free! pro artist video tuition + custom brushes!

fiery insight rude advice

15 DRAGon
art tips
Easy ways to create
fantastic beasts
How to give
art critiques
featuring
LoÏc ZimmermanN
Sarah Robinson
Pascal BlanchÉ
Dave Rapoza
and more

interview
jason
rainville
On how he injects
drama into every
painting

new ways with

COLOUR & light Create a fresh look in your art, with

in-depth colour palette advice
Discover inside!
traditional mixer brush tips
in photoshop

art techniques
paint on the go
with procreate
draw mephisto with
Start your plein air journey intricate line art
 Editor’s letter

Welcome to… EDITOR’s Choice Three of my top

picks this month…

24

Phew! This issue has been a

pleasure to put together and I’m
so pleased with how it’s turned
out. I’m always so impressed
with the techniques and
inspiration each artist has to
Snoopers anonymous
share with you. My favourite feature in the magazine grants me another
While you’re here it’s worth chance to nose round an artist’s place of work. Hurrah!
reminding you that you could
save a bundle of money by subscribing to 78
ImagineFX. See below right for the latest offers in
time for Christmas, or if you’re reading this outside
the UK, you’ll be just in time for the January sales!
In other news, our sister magazines 3D World and
3D Artist have launched an exciting 3D art event!
There’s a teaser over on page 60, or you can visit
www.vertexconf.com to get the latest news on the
gathering in London next year.
Finally, we’ve featured so many amazing artists in Scale new heights
our FXPosé section of late. Why not add your name Illustrator Alex Stone relishes the opportunity to discuss
to this list? Just send in up to five images of either one of his artistic passions… DRAGONS!
traditional or digital art, along with their titles and 46
a short explanation of how or why you created it.
Add in a little biography, a photo of you and then
email it directly to [email protected]. We’ve
got some really exciting editions coming up, so it
would be great if you could be a part of them!

Claire Howlett, Editor The gift that keeps on giving

[email protected] Subscribe to ImagineFX for yourself, or give it as a gift
for someone else! You won’t regret it.

[email protected] Bespoke
@imaginefx cover art!
Did you know that
facebook.com/imaginefx subscribers get
@imaginefxmagazine beautiful text-free
cover art? See page
imaginefx.creativebloq.com 46 for more details…

January 2018 3
 Give a gift subscription this Christmas
and save up to 49 per cent! See page 46

Contents
Your art 36
8 FXPosé
We show your gorgeous art to the world!

News and events

18 How to give art critiques
What’s the best way to helpfully comment
on another artist’s work? We ask industry
experts for their take on the matter.

24 Artist in Residence
We explore Chris Visions’s eclectic studio.
It’s a real-world stream of consciousness!

Your questions
30 Artist Q&A
Pro artists answer your questions.

Features
36 Interview: Jason Rainville
We talk to the Canadian fantasy and sci-fi
illustrator on creating character moments.

48 Sketchbook: Lorena Lammer

Fantasy themes with dark undercurrents
result in a beguiling range of sketches.
Artist Portfolio “Thinking about
56 The life of a concept artist
Gennaro Grazioso reveals how he makes Jason what may or may
not sell causes me
Rainville
the most of SketchBook Pro’s tools to
create innovative-looking concept art. a bit of anxiety”
Jason takes care of business
Reviews
92 Software 18 24
95 Training
96 Books

Regulars
3 Editor’s letter
6 Resources
22 Digital subscriptions
29 Letters
46 Print subscriptions
54 Back issues Artist in Residence:
How to give an art critique Chris Visions
68 Next month

4 January 2018
 Issue 156 January 2018

48 70
Workshops
62 New ways with colour & light
Maria Poliakova paints a gentle portrait of
a girl using a variety of vibrant colours.

70 Paint a classic fairy tale scene

See how Chrissie Zullo uses Procreate to
create an iconic moment from a fairy tale.

76 Core Skills: ZBrushCore

Quickly add visual interest to models in
Lorena Lammer Fairy tale scene
ZBrushCore, with Pablo Muñoz Gómez.

78 78 15 techniques for
painting dragons
Alex Stone shares his ideas on designing
realistic-looking dragons with personality.

84 Mastering the Mixer brush

Develop a traditional look on the digital
canvas. Wangjie Li is your guide.

