Interview

Blaz Porenta

Articles

Sketchbook of
John Thacker

The Gallery

Digital Painting Magazine

Issue 089 May 2013

Bruno Hamzagic,
Evan Lee,
plus more!

Cover Image by Richard Tilbury

In the third part of the

Costume Design series,
Richard Tilbury creates
two different designs
for Religious Leaders.
Theyre excellent!

Fire Truck

The Off World Vehicles series comes to a close, with Mike Hill showing
us how he created his vehicle, the Fire Truck.

Designing New Worlds

In the penultimate part of this series, Gerhard Mozsi paints an Industrial

Facility, and shares techniques on how to create your own for your world.

Creating Original Creatures

The final part of Vinod Rams series on Creature Anatomy features an

original creature and tips for designing your own.

Contents
Contents

Editorial
Keep practicing!
You can never be
too good.

Hello and welcome to the

May issue of 2DArtist!

Whats in this months issue?

006

We hope you all had a

great April. We definitely

Blaz Porenta
Gesture is so important
to making an appealing
drawing, so sometimes
I will just make things
for that sole purpose

016

enjoyed it here in the UK,

Sketchbook

The sketchbook of John Thacker

with national holidays left

The Gallery

022

right and center, giving us

a nice selection of days off

10 of the best 2D artworks

Its been a while since we last spoke to the Blaz Porenta and a lots changed in this talented concept artists life over the
last couple of years. He chats to us today about being part of the fantasy card game Legend of the Cryptids, leading a
3DTotal workshop and what he has to look forward to in the future.

to enjoy the long overdue

Off World Vehicle Design

034

sunny weather, and lap up

Fire Truck by Mike Hill

some inspiration. It may

As always, it starts with
be tempting to get outside the
some sketching to find
will enter the frame

but if you would rather stay inside and get some painting done,

Designing New Worlds

044

The ability to sketch and render vehicles is an important asset in the field of concept design. In this tutorial series each artist has been given a brief description of
a possible vehicle, which they will approach like a games brief to demonstrate the techniques used when creating a vehicle concept.

February Issue 086 Speeder March Issue 087 Deforestation April Issue 088 Personnel Carrier This Issue Fire Truck

right composition, where

and enjoy some are placed and what

parts sunshine,

John Thacker, a concept artist in the game industry, shares his whimsical sketches of

Industrial Region/Facility by Gerhard Mozsi

trains, bicycles and fantastical creatures in this months Sketchbook article.

Costume Design

052

Religious Leader by Richard Tilbury

2DArtist is full to the brim with outstanding content and jaw-

Creature Anatomy

060

dropping tutorials to provide all the inspiration you need!

French illustrator and digital painter Khasis Lieb

takes us through some of the finer processes

DESIGNING

in painting his psychedelic portrait. This broad

overview is full of useful tips on everything from the
concept through to lighting.

In our vibrant tutorial section this month we continue to bring you

NEW WORLDS
064

Games and films are made up of many different features such as characters, environments and vehicles, and it is important that all these elements work together

to demonstrate a consistent visual language and therefore create a believable environment and society to engage the audience. In this series our artists will take a

comprehensive look at creating a new world from a concept perspective, and investigate the processes and techniques that can be used to create all the major features of a

visually stunning work from some of the most exciting names

game or film.

Creating Original Creatures by Vinod Rams

Absinthe

Project overview by Khasis Lieb

in the digital world. Vinod Rams shares tips and techniques to

successfully create original creature designs.

Interview - 2D Artist

Westbound

072

This month we feature: Jennifer Healy | Evan Lee | Titus Lunter | Bruno Hamzagic | Sayja

Digital Art Masters: Volume 7 Free Chapter

Bastien Grivet | Aekkarat Sumutchaya | Markus Lovadina | Arthur Haas | Mohamed Elgalad

About Us

081

In this penultimate installment of our New Worlds tutorial series,

3DTotal.com Ltd information and contacts

Gerhard Mozsi examines the industrial core of the society in

Costume design is an important element to character design as it helps to enhance a characters personality. You can create an evolving plot of color, changing social status,

the world he has created, as well as demonstrating the process

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behind using light and color to create atmosphere.

All products and websites created/published by 3DTotal.com Ltd including www.3dtotal.com,

or period through the visual design of garments and accessories. In this tutorial series each artist has been presented with a games-like brief describing a character from a
certain section of a fantasy medieval world, and they must design clothing suitable for that characters job description.

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With the continual development of technology in video games and the wild, imaginative story lines of films, the possibilities of what concept artists are able to produce

We also continue our Costume Design and Off World Vehicles

become broader in detail and function. With strong silhouettes, recognizable color schemes and distinct proportions in anatomy, it is still important to know the basics of
animal and human anatomy when designing these creatures. In this three-part series, talented concept artist Vinod Rams demonstrates how to use human anatomy as a

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basis for creature design, create a hybrid creature based on human and animal anatomy, and use real word examples as a reference for designing a creature from scratch.

series, which see Richard Tilbury design a defined costume forDigital Art Masters: V7
a
religious leader, and Mike Hill create a concept for a fire-fighting

Grab your exclusive 20%

discount code at the end of
this tutorial!

truck by exploring the use of a 3D block-in to define the forms. Its

the very last chapter of our Off World Vehicles series, so make
sure you dont miss out!

Editor
Jess SerjentTipping
Lead Designer
Chris Perrins

finer processes in painting his psychedelic portrait. This broad

Content
Richard Tilbury
Jess SerjentTipping

Proofing
Jo Hargreaves
Marketing
Emma Handley

Free Stuff!

Illustrator and digital painter Khasis Lieb draws inspiration from

the absinthe drinkers of France and takes us through some of the

Layout
Az Pishneshin
Matthew Lewis
Layla Khani

Wherever you see this symbol, click it to

download resources, extras & even movies!

overview is full of useful tips on everything from the concept

through to lighting.
If all that wasnt enough we also have an interview with
awesomely talented concept artist Blaz Porenta, a whimsical
sketchbook by John Thacker and our fantastic gallery, which
features ten outstanding digital images from some very talented
artists such as Markus Lovadina, Bruno Hamzagic and Bastien
Grivet. Enjoy!

Image by Bastien Grivet

www.2dartistmag.com

page 2

Issue 089 May 2013

Get the most out of your

Magazine!

If youre having problems viewing the double-page spreads that we

feature in this magazine, follow this handy little guide on how to set
up your PDF reader!

Setting up your PDF reader

For optimum viewing of the magazine it is recommended that you have
the latest Acrobat Reader installed.
You can download it for free here: DOWNLOAD!
To view the many double-page spreads featured in 2DArtist magazine,
you can set the reader to display two-up, which will show doublepage spreads as one large landscape image:
1. Open the magazine in Reader;

View menu, then Page display;

Two-up Continuous, making sure that Show
Cover Page is also selected.
2. Go to the
3. Select

Keep practicing!
You can never be
too good.

Contributors

Blaz
Porenta

As a child Blaz read thousands

of fairy tales. Today he tells
them himself but instead of
writing them, he paints them.
Blaz likes to create a snapshot
of his world for viewers, and let them create their own
story.

