near to the ground. Roughly drawing some roofs with
another rough brush
composition of the whole canvas with another Also, I feel like creating a temple emerging from
rough brush. This brush was a basic Photoshop the clouds. This cloud could be some rough, and Softly drawing some cloud in front of the
brush also. I also put distance between these two then some background cloud. roof and a little below

115
2DARTIST MAGAZINE | Creating Silver Falcon

05 Draw the main silhouette: I drew

silhouettes of the main elements;
these were the falcon and some people, using
a rough brush with monotone color. I drew very
quickly, and adjusted the scale so that the falcon
and people were clearly important. The falcon
silhouette was quite angular to show that it had
been set as a machine. It also needed to express
some light and shade in monotone. This step
should be done very quickly and exactly.

06 Color painting in earnest: I now began

painting color on three parts of the
painting; the falcon, the bridge and the people of
the temple. I painted with a metallic color on the
falcon mass, and made it seem glossier. I covered
the bridge mass with some brick texture, and
kept in mind the direction of natural light while
painting color at this part. The falcon was glossier
than the other masses because it consisted of a
metal that was silver.

07 Express dust around the falcon: I

drew a little more dust around the falcon
because the huge falcon is flapping its wings. The
dust grain should be very small in comparison
to the huge falcon. The roofs that are behind the
falcon must also feel far away. To express distance
between the falcon and the roofs, I used a large
airbrush. I painted more deeply on the upside of
the people because it would attract attention.

08 Revise according to light direction:

The structure near to the bright falcon
needed enhanced contrast according to the

2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 115

direction of natural light that came from the right high, and the falcon gets direct lighting from the which was the main element in this scene. For
side. So I drew deeper on the left side of the roofs front. This made the scene more dramatic. example, I added some detail to the inside frame
that were against the direction of light. Also the of the falcon, and patterns to the roof and shade
right part of the bridge floor had some shade
coming from a structure on the right that was not
seen, because it was off the edge of the canvas.
10 Add more contrast and detail: The
overall contrast should be increased to
draw attention to the more detailed elements. I
to the people’s faces. Finally, I added a pilot that
sat on the falcon, so we knew the falcon was not
an enemy. The pilot wore the same clothes as the
therefore had to draw more focus to the falcon, other people.

09 Express the environment naturally:

Each element, like the falcon, the roofs,
and the arch of the bridge seem to be separate, Very quickly drawing and adjusting Enhancing contrast according to the
but they should look like they exist in the same the scale so the falcon and people are direction of natural light coming from
environment. So I drew direct lighting on the equally important the right side
right side of the falcon, and added dust smog.
I also drew more cloud in front of the bridge, Painting a color on three parts: the All elements should look like they exist
so now there was a feeling that this space was falcon, bridge and people of the in the same environment. It makes the
temple. Be careful with light direction scene dramatic
“The overall contrast
should be increased to Drawing a little dust around the Overall contrast and detail is increased
draw attention to the more falcon and the roofs behind to make and a pilot for the falcon is added
detailed elements” the falcon feel far away

117
The Artist

J.C. Park
j-circle.net
2DARTIST MAGAZINE | Digital Art Master: Thomas Scholes

20% OFF
Discount code: damv820

DIGITAL ART MASTER:

Snowfall
by Thomas Scholes
Learn how to rework old abandoned artworks into more impressive
scenes with help from expert environment concept artist Thomas
Scholes, in this sneek peek from Digital Art Masters: Vol. 8
120 | 2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 115

The Artist

Thomas Scholes
www.artofscholes.com

Software Used:
Photoshop

Thomas Scholes is
a freelance concept
artist and visual
developer specializing
in environments and
pre-production. He has
worked on projects for
Disney Interactive’s
Avalanche, NCSoft’s
ArenaNet, and Microsoft’s
343 Industries. He is also
currently working as an
instructor with Futurepoly
and Motivarti.
20% DISCOUNT CODE: DAMV820
121
2DARTIST MAGAZINE | Digital Art Master: Thomas Scholes