62

Designing dragons
Colour & light
84 104

Traditional Artist
100 Traditional art FXPosé
We showcase the best art created using
traditional methods, sent in by you!

104 Workshop: Become

devilishly good at line work
MrHass demonstrates the power of single
colour line art, as he renders a key character
from the Faustian legend in black ink.

110 Core Skills: Plein Air

Christopher Moeller starts a new series by
rediscovering the world outside his studio.

114 First impressions:

AM Sartor
This artist is continuingly aiming to infuse
Master the Mixer brush Line art in pencil and ink
her work with a sense of immediacy.

January 2018 5
 Resources

Resources
Getting hold of all of this issue’s videos and custom Ove
brushes is quick and easy. Just visit our dedicated 2 hourrs
web page at http://ifxm.ag/colour156light of video tutori
from pro artisals
to watch andts
cover art video learn from!

Colour and light tools in Photoshop

Get your Over on page 62 you’ll get an insight into how cover artist Maria Poliakova approached her
resources gorgeous cover painting, using colour to great effect. Be sure to watch her workshop video, too.

You’re three steps away from

this issue’s resource files…

1 Go to the website
Type this into your browser’s
address bar (not the search bar):
http://ifxm.ag/colour156light

2 Find the files you want

Search through the list of
resources to watch or download.

3 Download what you need

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

6 January 2018
 Issue 156 January 2018

plus more video tuition!

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

workshop video

Get better at using Procreate

Watch how Chrissie Zullo puts the app
through its paces as she paints Snow White,
then turn to page 70 for her workshop.

training

The devil’s in the line art Creating Key Art Illustration

MrHass produces his own take on the Faust for Film and Games
tale in black ink. See his art in action in his Alex Nice composes a dramatic scene in his
video, and read more by turning to page 104. instructional video. We review it on page 95.

Account Manager Chris Mitchell Production Disclaimer

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January 2018 7
 3

the place to share your DIGITAL art

Kaya Oldaker
Location: England MEDIA: Photoshop, ZBrush Web: http://ifxm.ag/kaya-o

Kaya’s work features absurd, almost surrealist fantasy.

“I create a lot of colourful and weird creature designs
for the various stories I’m working on,” she says.

1 2

1 Simpler Times
“A character from The
Increasingly Absurd
2 Tall and Pretty
“A lot of my creature
designs are bizarre,
3 Hobbler Troll
“This was the second
time that I ever used ZBrush.
4 White Peafox
“A personal favourite of
mine. It incorporates
Endeavours of Gretchen fantastical and extravagant. I combined photo everything I love putting in a
Goosander. He’s called My creative philosophy is manipulation and digital drawing, including vibrant,
Mumbeltrousse, and he’s a the more absurd and painting to create a more glowing colours and a
young honey dragon. colourful, the better.” realistic-looking creature.” fantastical creature design.”

8 January 2018 Email your submissions to [email protected]

 4

Email your submissions to [email protected] January 2018 9

 1

1 Druid
“I wanted to create a
melee-based druid concept
based on the bark skin spell
from Dungeons & Dragons.”

2 Zerker
“Most of my characters
start in my sketchbook, then
get worked in Photoshop.
After I get a base design
I’m happy with, it’s into
ZBrush for sculpting and poly
painting, then finally into
Maya to turn it into a model.”

10 January 2018 Email your submissions to [email protected]

 Michael Nicholson
Location: Scotland MEDIA: Photoshop, Maya, ZBrush, Marmoset Web: http://mnicholson-arts.myportfolio.com

Michael is a freelance artist working in the games industry. “From a

young age I was always creating my own characters – and now I have
the most fun taking them from paper to 3D models,” he says.

3 4

3 Owlin
“This was a character based on
a NPC I made for my D&D group.
I’ve always loved the shape of owls
and how they have the connotations
of wise creatures.”

4 Sonic Racer
“In this early ZBrush piece,
I wanted to push the idea of a jogger 5
taking things to the next level.”

5 Feorn
“Most of my characters start
out as a quick sketch. Then I work
into the design and take it through
the process of turning it into an
in-engine model.”

Email your submissions to [email protected] January 2018 11

 Matias Silorinne
Location: Finland MEDIA: Photoshop Web: www.ratuska.fi/Myllah/index.php

“Finding art has given me the chance to do something meaningful,”

says Matias. “I still struggle at times, but I’ve come to appreciate the
creative process and the uncertainness that’s part of it.”