Contributing Artists

http://www.blazporenta.com/
blaz.porenta@gmail.com

Every month many artists from around the world contribute to 3DCreative
and 2DArtist magazines. Here you can find out a bit more about them!
If you would like to be a part of 3DCreative or 2DArtist magazine, please
contact: jess@3dtotal.com

Gerhard
Mozsi

Richard
Tilbury

is an Australian artist who has

Richard Tilbury has had a

passion for drawing since being

worked both remotely and

a couple of feet tall. He studied

on-site for studios in the USA,

Austria, Germany, Australia,

Fine Art and was eventually

and the UK. He studied

led into the realm of computers

several years ago. His brushes have been dissolving

traditional art at university before exchanging the

in white spirit since the late nineties and his graphics

paintbrush for a Wacom, and now works primarily

in the digital medium. He has been working as a

tablet has become their successor. Richard still

artist and matte painter for film and games

sketches regularly and now balances his time a while since we last spoke to the Blaz Porenta and a lots changed in this talented conceptconcept the
Its been
artists life over
development for the last years, and his work can be

last couple of years. He chats to us today about being part of the fantasy card game Legend of the Cryptids, leading a

between 2D and 3D, although drawing will always be

3DTotal workshop and what he has to look forward to in the future.

closest to his heart.

seen on his website and blog.

http://www.richardtilburyart.com

http://www.gerhardmozsi.com/
contact@gerhardmozsi.com

ibex80@hotmail.com

Image by Titus Lunter

www.2dartistmag.com

page 4

Issue 089 May 2013

Keep practicing!
You can never be
too good.

Its been a while since we last spoke to the Blaz Porenta and a lots changed in this talented concept artists life over the
last couple of years. He chats to us today about being part of the fantasy card game Legend of the Cryptids, leading a
3DTotal workshop and what he has to look forward to in the future.

Blaz Porenta Interview

Hi Blaz, how are you? I cant believe Im
saying this, but its been over four years
since your last interview with 2DArtist time
flies! For those who may not have read
that interview could you tell us a bit about
yourself as an artist?
My schedule is fully packed, but I couldnt be
happier! Has it really been that long? I feel old
now!
I am an illustrator, living in my little world of
horror and fluffy animals it depends on the
day. I love to challenge myself by painting
stories, portraying emotions and exploring
traditional technique and styles in digital media
along the way.
The last time we spoke you were working
as Art Director for Actalogic. What have you
been up to since then?
I am currently working as a full-time concept
artist and painter at Outfit 7, a company most
known for their Talking Friends app franchise.
Not my typical horror genre, but I found myself
really enjoying the variety of work I am getting
there. Im doing everything from creating new
characters and environments for a kid audience,
to working on video projects in collaboration
with Disney. Then in my spare time at home, I

balance that with a couple of freelance projects,

Japanese client, Applibot. I choose a character

where I can fulfill my tendencies for some horror

of my choice, and then create my vision of him

and fantasy paintings.

without the pressure of tight deadlines. I couldnt

be happier!

Since the last time you spoke to 2DArtist,

what have been your favorite projects to

And last but not least, a personal project that I

work on?

am working on with two of my close friends: a

I would like to point out a couple of them. One,

mobile app game named Swamp Attack. It is

for sure, was working on a series of well-known

an indie game in its final stage of development,

children stories for 3DTotal, portraying them in

and I hope well be able to find a publisher for it

a horror fashion. That was a project Id been

soon, or release it on our own.

planning to do on my own for a long time; I just

You told us a bit about where youd like

needed a push.

to see yourself in ten years time and you

The next one is currently ongoing: working on
fantasy card game Legend of the Cryptids for a

www.2dartistmag.com

mentioned attending some great workshops.

Youre about to be on the other side of that

page 7

Issue 089 May 2013

Interview

Blaz Porenta

as you are leading a workshop for 3DTotal

soon could tell us a bit about it?
That is true. I didnt expect that at all, but it
was a really nice surprise and honor to get an
invitation. I am really looking forward to sharing
my experiences with other artists, helping them
and of course, learning from them as well. Ill be
focusing on how to use colors and composition
to create an atmosphere in a narrative painting.
I know there will be some awesome art from
students at the end of that workshop and
knowing Ill be a part of the journey of creating
them gives me a great joy!
Could you tell us about any other projects
you have coming up that you are really

also a comic book on the way, but I am always

getting the job they dream about on their first

looking forward to?

on the lookout for something challenging, so

try. If you love doing it, do it on your own. Build

I am getting quite a few offers for work on

who knows what will find a way into my already

a strong portfolio, work on smaller projects

different card games lately, but since I am

hectic schedule!

and post regularly on art forums and websites.

fully-booked with my ongoing aforementioned

I know from personal experience that many

projects, I have to unfortunately decline them

Do you have any advice for people who want

big companies, as well as smaller clients, are

for now. I hope to do some more work for

to get into the industry?

surfing through these forums and contacting

Applibot in the future, as well as maybe one or

Dont stop at anything. I know many talented

artists for their next projects. And keep

two more indie games for fun. Oh, and there is

people who get easily unmotivated by not

practicing! You can never be too good.

www.2dartistmag.com

page 8

Issue 089 May 2013

Blaz Porenta Interview

www.2dartistmag.com

page 9

Issue 089 May 2013

Blaz Porenta Interview

Youve mentioned that you like to explore
different techniques and styles. Could you
tell us a bit about your workflow, process
and the software you use?
My workflow varies from project to project.
Sometimes I start with quick sketches, followed
by line art drawings, a couple of variations
(especially when working for clients), then
blocking in tone values and finishing it with color.
Yet another time Ill just go with the flow and
start with abstract forms, spilling colors all over
the place, searching for a story to pop out.
I love the look of traditional media paintings,
where you can see the texture of the media and
feel the personal touch of an artist. Although I
paint mainly digitally, I strive to achieve these
qualities and search for ways to imitate them.
Although I use Photoshop throughout the whole
process, my work usually ends up in ArtRage,
where I apply some thick brush strokes and mix
colors with a palette knife as a final touch.
You are involved in such a variety of areas,
which of these areas do you enjoy the most?
Nowadays I enjoy every project I am working
on. I am fortunate to have a variety of offers, so
I can pick what interests me the most. I could

say I prefer more complex fantasy and horror

paintings, which take me anything from a week

That is always the hardest question for me,

to a month to finish, but I also like to relax and

as I never think about it. I believe shapes and

do some cartoon-style characters. I love when

silhouettes are the most inspirational things. Our

everything is balanced and I can do two different

minds work in mysterious ways, and if you let

types of project at the same time, jumping from

your brain run free and dont limit it, youll come

one to another, depending on how I feel.

www.2dartistmag.com

Where do you draw your inspiration from?

up with some freaky stuff when looking at a pile

page 11

Issue 089 May 2013

Blaz Porenta Interview

of garbage or something as simple as a cloud

I love to spend my free time with my girlfriend,

formation or a tile pattern on a bathroom floor.

going to see a great movie or doing some

adrenaline sports and martial arts.

I also follow many great artists and

photographers, and build upon my reference

Thanks for taking the time to talk to us!

library. I consider all of them my teachers, and

Always a pleasure!

eBookTraining
To see how these three final illustrations

I learn about the light, colors, composition and

what works and what doesnt from a storytelling

Blaz Porenta

point of view from the work of others.

Web: http://blazporenta.blogspot.co.uk

were created please check out our

Email: blaz.porenta@gmail.com

Illustrating Fairy Tales eBook

by clicking here!

Its always good to take time out from work

and reflect. What do you like to do to relax?

www.2dartistmag.com

Interviewed by: Jess Serjent-Tipping

page 13

Issue 089 May 2013

! n
W ciptio
NO bs

E d,
BL loa

Su

A w
IL l Do

A ita
AV, Dig

D
DV

LEVEL UP YOUR DIGITAL SCULPTING SKILLS

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3D CHARACTER DESIGN SERIES
WITH SCOTT PATTON

In this two volume series, Scott Patton shows the processes he uses to
create a 3D character for feature films. The first volume explores
Patton's fast and efficient method for concept sculpting, skipping the
2D sketch phase all together and designing the character entirely
within ZBrush. He covers everything from blocking out the forms
and fleshing out the muscles, to adding props, detailing with alphas
and posing the character. The second volume covers methods for
creating a final color rendering using ZBrush and Photoshop. Patton
cr
shows how he squeezes the most from ZBrushs powerful renderer to
create both a wide and close-up shot of the character. He then shares
creative Photoshop tips and tricks to quickly get to a finished piece of
concept art from the ZBrush renders, covering topics such as adding
and refining skin texture, hair, eyes, shadows and scars. Patton also
discusses how to create backgrounds that enhance the character and
overall composition.
ov

All Tutorials Are Now Available

As DVDs, Digital Downloads,
And Part of The Online Training Subscription

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Gesture is so important
when it comes to
making an appealing
drawing, so sometimes
I will just make things
for that sole purpose.