Claiming back work got dozens of these dead-ends lying in wait, Although the framework is present, I am still
I think as artists we give the majority of our few that have enough value to share on their careful not to attach any additional expectations
energy to our work and as such, we lament own, but each with elements worth saving and to the image. Free from the personal desire for
our failures and all that wasted energy. re-examining again. finished work and the pressures of an updated
Therefore, not unlike those that live paycheck portfolio, the mind is allowed the bliss of painting
to paycheck, we must take great care with our Exploration simply for the sake of painting. I believe that it
motivational budget. Each dead-end, though Having little to no expectations at this stage, I is through this process the best works can be
it has returned much in the form of knowledge am free to explore the potential of what I have created (Fig.04).
gained, still represents a significant before me. By employing this process of unbound
investment left unclaimed. In its reuse, we not discovery I am consistently presented with new The light colors borrowed from the sky and now
only claim back this energy as the catalyst for questions to answer, and knowledge to be gained lying abstracted upon the ground conjure up the
new work, but we gain another opportunity through minimal effort relative to a more direct impression of snow, so I adjust the palette and
to answer questions left unresolved, to pick manner of study (Fig.02). add a bundled up figure (Fig.05).
up where we left off with the benefit of a fresh
perspective and frame of mind. For this image, I transform and distort the entire It is no coincidence that this contrasts not only
image using a few Lighten layers, creating new, with the mood of the original sketch, but also
The image in question was born in this manner abstracted planes of perspective, and in doing so, with the palette of the other paintings I am
and is similar to much of my work. In this I create a spatial scaffold on which to build a new working on at the same time.
specific example the image borrowed was a piece of art. With these first few discoveries, the
simple sketch, a fairly unremarkable dead-end tone of the image has become manifest, and from This variety is necessary as I’ll often find myself
whose value was not the end result but the here on out it starts to become more work than asking the same questions, and though solving
many things learned throughout (Fig.01). I’ve play (Fig.03). these problems is a worthy endeavor, it is often

122 | 2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 115

20% DISCOUNT CODE: DAMV820

123
2DARTIST MAGAZINE | Digital Art Master: Thomas Scholes

through shifting focus and answering new

questions that old issues are resolved.

Refinement
The structure of the image is now almost resolved
and from here on most changes are just cosmetic.
There is a constant back and forth of massaging
the small shapes, angles and brush work to
enhance the potency of the overall composition
and readability of the image (Fig.06).

Though this stage of adding detail and refinement

represents an insignificant portion of the
canvas, it takes far more time and effort than
the preceding process. This may seem counter-
intuitive, but it’s a worthy investment that greatly
amplifies the larger statements.

Confident that the subject, mood and

composition are nearly finished, I decide to
backtrack a little and unify the perspective. This
can be as simple as trimming or augmenting
a few angles or as complex as transforming
and distorting entire regions into place. As the
structures in this image are rather organically
constructed as well as a bit worn and sagging,
I don’t feel it necessary that each component
should share the same vanishing point (Fig.07).

124 | 2DARTISTMAG.COM
 2DARTIST MAGAZINE | ISSUE 115

“I feel it’s necessary to move efficiency and economy of effort. It is best to periods of time. In the end, I have left a few things
on and be able to forgive an know when to pick your battles. unfinished, loose and unrefined; some by design
image’s flaws in order to stay and others because the investment wouldn’t
motivated and keep painting” At this stage, it is often helpful to walk away for have been worth the cost (Fig.09 – 10).
a few hours or even days. I find a great deal of
The illusion only requires a general conformity energy and patience is gained simply by taking I often find myself trapped near the end, spending
among the majority of masses, as well as some a break. a great deal of time with little to no improvement.
reinforcement in the details (Fig.08). Overall, when I feel it’s necessary to move on and be able to
presented with the choice of aesthetics versus It can also help push an image further, reveal forgive an image’s flaws in order to stay motivated
technical exactness, I will most often choose the flaws you had overlooked, as well as present and keep painting. It’s often a good strategy
former. I do not wish to dismiss the importance of new ideas and directions; the sort of things to start work on a new painting and use its
correct drawing however, but rather emphasize you’re often blind to when working for long momentum to pull you away from the last one.

20% DISCOUNT CODE: DAMV820

125
The Artist

Thomas Scholes
www.artofscholes.com
NEXT MONTH
See some inspiring speed paintings

Christo Dagorov’s incredibly detailed

pencil drawings

Create a hovering sci-fi vehicle

Vibrant videogame concepts

Project overviews of inspiring artworks

10 of the best 2D images from around

the world

PLUS MORE!