1 Fantasy Landscape
“This landscape sits
somewhere between good
2 3

and evil. There’s always a

battle between the two.”

2 Faceless Lady
“This painting was
inspired by a nightmare –
this lady was chasing me
all around the house. It was
scary. I got killed in the end
of that dream.”

3 Elf Lady
“This was inspired of The
Lord of the Rings and The
Hobbit. Elves are my
weakness and passion – I just
love them and the lore
behind them. Who doesn’t?”

12 January 2018 Email your submissions to [email protected]

 1

Gina Nelson
Location: England MEDIA: Photoshop
Web: www.ginanelsonart.com

Gina is a self-taught artist from

South Africa who’s leading the
art team at London mobile
1 Birdie
“I wanted to create
something beautiful and
games studio The Secret strange that was both human
and not human. This piece
Police. In her spare time she gave me the opportunity to
works on personal illustrations, study feathers and wings.
both traditionally and digitally. I had such fun with it.”

Email your submissions to [email protected] January 2018 13

 2
Sheeba Maya
Location: US MEDIA: Photoshop Web: www.sheebamaya.com

Sheeba likes to combine African culture with fantasy

elements. “I’m inspired by my own spiritual journey,
a love of nature and all things mystical,” she says.

1 Leo
“The headdresses for each piece is
meant to honour the spirit of the
2 Virgo
“Each goddess has a small
animal companion. This one is a little
animal. I had a lot of fun capturing hard to find but that’s okay since it’s
the furry texture for this one!” a chameleon! I like to add things for
the viewer to discover.”

3 Taurus
“I’m obsessed with texture. I want the
viewer to feel the softness of the feathers,
the smoothness of the horns and the cool
touch of the metal chains.”

4 Aries
“As the genesis of the series, Aries
really set the tone for the subsequent
paintings. My aim was to capture the
magical nature of the goddess.”

14 January 2018 Email your submissions to [email protected]

 4

Email your submissions to [email protected] January 2018 15

 1

16 January 2018 Email your submissions to [email protected]

 Matthew Sellers
Location: US MEDIA: Photoshop Web: www.matthewsellers.com

“I’ve been creating art ever since I could say ‘Crayola’,” reveals
illustrator and concept artist Matthew. Early inspirations included
Tolkien’s literature, music of The Police and Larry Elmore.

3 4 1 Serpent’s Keyhole
“As a concept artist, I strive to create exotic,
strange locales never before imagined. It’s a
joy to paint a piece that conveys uniqueness.”

2 Final Destination
“My feeble attempt at capturing what the
afterlife might be like. I wanted this to be
extremely atmospheric, with just the right
balance between light and dark.”

3 Dry Bones – Come Alive!

“I wanted to take an ancient biblical story
and resurrect it using fantasy elements.
Dramatic lighting and composition brings the
viewer’s focus on the central character.”

4 Stranger from the North

“This was created for a book cover.
My goal was to paint a piece that told a story
through a single image. It shows the iconic
weary traveller at journey’s end – or is it at
the beginning…?”

Do you want to see your art on these pages? Then email five pieces of your work and a short explanation
about each artwork, along with a photo and a few details about yourself, to [email protected]

Email your submissions to [email protected] January 2018 17

 Artist news, software events

At the core of the Digital art community

“Giving a critique
is a challenging but
rewarding process,”
says Pascal Blanché.

18 January 2018
 smashing it vision on Light work
Video games artist Step inside the Dave Brasgalla gives a
Anna Hollinrake’s work inspirational space of succinct masterclass in
on the VR title Lola And comic artist Chris depicting rim lighting –
the Giant won her a Visions, whose studio and what to avoid – in
BAFTA Breakthrough is a visual stream of our Q&A section. While
Brit award. We find out consciousness that Chris Rathbone reveals
what it means to be an helps him to paint his how he creates custom
award winner. vivid artworks. brushes in Illustrator.
Page 23 Page 24 Page 30

© NetherRealm Studios
Industry insight
Pascal
BlanchÉ
The veteran games artist explains
how he goes about giving out crits