John Thacker Sketchbook

Sketchbook of John Thacker

I have always been interested in riding bicycles, so
naturally I draw one from time to time (Fig.01).
I have a soft spot for whimsical things, and trains have
always been a love of mine, especially steam engines
from the early 1900s. The collection of shapes and
details on these contraptions makes them such a great
subject for playing with (Fig.02).

www.2dartistmag.com

page 17

Issue 089 May 2013

Sketchbook

John Thacker

Fantastical creatures, as always, are such a great playground for bending

the rules of real-world anatomy into interesting new shape combinations
(Fig.03).
What can I say, who doesnt have at least a little fondness for cowboys?
Like my interest in old trains, cowboys and the Old West are also
appealing subjects to me (Fig.04).
Combining disparate ideas is something that makes character design
endlessly interesting. It all comes back to playing with shapes, and that just
never gets old (Fig.05)!

www.2dartistmag.com

page 18

Issue 089 May 2013

John Thacker Sketchbook

Stylization provides so much room to play. Even with things like this
though, it is all still rooted in real-life figure studies (Fig.06).

I try to be as loose and natural as possible when I start

on a character design, and build on that foundation.
Believability is what I hope to instill in my art; not to be
confused with being realistic (Fig.07).

www.2dartistmag.com

page 19

Issue 089 May 2013

Sketchbook

John Thacker

Gesture is so important when it comes to making an

appealing drawing, so sometimes I will just make things
for that sole purpose (Fig.08).
Drawing is fun or least it should be! If I am feeling a
little down, that may mean it is just time to draw an orc
waiter ready to serve you some pie (Fig.09).
This is an example of how things evolve as I work on
them. This started as a simple girl in a dress, and wound
up becoming a zombie (though still in a dress) eating an
apple (Fig.10).
This sketch was inspired by a woman I saw at a bus stop
when I was walking to work. I sometimes see little things
about people that stick out, and even if I cant get it down
visually where I am at the time, I hold onto it until I can
draw it out later (Fig.11).

www.2dartistmag.com

page 20

Issue 089 May 2013

There is something especially nice about simplicity in

design. There are times to push yourself, but I am always
refreshed when working on fast, minimalistic pieces
(Fig.12).
It is a good day when your time is spent drawing a moustache-twirling butcher (Fig.13). At least, by my standards
that is normal, right?
Thugs and goons never get old! I tend to get a feel for
the world every character inhabits, if only in my mind, to
guide my choices for design elements and proportions
(Fig.14).
This was an experiment regarding using a soft brush and
working angled surfaces off of each other. I try to push
new methods so I dont get stuck doing the same thing
over and over; if something is interesting I will learn that
much faster (Fig.15).

John Thacker
Email: johnrthacker@yahoo.com

This month we feature: Jennifer Healy | Evan Lee | Titus Lunter | Bruno Hamzagic | Sayja
Bastien Grivet | Aekkarat Sumutchaya | Markus Lovadina | Arthur Haas | Mohamed Elgalad

The Gallery 10 of the Best

Please submit your images to the 3DTotal gallery!

Meeting
Arthur Haas
http://www.ahaas.nl/
erahaas@yahoo.com
(Right)

Few Steps Away

Kamil Murzyn
http://kamilmurzynarts.pl
stealthpigeon@gmail.com
(Below)

www.2dartistmag.com

page 23

Issue 089 May 2013

Detective
Muhammad Algalad
http://algaladart.blogspot.com/
elgalad_mail@yahoo.com

Irvine the Coward

Evan Lee
http://www.evanartweb.com
fnhk111@yahoo.com.tw

Desert Empire
Markus Lovadina
http://malosart.blogspot.com
malo74@gmx.de

The Crash of the Old Titan

Bastien Grivet
grivetart@gmail.com

Color Rings
Aekkarat Sumutchaya
http://aekkarat.blogspot.com/
webang111@gmail.com

Saramago
Bruno Hamzagic
http://www.facebook.com/bruno.hamzagic
jadecilcleton@gmail.com

Please submit your images to the LayerPaint gallery!

10 of the Best

The Gallery

Golden Lie
Jennifer Healy
http://beautifulburden.com
jenniferhealy@hotmail.com
(Left)

Thermal
Titus Lunter
http://www.tituslunter.com
titus.lunter@gmail.com
(Below)

www.2dartistmag.com

page 32

Issue 089 May 2013

SynthEyes

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so much easier to use than Autodesks Matchmover.

The ability to sketch and render vehicles is an important asset in the field of concept design. In this tutorial series each artist has been given a brief description of
a possible vehicle, which they will approach like a games brief to demonstrate the techniques used when creating a vehicle concept.

February Issue 086

Speeder

March Issue 087

Deforestation

April Issue 088

Personnel Carrier

This Issue

Fire Truck

Off World Vehicle Design Chapter 04 Fire Truck

Chapter 04 Fire Truck
Software Used: Photoshop
I was given a brief to design a firefighting vehicle
that specializes in dealing with petrochemical
fires. It must be capable of projecting water over
large distances.
After the briefing, the first step for me is
research and seeing existing designs in the
real world. Google is your best friend in this
department, and simply searching for key terms
such as fire truck can get some good results.
With limited time, and the freedom to select my
own designs, I keep the thumbnail stage short.
I see very quickly that the playful designs are
not where I want to go I would like to have a
functional and believable vehicle and I want
my process to be iterative, so evolving through
the process rather than limited to the original
thumbnail. I like certain qualities in the more
serious-looking machines, so the next step is to
start (Fig.01 02).
At this stage, my interest is in getting a very
good feel for the proportions of the design
(Fig.03 04). With a 3D mesh in place, I can

www.2dartistmag.com

page 35

Issue 089 May 2013

Chapter 04 Fire Truck

Off World Vehicle Design

also start to establish the space needed for

suspension travel and wheel turning angles
(Fig.05 06). I am happy with the general
proportions, so I use the base mesh to start
being a bit more playful with the formation of the
shapes and seeing what is possible with a very
rough value sketch (Fig.07).
Even though the block-out is the basis for
these paintovers, there are still a lot of small
adjustments that can be made quickly in 2D
to explore major design decisions, and then
these can be implemented in the existing mesh
(Fig.08).
I quickly strip off the top surface to understand
what the outer shell will be encasing. This helps
me understand the mechanical structure, which
will be useful in the next steps.
I am not happy with the mass of the tanks here.
If these tanks were full of liquid this machine
would be extremely heavy and unstable. I want
something more nimble, something lightweight
and advanced; after all this is a concept vehicle!
Looking at the proportions, I know I want to
remove the massive tanks and replace them
with something less dense (Fig.09).