How do you go about critiquing

other artists?
I try to understand the process
the artist has followed from start
to finish and offer suggestions for
how to do it better, without being
Concept art for Injustice 2 by too prescriptive or interfering
Drew Whitmore. “Peer
feedback is invaluable as with their artistic vision.
everyone loses perspective on
their own work,” says Drew
What are the secrets to giving

How to give out

constructive critique?
A clear brief before the work
starts, with a well-defined goal,
and (most of the time) suitable

useful art critiques

references. And then being as
consistent as possible regarding
the brief when I give my critiques.
The clearer the path, the better
the critique will be understood.
Part two What’s the best way to helpfully comment on another How do you avoid being purely
artist’s work? Tom May asks industry experts for insight and advice subjective in your critique?
I try to stick with the intention as
much as I can. I use references
Working as a professional artist, and moodboards, but I also
you’re often asked to critique other respect the artist’s vision and their
artists’ work. But as we noted in interpretation of the subject. If I
last issue’s article on how to receive feel it isn’t going where I expected
a critique, no one likes hearing it to, I try to understand what the
negative views of their art. So how do artist saw in the task that I didn’t,
you go about it? and get more into exchanging
While diplomacy is key, soft-soaping ideas and brainstorming. It’s
the truth is not an option, always fun to see where this goes.
says Sarah Robinson,
creative director for Paizo How do you avoid damaging
in Seattle, who regularly the artist’s “inner voice”?
reviews other artists’ work It’s tricky to give good and clear
at conventions. “Hearing the truth is directions without being too
what helps,” she points out. “We all directive! Most of the time when
want to get better, and if we’re told “A critique shouldn’t asking for critique. If they want there’s friction, it’s a sign that I
be just one way,” says
that we’re awesome all the time, Loïc Zimmermann. “It’s compliments instead, they need to have to explain my ‘grand design’
then there’s no chance of going to a dialogue.” make that clear.” better. Once we’re on the same
the next level.” Neither, though, should you simply page it’s easier for the artist to
Dave Rapoza, an artist for games spit out your own personal express themselves, and let them
and films who’s just launched his own views of the work, says be more in control of their work.
comic, entitled Steve Lichman, agrees. Loïc Zimmermann, art
“You don’t do anyone a director of MPC and a Having spent more than 20
service by holding back,” teacher at Gnomon. “It’s years working in the games
industry, Pascal is senior art
he says. “People are not about you and whether you like director at Ubisoft Montreal.
looking for someone to be the art or not. That’s not relevant,”
www.behance.net/derelictplanet
honest. Remember, they’re he explains. “It’s about what is the

January 2018 19
 ImagineNation News

‘If something isn’t working, you must

say so clearly. Then you can start to be
constructive,” says Loïc Zimmermann.

artist trying to do, and how well

they’re working towards that goal.”
“A critique requires you to do more
than just look at the art; it’s about
understanding the ambitions behind
it,” agrees American artist
Daniel Warren, who’s
recently been working
with Dave Rapoza on
Steve Lichman. Daniel
used to critique artists regularly online
via Livestream and Twitch, and still
does so for those who reach out via
email. “I typically try to first identify
what field they’re trying to get into,” he
explains. “Concept art? Book
illustration? Comics? And then I frame
the crit around the needs and
requirements of getting into that field.”
This way, there’s a better chance of
your critique hitting home, he adds.
“It shows them that you actually took Image created by Dave Rapoza
as part of a tutorial. “If the artist
the time to observe their work and argues back, do listen, because
aren’t just giving them the boilerplate they may change your
perspective,” says Dave.
responses you give to everyone who
asks for help.”
rather than just narrowly critical.
Give yourself time to reply “Always try to have a proposed
Drew Whitmore, a principal artist at solution,” Drew stresses. “Point out
Atomhawk, agrees that taking your what you think is wrong and why, and
time is key. “Don’t then what you think they should do
immediately jump into about it. If you don’t have a solution
critique,” he advises. Sarah Robinson off-hand, it’s good to discuss it with
art directed David
“Looking at their image a Alvaraz on this the artist, and ask them a bunch of
couple of times, with some piece for the RPG questions. Often, they’ll think of a
Starfinder. “I
time in between, gives you a better generally ask the good solution themselves.”
view of what the issues are,” he person what kind To make sure you don’t slide too far
of critique they’re
advises. And try to be constructive looking for,” she says. into negativity, Daniel recommends
the ‘crit sandwich’. “The formula is

 I frame the crit around the ‘positive, negative, positive’,” he

explains. “It’s very important to
needs and requirements of remember that critique is not just
negatives. Identifying what works, and
© Paizo

getting into a certain field  the strengths, is equally important. So,

20 January 2018
 Artist news, software & events

Starfinder art by Setiawan Lie, as directed by

Sarah Robinson. “At Paizo, I look at anatomy and
composition first, then creativity,” says Sarah.

Art by Drew Whitmore. “Being able

to give crits as well as receive them

© Paizo
helps make both easier,” he says.

do as a jumping board for your

feedback, so they know you’re not
trying to take them some place they
don’t want to go.”

Think big, not small

It’s important, too, to not get bogged
down in details, says Daniel. “Stick to
the three main problems you see in the
work rather than overwhelm the
person with every little thing you
believe is wrong,” he advises. “This
serves to make the artist you’re
critiquing focus on the big, important
issues and keeps them focused.”
Above all, remember you’re talking
to a human being, so address them in
© Paizo

the same friendly manner you’d like to

be addressed yourself. “It’s not just
for every two areas of weakness, try to a thing? Or this is something that you Leon Tukker took about what you say, but how you say
direction from Paizo’s
find an area of strength. For example: really want to improve?’ I think that’s a Sarah Robinson for the it,” says Dave. “The important thing is
‘The anatomy could use some work; good place to start.” Starfinder project. “All to convey why something isn’t working
visual media are open
specifically the proportions in the Bear in mind that there’s no ‘right’ for criticism,” she says. and how to improve it; you don’t have
arms. The costume design is really answer here: yours is a second to be nasty about it. It’s basically
great, though – it’s unique and makes opinion, not the be-all and end-all. balance between the two people; both
the character pop. Maybe bump up “Apart from the low-hanging fruit need to be sensitive to each other.”
the lighting so that it showcases the around fundamentals, such as And Loïc is a great believer in a
outfit more.’” perspective, anatomy and lighting, a lightness of touch. “I think humour is
lot of stuff is very subjective,” points something that works for everything in
Agreeing on crit limits out Drew. “With client work it gets life,” he says. “I start my class with
Loïc adds that it’s important from the easier because, hopefully, there’s a anecdotes every time; it’s like a way in.
outset to clarify with the artist exactly clear direction coming from the client. And you have to talk passionately
how open they are to criticism of their “With personal work, though, you about the good stuff. Then it’s easier
work. “So I usually ask: ‘How far do need to consider where the artist is to say to them: ‘So here, why did you
you want me to go? Are you done wanting to go. You can refer to other screw it up? These parts are a very
with it and are asking politely, but creatives who are successful at the interesting direction, but you need to
ultimately you don’t want to change thing this particular artist is trying to follow it the entire way through.’”

January 2018 21
 essential art
resources
Videos, brushes and
more are available
with your digital
editions!

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22 January 2018
 Artist news, software & events

Anna is keen to
develop a world
of pastel witches,
which she loves
to draw.

When Anna heard she was nominated, she was so

shocked that she had to lie down on the floor.

Lola and the Giant images © Climax Studios

New British talent
breaks through
Rising stars BAFTA’s Breakthrough Brits celebrates the work of up- Anna’s work on VR
game Lola and the Giant
and-coming creatives, including ImagineFX artist Anna Hollinrake impressed the judges.

BAFTA is challenging the idea that led by the individual honouree,”

it’s ‘who you know not what you explains Claire Stratton, events and
know’ when it comes to carving out legacy producer at BAFTA. “So,
a creative career with its annual in some ways, they get out what
Breakthrough Brits initiative. The they put in!
scheme, which showcases and “Previous Breakthrough Brits have
Image courtesy of BAFTA/Jamie Simonds