www.2dartistmag.com

page 36

Issue 089 May 2013

Off World Vehicle Design Chapter 04 Fire Truck

I bring the design elements I have begun to
establish back to the original sketch view, giving
me a sense of whether the things I have learned
in the block-out are compatible with my original
idea. Im happy at this point to start refining my
concept mesh (Fig.10).
On a technical level, my mesh here is horrible
I am OK with this. The point of this mesh is
not to have good topology; in fact, trying to be
a disciplined modeler in the design stage is a
waste of mental energy, so be messy if it helps
you explore (Fig.11).
As I iterate, the final mesh will become more
accurate as I see the design take shape and
eventually I can refine it to a final high res model
or hand it off to another technical artist to use as
a 3D blueprint for a production model (Fig.12).
I use the mesh to test the extendable arm. This
needs to make sense and just by testing the
parameters of the arm movement I can be sure
the design will make sense. I can also use these
limitations to establish where servos and power

www.2dartistmag.com

page 37

Issue 089 May 2013

Chapter 04 Fire Truck

Off World Vehicle Design

units etc., would be positioned to support this

particular movement (Fig.13).
With the general layout of the design
established, I zoom in and isolate specific
components; in this case the nozzle of the hose
(Fig.14).
Eventually (outside of this tutorial) I want to turn
the design into a full-res model for a HD scene;
this means there is no added benefit to doing
any rendering at this stage, so I keep to simple
line work and values.
Ordinarily I would make a basic rig in 3D
to confirm all the pivot points and get the
movement working, but due to running out
of time on this project, I am simply faking the
suspension design (Fig.15).
Im quite keen on strap technology at the
moment, so I use this here instead of the
traditional pistons; I quite like the chunky, almost

www.2dartistmag.com

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Issue 089 May 2013

Off World Vehicle Design Chapter 04 Fire Truck

cartoony element it gives to what is seen as an

industrial subject (Fig.16).
I begin doing some suggestive line work over
screenshots of my mesh. I do this to quickly
define what will be happening with panels, doors
and windows, etc (Fig.17).
This style is intentionally loose; I want to
suggest a certain approach quickly and can feed
this knowledge back into the mesh/paint later
on. To get a good sense of the design features
I make a line work of the reverse three-quarter
view. Again, nothing too detailed, but containing
informative structural information (Fig.18).

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With what I know from the sketches I can

upgrade my mesh; this is basically 70%
suspension, which has already been determined
in the undercarriage line work (Fig.19).
To give the design a bit more feeling I wrap up
a concept, which is a mixture of a screen grab,
photos and painting; I will complete the design
in 3D and render it eventually, but for now a
concept is all that is necessary to suggest the
vehicle in action (Fig.20).

Mike Hill
Email: mike@heavyunitdesign.com

DESIGNING

NEW WORLDS
Games and films are made up of many different features such as characters, environments and vehicles, and it is important that all these elements work together
to demonstrate a consistent visual language and therefore create a believable environment and society to engage the audience. In this series our artists will take a
comprehensive look at creating a new world from a concept perspective, and investigate the processes and techniques that can be used to create all the major features of a
game or film.

Designing New Worlds Chapter 05 Industrial Facility

Chapter 05 Industrial Facility
Software Used: Photoshop

The Introduction
In this tutorial we shall examine the industrial
core of our society. Industrial production is
the sleeping giant in our alternative history.
The world is at peace, yet the population has
demands. An ever-burgeoning world state
requires goods to placate the needs and wants
of the people. Though with such prolonged
peace comes stagnation and complacency.
What does this brooding industrial machine look
like?
The aim is to create a scene that depicts
a lumbering industrial factory, a state-run
industrial facility that appears to have been
running for eons and is now in a state of slow
decay. Its cumbersome, steamy and grinding.
Through this illustration we will explore using
color and texture to depict our industrial
setting. Furthermore we shall spend some time
on shape theory, the idea of positive and
negative space, as well as the effective use of
atmosphere in depicting scale and depth.

The Initial Concept

The initial step starts with playing with shapes.
Some research has been done, so a loose
idea is present. Even at this early stage, care
is taken to be mindful of the shapes, which will

is in process its extremely time-consuming to

that is to say that it is finite, so the spacing of

eventually become our rendered forms. It will be

rectify errors in the scenes perspective. The

shapes and their inter-relationships is pivotal in

the juxtaposition of these shapes that will start to

trick is to multi-task. Work quickly and loosely,

the comprehension of the scene and thereby the

create interest within our composition (Fig.01).

but have an informal perspective grid set up

narrative of the image. Furthermore a dynamic

so that the blocking is set in accordance to the

arrangement ensures that the lighting within the

perspective established within the image.

image will come easily and naturally.

and smaller shapes as the scene recedes. All

Blocking In

A variety of shapes is a factor to bear in mind.

of these shapes will eventually be refined to

Simple shapes are used to block in the

This returns us to the idea of counterpoint. Like

illustrate an array of massive machinery, all

composition. The basic shapes will inform

light and shadow, the same is true with circles

pulsing and churning.

the light; light needs a medium to work off.

and squares. The two contrary elements provide

Additionally, the light will begin to define the

a means by which contrast in the image can

Whilst shapes are a focus, any landscape,

level of drama in the scene. Essentially its a

be exploited. The harmonious placement of

particularly a scene with many man-made

double act: shape and light (therefore shadow)

divergent elements next to one another creates

elements, (e.g., machinery), requires accurate

work in conjunction to create the basic elements

interest via the contrast they create (Fig.02).

perspective, so simple line work helps to

of the composition. This is an important

establish a sense of perspective. Its critical to

consideration when structuring an interior scene.

We can see how, in our scene, there has been

get this right from the onset as once the render

The space in an interior composition is confined,

an attempt to introduce a variety of shapes;

Emphasis is also aimed at creating a sense

of scale, with larger shapes in the foreground

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Issue 089 May 2013

Chapter 05 Industrial Facility

Designing New Worlds

these correspond to rounded, hard, curved

and angular forms. Its when you begin to
render the forms that the importance of this
variety becomes apparent, as the light affects
the shapes differently and allows for dynamic
lighting and contrasting edge quality.
When considering shape, or simply when
blocking in your composition, some thought
should be given to positive and negative space.
Any composition will contain both positive space
(areas that offer information in terms of forms
like machinery) and negative space (areas that
do not). Whilst all the pixels in our scene carry
information, the notion of positive and negative
space is a way to delineate areas that are

The final key aspect of our composition when

When a scene is stacked in this manner it

active with actual designed content and those

blocking in is stacking. This is the process

facilitates the sense of depth in the image,

that are not (Fig.03).

whereby elements are sequentially placed within

allowing the viewer to more readily understand

the scene, and where a foreground, mid-ground

that even within an interior space there is depth.

To be conscious of this is crucial when plotting

and background should be clearly established

your composition, as negative areas allow the

within the image (Fig.04).

eye to rest. Any composition cannot be totally

On a quick note, while in the blocking in phase

it is also important to establish scale; that is

full of stuff. Through an informed application of

These elements are kept on separate layers,

the placement of figures within the scene. This

positive and negative spaces, we have greater

so that clean alpha channels (or masks) can be

helps the viewer gain an understanding of the

control over the composition. It helps ensure

created at a later stage. When we begin to light

proportion within the image, but it also aids

that the viewer is thoughtfully guided through

the scene and introduce atmosphere at a later

in humanizing the scene. People within an

the scene and is not overcome with stuff or

stage, the importance of these masks will be

environment allow the viewer to engage better

extraneous detail.

evident.

with the narrative of an artwork.

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Designing New Worlds Chapter 05 Industrial Facility

Light and Color
Now that we have all our basic elements in
place we can begin to add color and light. The
process involves using the masks that have
been created. Much like the earlier blocking in
stage, we simply select our masks and block in
the color. As a general rule its best to start with
the background and move your way forward.
This image will have multiple light sources. We
start by blocking in the light from background to
foreground, with all the information being kept
on separate layers for the inevitable tweaking
later. The method is to block it all in with large,
simple, hard edged brushes.
Try to avoid using brushes with soft edges; this

clarity in the scene; machinery has hard edges,

we differentiate the color of the light to not only

is for two reason. One, with a hard edged brush

while the steam and atmosphere has soft edges

delineate the space, foreground to background,

you will be generating, by default, interesting

(Fig.05).

but also to infuse more drama and tension into

and quite serendipitous textures that could

the space. This is built up gradually, so we have

lead to specific detail. Two, when we begin to

Light will be coming from the back windows,

time to experiment with different colors. This is

introduce the atmosphere (which is generally

so we know that an aspect of the scene will be

the importance of keeping your light (or colored

executed with an array of medium to soft

back lit. Though we also want to light from the

light) in separate layers.

edged brushes) it has to stand out and you

bottom the scene in the mid-ground (Fig.06).

need to be able to clearly differentiate it from

This is all to be blocked in with broad strokes,

Once the color has been blocked in, a

the machinery. To achieve this we play with

so that we can immediately see how the

temporary Hue and Saturation adjustment layer

the edge quality. This is what will instill greater

lighting scheme is developing. Furthermore,

is tagged to the color layer. By playing with the

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Issue 089 May 2013

Chapter 05 Industrial Facility

Designing New Worlds

sliders in the Hue and Saturation window, we

and shall recede into a neutral, though still a

Also notice how the values of the color also

can gauge what colors work and what do not

little warm, background.

reflect this; a dark foreground to a lighter

(Fig.07).

background. Obtaining depth within an interior

This scheme will aid in reinforcing depth via

image is critical to articulate that sense of space

Finally we determine the foreground color. In

the stacking of the colors from a saturated

within our scene. Next we amplify this with the

this instance the scene will have a bold and

foreground to a desaturated background

introduction of atmosphere.

quite saturated foreground, a green mid-ground

(Fig.08).

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Designing New Worlds Chapter 05 Industrial Facility

Atmosphere
To achieve a more claustrophobic mood and to
instill that sense of frenetic action and motion
within our scene, we shall introduce atmosphere
or, more specifically, steam and smoke. The
selection of brushes with medium to soft edges
is the key (Fig.09).
In addition to the edge quality we also have to
simulate randomness. So a simple airbrush will
not do. This is best achieved, after the selection
of the appropriate brush, with the use of the
Scattering (and to some degree the Shape
Dynamic brush) feature in the Brushes window.
After we have our brush we can begin to paint
in the atmosphere. Start with a low opacity and
gradually build up your smoke and steam, all the
while modulating its hue, remembering that the
lighting scheme we have established would also

fresh eyes, a series of adjustment layers are

alpha channels created earlier. This technique

be reflected in our steam and smoke (Fig.10).

employed to see what they may add to the

allows for a tremendous amount of control and

Once this has been completed we can proceed

image. For the most part its a case of tweaking

versatility, and should always be explored.

to the final phase.

the colors and values with the Curves and

Color Balance adjustment layers. Though with

Wrapping Up

Gerhard Mozsi

experimentation, Selective Color and Espouser

Web: http://www.gerhardmozsi.com/

The final stage is another attempt to tighten

can also be fruitful. This is especially true when

Email: contact@gerhardmozsi.com

the scene further. With a nights rest and

they are used in tandem with the masks and

www.2dartistmag.com

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Issue 089 May 2013

Costume design is an important element to character design as it helps to enhance a characters personality. You can create an evolving plot of color, changing social status,
or period through the visual design of garments and accessories. In this tutorial series each artist has been presented with a games-like brief describing a character from a
certain section of a fantasy medieval world, and they must design clothing suitable for that characters job description.

Costume Design Chapter 03 Religious Leader

Chapter 03 Religious Leader

and hence will wear garments that reflect this

embark on a series of small sketches, often with

Software Used: Photoshop

status. One could assume that these figures

no clear idea in mind in order to explore some

would boast a certain level of adornment and

ideas.

Introduction

an array of fineries, but this is not necessarily

This is an ageing man who started out in life

a prerequisite of a religious leader. In fact, the

Fig.01 shows just such a sheet with a mixture

with good intentions, but has become tainted by

opposite could be true, whereby the figurehead

of both linear and tonal sketches. Whilst doing

the ways of the world and resorted to devious

could adopt a lowlier and more humble

these I was thinking about both volume and

methods to uphold his position and influence

appearance in keeping with an underlying

pattern; that is to say I was considering shape

those around him. He is a man who harbors

philosophy and general belief a good example

and motif, as well as the characters silhouette.

a conflict of interests; someone who strives

of this is the Dalai Lama.

Illustrations 1 and 2 show a repeated motif and

towards the pious and divine, but realizes that

in order to gain respect he must also appeal to

Naturally, throughout history, the garments

focus on rhythms within the costume design that

mens greed and selfishness.

associated with different religions have changed

contrast between curved and angular shapes.

according to the period, but we shall assume

Number 1 is more curved, employing a circular

As you can see from the description above,

that we are portraying someone in the past that

design echoed across the belt and headwear,

this character has a defined personality with a

belongs to a fictitious religion.

whilst number 2 demonstrates a more

rectangular design. Illustration 3 concentrates

distinct set of traits. Although the main objective

of the tutorial is to design his costume, this

Thumbnails

more on volume, with the costume being

should also be taken into consideration.

As with any project, it is necessary to explore a

divided into three distinct sections with less

variety of ideas in sketch format before settling

detailing. Some of the other variations employ a

We can deduce from the title that he is someone

on a final design. Usually I begin by trawling

combination of both approaches with a handful

who has ascended to the top of his vocation

the internet for reference pictures, after which I

of drawn in lines.

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Issue 089 May 2013

Chapter 03 Religious Leader

Costume Design

It is always worth experimenting and seeing

As you can see, I began with a line drawing,

As I was unsure about the headwear I chose to

which approach suits you; some people prefer

which I set to Multiply and then on a new layer,

block in a random shape. I did toy with the idea

to work tonally, whilst others choose to draw in

added a color layer beneath this.

of using multicolored garments, but settled on a

line only, but either way is valid.

single color, which I felt gave the costume more

I used the line drawing as a guide initially, but

impact.

After considering the various designs I opted for

once I was happy with the color I began erasing

number 4 as a starting point. Quite a few of the

sections. As you can see, the design resembles

I experimented with various hues and saturation

sketches had an Oriental quality, especially 4,

thumbnail 4, but I decided to reject the hat as

values before deciding on red, but even then I

5, 6 and 7, whilst numbers 2 and 8 resembled

this felt a little too Oriental. I adopted the pose

was somewhat indecisive about the type of red.

South American themes.

from the line drawings in the lower right, which

Fig.04 shows two further iterations which differ

seemed more appropriate and enabled the

from the initial pass, but it was the right-hand

inclusion of a staff.

color scheme that I preferred. You can also

The other consideration was the characters

posture, which is somewhat subjective, but
I made a few sketches to try out some variations
(Fig.02).
In the end I liked the pose of the character on
the bottom row, third from the right in Fig.01,
and so chose this for my initial character. The
one thing I wanted to change was the orientation
of the head, which I felt would look better if he
was addressing the viewer.

Characters
I did not particularly want to design a character
that looked as though he belonged to this world
necessarily and I so started with a hybrid, which
can be seen in Fig.03.

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Costume Design Chapter 03 Religious Leader

see that the headwear has changed although I
still wasnt sure about the design at this point.
I added some accents of gray to break up the
uniformity of the costume, as well as giving the
middle section of the robe a more crimson tint to
add some subtle variety.
At this stage I began on a second character;
of which the initial two phases can be seen in
Fig.05.
I made a conscious decision to opt for a
contrasting color scheme.
The three small thumbnails evident in the center
formed the inspiration here and incorporated the
open robe (upper two) and decorative accessory
hanging around the neck (middle one). I liked
the awkward nature of the high shoulder pads
on the lower thumbnail, which seemed to
emphasize the face, and so added a similar
design into the sketch, which I integrated into
the ceremonial fabric around the neck.
I did not feel happy with either the design or gold
color and so modified it, creating the version
seen on the right. Although this resembled a
ruff (prominent in the sixteenth and seventeenth
centuries and, as such, not particularly original) I
decided to retain it for the time being.
I brought the two characters together at this
point to compare them and began working on
them together (Fig.06).
Taking inspiration from the ruff I began adding
segments around the neck, as well as adopting
the decorative buttons across the lower section
of the robe visible in the upper thumbnail in
Fig.05.
Once again the headwear was improvised
as opposed to being taken directly from any
thumbnail and went through a succession
of designs. It is safe to say that this aspect
proved difficult to resolve, as hinted at by the
modification on the left.