supports the most exciting new found business partners, met future
voices across film, games collaborators, made new friends and
and television, has forged long-term mentoring
singled out ImagineFX relationships through the
contributor Anna programme.” In Anna’s case, she
Hollinrake among others wants to build and expand her own
as a worthy recipient. IP and talk to a range of developers
“I feel both honoured and baffled!” outside of her normal art sphere.
says Anna, a games artist at Climax Fancy yourself as a 2018
Studios in Portsmouth. “Making art Breakthrough Brit? It’s free to enter –
can be a fundamentally solitary The whole group of the my work is wonderfully affirming that you just need to explain why you’ve
Breakthrough Brits
experience at times, and even when recipients covers a wide I’m headed in the right direction.” made an impact over the past 12
working in a studio it doesn’t always range of talents. As a Breakthrough Brit, Anna can months and how the programme
feel like anyone else ever really sees it expect to work with BAFTA to could help you progress.
outside of your immediate team. develop a bespoke programme of For more information about the
Knowing that a panel of accomplished mentoring and career development scheme and this year’s winners, visit
industry veterans saw and enjoyed support. “The whole programme is http://ifxm.ag/break-brits.

January 2018 23
 ImagineNation News

I like to keep a photo of my mom in my art space, since my Here is a stack of pages I just finished for Kelly Sue
artist journey starts with her. She absolutely hates the DeConnick and Valentine De Landro’s BITCH
photo, but I think she was stylin’. It also reminds me of all PLANET. Initially, pages are pinned to the wall in
the dreams she had as a kid, and to hold on to my own. sequence so I can see how the story flows in full.

I’ve set up my digital workstation to feel like a

cockpit of sorts. When I sit down I can easily fly
right into my process, starting with the scanner in
the corner. There, I scan my traditional work,
which goes to my 27-inch Mac, enabling me to
see details clearly. That’s connected to my Cintiq
Companion too, giving the feeling of working
traditionally right into my computer.
Photograph by Tyler Q Tucker

I love the poetry of James Baldwin: “Who,

indeed. I may be able to tell you who I am,
but I am also discovering who I am not. I
want to be an honest man. And I want to
be a good writer. I don’t know if one ever
gets to be what one wants to be. You just
have to play it by ear, and pray for rain.”

Chris Visions
A dear friend gifted the ALF lunchbox to me
so now it’s my art box. And this portrait of
me was created by Cakes in North Carolina.
It means a great deal to me.

Ideas Central The comic artist arranges his space like

a stream of consciousness. Are you ready to dive in?

This is my creative flat file for paper and previous work, a

space at home. project wall, and a digital work centre
Working outside the for scanning, editing and creating art
home is refreshing, but further. I’ve just put together a
having a studio standing desk area with a drafting
enables me to jump right into work, table from the trashpile, a bucket of
and cultivate a garden for my ideas. paint and a thrift store nightstand. It’s
I keep some of my favourite books in transforming into an area where I can
the studio, along with art supplies, a do my livestreams again.

24 January 2018
 Artist news, software & events

Portrait of Jack Johnson I painted a few years back. It was for a gallery show I When I’m not at a convention, my banner hangs up in my studio. It always brings back the
had in Richmond at Loose Screw Tattoo. I cranked out all 24x36 inches in a good vibes of shows, and it’s special because it was my first banner. Soon I’ll be using a
day. It was exhilarating rather than frustrating, but brings back good new one and so this banner will stay in the studio. Hopefully, they can all hang one day
memories. And the subject is very close to me. like jerseys in an arena, but that’s after I get a few rings installed first.

Boxing has always

fascinated me. These
authentic gloves were a
gift from my friend
Stephen, and inspired
a story that I’m
currently writing. Oh,
and Bishop says hi.

Sketching is like training

for me: collecting
observations and ideas
and building them up
into realised pieces. The
ritual of keeping a
sketchbook, being
dedicated to it or even
taking long hiatuses,
teaches you a lot about
yourself and where
you’re at. They serve as
great markers to look
back upon as well.

January 2018 25
 ImagineNation News

I’m currently creating a

character on my wall. In the
centre is the calendar,
because everyone has a due
date. I place tokens that I
feel represent the character,
along with photos of myself
when I was younger.
Naturally, the character will
have parts of me in them,
but it also feels like I’m
watching them grow up.
There’s also art that’s
inspiring or has the feel of
what I’m going for.