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Issue 089 May 2013

Chapter 03 Religious Leader

Costume Design

Although the characters were coming along

quite well, their presentation felt a little sterile.
Quite often I work with an array of brushes
including textured ones, but in this case I
worked mainly with the default Hard Round and
Elliptical brushes.
These are fine, but I find a moderate use of
texture helps enrich an image and helps add
life to the brush work. As a result I painted in a
vague background using a Chalk brush with the
Dual Brush preset enabled (Fig.07).
Another technique I use occasionally is to
overlay a photo to help break up the surface,
which in this instance was an image of concrete.
It was first color corrected and then set to Soft
Light.
I duplicated some of the texture into a new layer
and then set the blending mode to Color Dodge
at 79% opacity to create a reflective design
across the top of the section housing the jewel,
as well as the ceremonial staff (Fig.08). You
can see the difference when you compare the
previous two illustrations.
I decided that the second character lacked
contrast and was too brightly colored, and so by

way of Curves and a Hue/Saturation adjustment

layer, I darkened the robe and added some

was too long and so I brought the elbow up

further shading to the face (Fig.09).

marginally (Fig.10).

I revaluated the headwear on the first character

The final refinements incorporated some

and decided to make some modifications by

adjustment layers, namely Levels and Curves

tightening the width, as well as removing the

for the character in red, and Hue/Saturation and

lateral prongs which looked awkward. The other

www.2dartistmag.com

change I made was to the right arm, which

Curves for the other one.

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Issue 089 May 2013

Costume Design Chapter 03 Religious Leader

The Curves adjustment was used to increase
the contrast on both of them, whilst Levels was
used to increase the saturation of the highlights
on the red costume. I used Hue/Saturation to do
the opposite on our second character, as well as
alter the color.
The final version can be seen here in Fig.11.

Richard Tilbury
Web: http://www.richardtilburyart.com
Email: ibex80@hotmail.com

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Issue 089 May 2013

modo image by Teodoru Badiu www.theodoru.com

Meet modo.

Wonderland | Ken Kaiser, Animator | Veronica Marino, Compositor | Phan Wiantrakoon, Animator | John Iskandar, Visual Effects Artist | Jacob Curtis Miller, Digital Artist | Geeta Basantani, Digital Matte Painter | Andrew Lawson, Charac
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ightning Thief | Dave Mah, Animator | Ryan Lim, Concept & Creature Artist | Richard Sur, Lighting TD | Julien Stuart-Smith, Look Development | Jeffrey Burt, Lead Layout Artist | Piranha | Lon Molnar, Visual Effects Production Executiv
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quarePants | Andrew Overtoom, Animation Director | Star Trek | Teh-wei Yeh, Digital Artist | Nicholas Markel, Previsualization Supervisor | Kieran Tether, Digital Artist | Aruna Inversin, Digital Compositor | Star Wars: The Clone Wars | KahJe
heong, Cloth Simulation Artist | Jim Hatibarua, Animator | Ivy Ho, Lighting Technical Director | Cedric Lo, Animation Supervisor | Brandon Chien-Chia Huang, Animator | Starcraft II: Wings of Liberty | Alvaro Buendia, Cinematic Artist | Suc
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nd Rigging Lead | Rex Fang, Animator | Kristin Sedore, Senior Lighter | Toy Story 3 | Daniel Holland, Sets Artist | Tristan Ikuta, Simulation & Effects Artist | Bill Watral, Additional Simulation & Effects Artist | Transformers: Dark of the Moo
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erguei Kalentchouk, Rigging Lead | Jooyong Lee, Roto/Paint Artist | TRON: Legacy | Craig Calvert, CG Supervisor | Brenda Li, Roto/Paint Artist | Jose Julian Karam Lopez, Digital Compositor | Christopher Ahrens, Lighting Artist | Alberto Lander
Digital Compositor | True Grit | Tom Piedmont, Roto/Paint Artist | Uncharted 2: Among Thieves | Mike Yosh, Lead Animator | Up | Bill Watral, Visual Effects Artist | WALL-E | Daniel Holland, Production Artist | Bill Watral, Effects Artist Mark Shir
ayout Artist | Warhammer 40,000: Dawn of War II | Nathan Hocken, Lead Animator | Ian Cumming, Senior Artist | Claire Roberts, Artist Christine Hubbard, Artist | Allan Dilks, Artist | Watchmen | Shawn Walsh, Visual Effects Supervisor | L
Molnar, Visual Effects Supervisor | Sean Lewkiw, Technical Head of 3D | Ty Duperron, Modeler | Pearl Hsu, 3D Artist Matthias Lowry, Digital Compositor | The Wolfman | Karin Mattsson, Animator | Joshua Herrig, Lighting Artist/Look Dev Ar
Zombieland | Mike Rhone, Visual Effects Artist to name a few. A small selection of VFS Animation & Visual Effects alumni credits include | 2012 | Zeke Norton, Previsualization Supervisor | Jamie Bowers, Texture Artist | Christine Peters
Digital Compositor | Anuj Patil, Senior Technical Director | Alice in Wonderland | Ken Kaiser, Animator | Veronica Marino, Compositor | Phan Wiantrakoon, Animator | John Iskandar, Visual Effects Artist | Jacob Curtis Miller, Digital Artist | Ge
asantani, Digital Matte Painter | Andrew Lawson, Character Animator | Assassins Creed: Brotherhood Zack Mathew, Animator | Wilson Mui, Team Lead Animation | Avatar | Michael Cozens, Lead Animator | Tamir Diab, Technical Directo
atrick Kalyn, Animator | Chrystia Siolkowsky, Motion Editor | Ben Sanders, Animator | Alfredo Luzardo, Layout Technical Director | Aaron Gilman, Character Animator | Jami Gigot, Texture Artist | Bioshock 2 | Jacob Palmer, Animator | Bo
2010, 2011
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ietro Ponti, Lead CG Lighting Artist | Dead Rising 2 | Fredrick Fass, Animator | Dead Space 2 | Wayne Gonsalves, Environment Art Lead | Despicable Me | Justine Codron, Lighter | District 9 | Neill Blomkamp, & 2012
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isual Effects Executive Producer | Samson Wong, Matchmove Artist | Robert Bourgeault, Lighting Lead | Richard Sur, Lighting Technical Director | Paul Copeland, Visual Effects Artist | Julianna Kolakis, Creature Texture Painter | Jelmer Boskm
Modeler | James Stewart, Creature Supervisor | Derek Stevenson, Matchmove Lead | Drag Me to Hell | Thomas Schelesny, Visual Effects Supervisor | Dragon Age II | Nathan Zufelt, Senior Cinematic Animator | Family Guy | Michael Lo
toryboard Artist Fast Five Rommel Shamoun, Compositor | Anthony Di Ninno, Animator | Fringe | Bob White, Visual Effects Artist | Scott Dewis, CGI Supervisor | Futurama | Claudia Keene, Prop Designer | Gears of War 2 | Scott Dossett, Sen

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With the continual development of technology in video games and the wild, imaginative story lines of films, the possibilities of what concept artists are able to produce
become broader in detail and function. With strong silhouettes, recognizable color schemes and distinct proportions in anatomy, it is still important to know the basics of
animal and human anatomy when designing these creatures. In this three-part series, talented concept artist Vinod Rams demonstrates how to use human anatomy as a
basis for creature design, create a hybrid creature based on human and animal anatomy, and use real word examples as a reference for designing a creature from scratch.