I have a Facebook/Twitch film The Professional. It’s a piece dear

channel that I aired last year called to me not just because of the subject
VISIONS SEASON. It’s something I’m matter, but more so it was a piece I did
retooling and looking forward to solely from desire, and I saw
starting again. techniques come from myself that I
I painted this studio area and one wanted to pursue further.
wall in raven’s claw grey. This is a I remember how I moved the brush,
neutral colour that I can ground my how the marks felt as I painted the I keep a lot of art on my
palettes against and where my eyes hairs on Jean Reno’s chin, or how it felt walls, and the most
special piece has to be
can rest. My project wall is behind me, when I decided to make Natalie this one by my friend
and mentor Kerry P
where I post pieces of paper I’m about Portman smaller in proportion – little Talbott. He was a
to use, inspirational images, a large things like that. dedicated cartoonist,
father and teacher who
calender, and process and completed Also in the studio is my bookshelf, taught at Virginia
pieces. There’s a clear view behind my tea stand, and walls of other artists’s Commonwealth
University. We lost him
standing desk to visually keep me on work who I revere. It’s good to have to cancer back in 2013,
track as I draw and paint. people to look up to. but his legacy lives on in
a lot of students
To my right stands my banner that I Chris is a Virginia-based illustrator working working professionally,
including myself. This
take to comic conventions. It features in comics. Keep track of his evolving art piece reminds me of
Léon and Matilda from Luc Besson’s styles by visiting www.chrisvisions.com. him and his life’s work.

26 January 2018
 Artist news, software & events

I keep a chalkboard to
put up inspirational
quotes, with a basketball
hoop above it.

 It was a piece I did solely from

desire, and I saw techniques that
I wanted to pursue further

My artist tray contains my go-to items for pencilling and inking. It contains a range of pens,
pencils, traditional brushes, brush pens, water and ink. Everything a growing artist needs.

I like to keep all my spray cans and most of my supplies in order of the colour spectrum. Little
ways to stay organised helps immensely, and also it’s just so pretty! My cans sit under my
original PULPHOPE print that was given to me by my friend Patrick. He owns Velocity Comics
here in Richmond, which has been my comic book store since I’ve lived here.

This cover was one of my favourites

from the series mostly because of
the risks I took visually. The idea
came from a nightmare I had, so it
was a pretty vivid creating
My ruby-quartz visor is for when my visions get out of control and I have to contain them. experience. Drawing it felt like I was
Shout out to Charles for hooking me up with these – it really helps when I go out in public. All standing on an uneven scaffold.
my red series was drawn with these firmly in place.

January 2018 27
 Letters

New works that have

YOUR FEEDBACK & OPINIONS grabbed our attention
Contact the editor, Claire Howlett,
on [email protected] or write
to ImagineFX, Future Publishing, Turn to page 46 to see how you can give the perfect
Quay House, The Ambury, Christmas gift: a year’s subscription to ImagineFX!

Bath, BA1 1UA, England my bank. Been there, done that, got the
Follow us on Twitter: T-shirt. I will gladly submit a credit
www.twitter.com/imaginefx card, though. I won’t even let PayPal
Tell us your thoughts on Facebook: have my bank details. Please advise.
www.facebook.com/imaginefx John, via email
Post your art or photos on Instagram:
www.instagram.com/imaginefxmagazine Claire replies Hello John, I’m happy to
report that we do accept credit cards.
Our recent feature in I think you may have seen an offer
issue 154, asking if
you’re stuck in an art that’s quarterly, which is via Direct
bubble, resonated with Debit (I think it’s called a continuous
reader Adar.
credit card in the US). We’ll have loads
Wayne
of subscription offers in the run-up to
@druakim
Christmas, so keep a close eye on our
social media pages, or visit our
dedicated subscriptions website at
www.myfavouritemagazines.co.uk.

Bubble burst! Archive please!