Creature Anatomy Chapter 03 Creating Original Creatures

Chapter 03 Creating Original
Creatures
Software Used: Photoshop
When youre designing a creature from scratch,
its still important to reference things in the
real world. No matter how odd the creatures
anatomical traits are, they will still have some
visual cue relating them to something were all
familiar with. For designers like Wayne Barlowe,
who use really strange and abstract forms for
their creatures, sometimes its the movements,
behaviors or the coloration that is the real-world
reference, but its always there.

long and narrow, and have all the shapes get

I make sure to use heavy shapes to reinforce

bigger and wider as they culminate in his large

the creatures weight. I start to look at

After brainstorming what type of creature I

and heavy tail. I also want to make sure his

references of bears, sloths and bats (for the

want, I do a few roughs. This design is going

head has enough interest to be the main focus

head). I also decide I want his head and neck

to be unique because I already have a pretty

of the design. Another technique of creature

to be hairless, like a vulture again, Im using

good idea of what types of shapes I want in my

design is repeating certain shapes to create a

a real-world creature as an anatomy reference.

head. Its just a matter of designing it with some

new design. Having the creature have just two

I also have to remember that this guy will be

personality and locking down the smaller details.

big ears would have been fine, but duplicating

covered in shaggy fur, so areas like his crotch

I want this guy to have a large, lumbering body,

the ears so he has four is interesting enough

and legs will have a different shape at the end.

a big tail, a weird, hairless head and a sort of

that people will remember the design. Keeping

This sketch is showing off the anatomy, but you

silly, goofy demeanor. I reference aardvarks,

this duplication theme in mind, I give him two

should also be thinking of the shapes the fur will

koalas, bats, bears and, of course, humans.

thumbs; thats where the theme and rhythm of

be making, even at this early stage (Fig.03).

Sometimes its good to think about what kind

the design really shows itself (Fig.02).

Finally I start to mark in the fur. A note about

of world your creature fits into. I think this guy

would look perfectly at home in a Jim Henson

Here Im starting to establish the musculature.

drawing fur: fur follows the musculature, which

movie like Labyrinth (Fig.01)!

The overall anatomical features on this guy

means if you pay attention to the underlying

arent that different from any mammalian

anatomy you can direct which way the fur is

From the get go I want to establish a strong

creature, but its the blending of forms that

flowing. Keeping this in mind will avoid the

shape for this character. I want his head to be

makes the design work.

poofy look when detailing out your creature.

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Chapter 03 Creating Original Creatures

Creature Anatomy

Also, depending on the style of art you have,

you also have to keep in mind how detailed you
want to get with the rendering of the fur. You
can detail it all out, or just define it by shape.
When animators depict fur they use the shape
method, but if you were designing a creature for
a realistic game or film, you might want to put
in more detail. But just like with human hair you
never want to draw every strand; shapes are
always more important (Fig.04).
In the end Ive taken a pretty standard bipedal
mammalian-based body and added enough
variation and odd elements to create a unique
and interesting character. I think the odd-looking
head, strange hands and big fuzzy tail are what
people will be drawn to, find appealing and
memorable (Fig.05 06).
I hope these tutorials gave you a little bit of an
insight into my drawing and design process.
Visit my website and blog for more of my work!

Vinod Rams
Web: http://www.vinodrams.com/
Email: vinod@vinodrams.com

www.2dartistmag.com

page 62

Issue 089 May 2013

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 all our LayerPaint audience.
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.

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As always, it started with

some sketching to find the
right composition, where
parts would be placed
and what would enter the
frame.

French illustrator and digital painter Khasis Lieb

takes us through some of the finer processes
in painting his psychedelic portrait. This broad
overview is full of useful tips on everything from the
concept through to lighting.

Absinthe Making Of
Absinthe
Software Used: Photoshop

Introduction
For this image I had an imposed theme:
Absinthe. In France this beverage is well known
as la fe verte (the green fairy), I thought it
would be easy to do an actual green fairy.
So as a portrait lover, I couldnt resist making
a psychedelic portrait of an absinthe drinker. It
had been a long time since Id had the chance
to do a portrait, so I took this as an opportunity
to get back into it!

Sketch
It started with some sketching to find the right
composition, where parts would be placed and
what would enter the frame, etc. As I wanted to
do a portrait, I didnt want the viewer to be too
far from the subject, so I managed to keep the
face, and the hands holding the bottle and glass
in the frame, in a relatively natural way. I wanted
the viewer to feel close to the scene, as if the
man was at the same table as them (Fig.01).
For sketching I usually use the Photoshop brush
24, just tweaked to have the opacity sensible
to the pressure, and with a size of 3 4 px, to
have some variations in my strokes, and be able
to make forms quickly (Fig.02).

Blocking In
Once I was happy with the framing of the image,
I quickly blocked in the areas of lighting that

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Issue 089 May 2013

Making Of

Absinthe

I wanted. As I wanted to have multiple light

sources, to enhance the beverage, and the
expression of my subject, while keeping quite
a dark atmosphere, I ended up with a threelight setting in my mind. I like to think as a
photographer as I enjoy photography very much.
So I thought, Okay, Ill put a light under the
table and the glass (easier in a painting I think),
for the green to pop and to light the bottom of
the face. Then Ill put a classic light at the left of
the image, to reveal the right hand and the side
of the face. Finally Ill place a back light to make

the viewer see the hat, and the overall shape.

caricatures, I know the eyes are very important

this point I could continue working on the image

pieces for capturing likeness and expression

(Fig.03).

(Fig.04).

So now it was time for the multiple refining

I continued to refine the areas. I put less light

steps. I started with the face, to get the

in the eyes so they draw less attention, as I

expression right. I took many photo references

wanted the viewers eye to go to the bottle first.

of myself to get the right expression for the eyes

And as I work in 3D, I always find that the eyes

and mouth, etc. And I always had my mirror

are too damn bright; its really unnatural, and its

on my desk to look at details, expressions and

www.2dartistmag.com

deformations. From doing a lot of portraits and

And theres a funny thing to do with my ears! At

often these details that make a stunning 3D face

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Issue 089 May 2013

Absinthe Making Of

less believable. So I didnt want to make that

mistake in this painting (Fig.05).
I refined the bottle again. As the work
progressed, I found myself really enjoying
making that glass bottle. With all the lights,
reflection and refraction, it became a real
challenge for me to make the glass realistic
(see the detail on the finished image at the end)
(Fig.06).
I added some levels to make it pop! It also
helped to separate the foreground (hands, glass
and bottle) from the background. The goal here
was to make the viewers eyes look at the areas
I chose, and to control their path. Its important
to make easily separable planes, to get a real
sense of depth (Fig.07).
I then tweaked the color balance a little to a
warmer green, as I thought it would help create
a warm, 1900s absinthe-drinking establishment.
I added some smoke behind to cement the
suggestion of the type of setting the image is
based in. Even in a character-centric portrait
like this, I think small details, even ones that
are almost hard to see, can make a piece more
believable to the viewer. To get a feeling that this
character is actually somewhere and what kind
of atmosphere the place holds (Fig.08).

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Issue 089 May 2013

Final Touches
Some final refinements and last tweaks were
made (Fig.09), and I was happy with my image.
I hope you found this interesting! I sure found
it super-interesting to write, to go back on
a creation, putting my workflow into words,
explaining why and what I did; a hard exercise,
but a really great way of understanding new
stuff.
Many thanks to 3DTotal for letting me do this;
Im really grateful for the opportunity.

Khasis Lieb
Email: lorenzruwwe@freenet.de

2.99

Cover image by Tudor Fat

Issue 093 May 2013

Andy Brning
3D Generalist Artist
at Vetor Zero

Adam Fisher
Freelance Character Artist
at Immersive Tech

The Japanese
Project Overview by Diego Querol

Gallery
Gallery - 10 of the best images
from around the world!

NEW!
- Scenes and Textures

This month Tudor Fat kicks off our all new ZBrush series with the creation of
his supurb alien creature in his comprehensive tutorial entitled The Engineer.

Control Panel Shaders

Luciano Iurino continues on with our Creating Realistic Shaders series, this
time focusing on the development of the control panel materials.

Vehicle Post-Production

Arturo Garcia (3ds Max) and Renato Gonzalez Aguilante (Maya) bring an
end to our Futurisitc Vehicles series by adding post-production in Photoshop.

Character Animation

Camilo Duarte Franco jumps straight in to chapter four of our Character

Animation series, this time animating our character taking a run and jump.

www.3dcreativemag.com

visit
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Interviews

Donglu Yu

Articles

Sketchbook of Deni Medri

Tutorials

Heroes and Villains

Chapter 1: The Cursed Quill
by Richard Tilbury
Alien Worlds
Chapter 6: Rural Settlement
by Gerhard Mozsi
Costume Design
Chapter 4: Alchemist
by Andrey Pervukhin
Evolution
Chapter 1: Lack of Light/Subterranean
by Chase Toole

Making of

Underwater Realm by Lorenz Ruwwe

Galleries

another 10 of the best

Images from around
the world!

visit www.2dartistmag.com for

full information and to purchase
current and previous issues
for only 2.99 each!
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20%

Discount Code
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Grab your exclusive 20%
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this tutorial!

WESTBOUND
exclusive making of by justin albers

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page 73

Issue 089 May 2013

Free Chapter

Digital Art Masters: Volume 7

Westbound
Software Used: Photoshop

Introduction
I created this piece for an art show my company
put on to showcase the personal projects of its
employees. I was very excited to participate and
happy that something like this could happen!
This was the perfect excuse to create imagery
that I loved and have it shown to a (hopefully)
willing audience.
The post-apocalyptic genre was the inspiration
behind this piece. Its my absolute favorite genre
to design for. I had this image floating around
in my head for a while; a group of survivors
who have joined together, who are all decked
out in old worn clothing and make-shift gear,
who wander the landscape in an old antique
robot looking for other survivors and resources.
Theyve stopped at a gas station in the desert
somewhere in previously contested territory, to
see if theres any fuel left in the pumps that they
might use to continue their journey, wherever it
ends up taking them.

Sketches
There definitely had to be a cool robot
somewhere in this piece and I decided to design
that first. For this particular design I didnt want
it to be a war-like looking mech. Instead it
should look like its main purpose is exploration
and discovery. I tried to achieve that feeling by
combining a submersible design with parts of

world theyve stumbled into. I also wanted

walking around it. Two main characters are

old 1950s and 1960s cars and trucks. Theres

to have an eccentric character in a scrappy-

cautiously making their way down the road in

a little bit of an old steam locomotive in there

looking tech suit decorated with a bunch of

the middle of the piece, with the gas station

too. Also I wanted it to be a little clunky and

random pieces hes scavenged; basically a junk

sign in the middle. A friend advised me to move

move like a large dinosaur lumbering across the

merchant sifting through the wreckage that the

the gas station sign over, since it was a vertical

desert. It should look a little like it is falling apart

crew keeps around because he sometimes finds

element that divided the piece in half (Fig.02).

and the pilot has done the best he can to fix it

valuable things.

with whatever parts he manages to scavenge

(Fig.01).

Once the elements were ironed out, I needed

The next step was to think about the

to complete a final drawing before I started

composition. I did several small thumbnails to

painting (Fig.03). The drawing itself is a

Next I thought about the characters and what

get started and asked myself, what did I want

little rough and ended up being a strange

sort of story I was trying to tell here. I knew

the main focus to be? Should it be the gas

abomination of a pencil and digital drawing, but I

I wanted one character pumping gas, so it

station, robot or the characters? In the end I

wanted to be sure that all the designs were well

made sense that the rest of the crew would

wanted the characters to lead the viewers eye

thought out so I knew what I was painting. After

be standing watch, surveying the landscape,

into the scene towards the focal point, which

checking my perspective and scale references I

looking for enemies, checking the radiation

would be the robot. In my mind I envisioned

was ready to move on to color.

levels and trying to figure out what part of the

a tiny gas station off to the side with the robot

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Issue 089 May 2013

Digital Art Masters: Volume 7 Free Chapter

Painting

that wasnt quite the look I was going for in this

would be lit, while the side would fade into cool

It was then time to choose a color palette. I did

particular piece (Fig.04 06).

shadow. The characters would be in shadow too

since theyre in the foreground, creating a focal

a few fast studies for color and lighting. Once

point around the robot (Fig.07).

again, in my mind, I pictured it to be either

After receiving some fantastic feedback from

early morning or dusk to get those really warm

my co-workers I settled on a scenario where

oranges and browns in the desert rocks, as

the foreground would be in shadow, the mid-

At this point I was feeling confident about how

well as the nice cool blues in the shadows. I

ground would be hit by late evening light and the

the piece was progressing so I began to tighten

also tried a stormy scene, with dark radiated

background would be in shadow with the tops of

the whole thing up, moving around the piece as

storm/ash clouds hovering in the distance, but

the mountains illuminated. The front of the mech

a whole and not being caught up for too long

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Issue 089 May 2013

Free Chapter

Digital Art Masters: Volume 7

in any particular area. I constantly added detail

It was suggested to me that by having the

the scene and leading the viewers eye into it

and then faded it back, catching myself ruining

characters in the middle of the image they cut

from that side. Adding to the story and history,

my lighting scenario. If I felt like I was losing

the piece in half and made the viewer feel like

I worked in a burned out husk of a battle mech,

detail, I went back in on a layer on top, re-drew

the painting was cropped in a strange way,

possibly from a rival faction (Fig.09).

certain areas and then rendered those out to

as though there was something important

be sure I wouldnt lose them. I usually stick to

happening off-screen that wasnt shown. This

I was satisfied with all of the overall shapes and

just a few brushes when Im working; one Hard

was something I had been fighting with for a

masses, and how everything was organized.

Round, one airbrush and maybe three or four

while, so I added some room to my canvas and

Now I just needed to continue to render out

textured brushes (Fig.08).

moved the characters over to the right, framing

the forms and sharpen the edges of the most

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Issue 089 May 2013

Digital Art Masters: Volume 7 Free Chapter

important elements. I filled in the details of

I finalized the shapes of the mountains, and

destroyed battle mech in the distance, to push

the gas station, indicating some items in the

tweaked their color and texture. Something was

those elements back a bit. After doing a few

windows and having them boarded up as if there

needed to illuminate the main guys face a bit

more slight color adjustments I was feeling

was a last stand/shoot-out there at some point.

to set him apart from the dark area around him,

content enough to call this one finished (for

I also added a cable/hose snaking in from the

so I added some light coming from the radiation

now). I enjoyed every step of creating this

right side, leading into the scene (Fig.10).

meter/Geiger counter hes holding (Fig.11).

painting and Im looking forward to seeing how

people react to it!

I finished rendering the robot, tightened up the

I cleaned up the edges of the robot, the

foreground elements, detailed the wrecked car

characters and some of the foreground

Justin Albers

and debris on the left side, and completed the

elements, and then added in some atmospheric

Web: http://www.justinalbers.com

rendering on the characters faces. In addition,

perspective on the mountains, as well as the

Email: albers.justin@gmail.com

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Issue 089 May 2013

Hardcover edition only available from www.3dtotal.com/shop

Now in its seventh year, the Digital Art Masters series presents another scintillating
collection of work from 50 world-class digital artists.
Over the last seven years, the Digital Art Masters series has brought together over
300 fantastic examples of the worlds best 2D and 3D digital art. Digital Art Masters:
Volume 7 continues this tradition by ushering in a new elite group of talented artists
whose images are sure to inspire and astound in equal measure. This book doesnt
just showcase beautiful art; it also offers up details of the creation process behind
each image, penned by the artists themselves, presenting a unique opportunity
for readers to follow in the footsteps of the masters. Covering topics ranging from
fantasy and characters to scenes and cartoons, Digital Art Masters: Volume 7 has
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Visit www.3dtotal.com/shop to see our full range of products

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