Just writing to applaud the topic of art For many years I’ve been a loyal reader
bubbles in the December issue. It’s so of your fantastic, amazing magazine,
tricky to maintain a balance between and so I’ve accumulated a great number
seeking influences that help one reach of issues. I don’t want to chuck them
their goals, while remaining open to out, so now I have a big problem. I
alternative positive influences as well. often want to read an old article on a
Kudos to ImagineFX in general for certain topic, but don’t know where to
representing a broad spectrum of styles start. I see the pile of magazines in front
across commercial art. This is a of me and I feel helpless.
persistent reminder to readers of the Is it possible to create a content
magazine – myself included – that archive (or maybe there’s one already?),
our own style doesn’t lie at the centre on CD/DVD, with keywords for the Mark
of the “art universe”. topics, issue number, year and month? @milamber23
Adar Darnov, via email At least for the past 10-15 years! Did
you already think about it? I suspect
Claire replies Thank you for emailing it’ll involve quite a bit of effort.
in, Adar. With all that seems to be going However, I believe many readers of
on in the world, I thought it might be ImagineFX have the same problem, so
relevant to think about how being in a it would be well worth doing. Sorry for
bubble can reflect in all aspects of our my rusty English!
lives. We do try to represent a broad Siegfried Kiuferkieva, Germany
spectrum or art styles and skills, and we
hope that we introduce people to new Claire replies Ah, Siegfried. For
artists, themes and techniques. starters, your English is miles ahead of
my German! Yes, I would love to have a
Give me credit DID YOU MISS content archive, but it really would be
I’ve only been a digital artist since last the previous impossible for us to be able to create Palostark
Christmas, having been a traditional packed issue? one. I simply don’t have the staffing to @palostark
Don’t worry – you
artist working with paint, water, paper, be able to create and maintain it. I
can still get hold
canvas and so on. I’d love to subscribe of it. Visit http:// know that this isn’t the answer that Just finished something that you want us to
to your magazine, but there’s no way you, or other readers would have shout about? Then tag us on Twitter or
ifxm.ag/155-ifx Instagram, or find us on Facebook!
that I’m going to give anyone access to for details. wanted. Sorry!

January 2018 29
 ImagineNation Artist Q&A

Struggling with a painting technique or

topic? Email [email protected] today!
Commissioned for London Film & Comic Con 2017

I created my own shading and line work

brushes to give my Spider-Man image
a more natural feel, while still keeping
it 100 per cent vector based.

David Brasgalla
Dave is a graphic
designer and
illustrator from
Stockholm who
works in both digital and
traditional mediums. He’s
currently employed at games
company RiotMinds.
www.pixelhuset.se

Chris Rathbone
Chris is a vector-
based artist who
specialises in sport
and comic book
illustration. He’s worked with Sky
Sports, NBC Sports, and many
personalities within the
motorsport industry.
www.chrisrathbone.com

Need our advice?

Email [email protected]
with your art questions and
we’ll provide all the answers!

30 January 2018
 Your questions answered...

IFX Q&A - Caption White IFX Q&A -

Caption White IFX Q&A - Caption White
Step-by-step: Develop
interesting line work with
IFX Q&A - Caption White IFX Q&A -
Caption White IFX Q&A - Caption White
IFX Q&A - Caption White

custom vector brushes

By setting up your own brushes

you can give your work a much
more dynamic look, and push
your art style to the fore.
1  
Create your custom brushes by drawing your
own weighted lines. Either with a drawing tablet
in Photoshop, in Illustrator using the Blog brush tool,
or simple pen and paper! Then, bring your line work
into Illustrator and create outlines from them.

Question
Can you tell me how to create custom
brushes in Illustrator please?
José Marcum, US

Answer
Chris replies
I create all my work in and redraw it. This was obviously
Adobe Illustrator. I love the quite time consuming, and also
accuracy the Pen tool gives because Illustrator is a vector program,
you, and the fact there are
so many options available to use
within the program, such as the Path
I felt my line work became too
‘perfect’ and I lost the natural feeling
to my drawing.
2  Once you have your brush stokes outlined, you
can use the Anchor Point tools to go in and
refine any part of the line to get it just how you want
Finder and Blend tools, that enable So I started creating my own it. Then, create a new Calligraphic brush by clicking
you to create clean, precise artwork. brushes. I created lots of varying the Create new brush icon in your Brushes panel.
I like my line work to have a more brush strokes and turned them into
natural look, and as a result I would brushes. This now meant that I had
dip in and out of Photoshop so I the precise control of drawing with
could use my Wacom tablet to create the Pen tool, but I could also give
pressure-sensitive line work. I would my line work a more natural, hand-
then bring the drawing into Illustrator drawn appearance.

Artist’s secrfoetr
Diff’rent strokes
diff’rent folks
your own
Take the time to build up
effects that
 
library of brush strokes and Follow this technique to create a library of
n use in your illu stration 3 different brushes and effects to suit your style.
you can the
Th is will the n help you to You can use it to create Pen brush strokes, but also
work.
que and
develop your own uni to shading effects such as stippling or half-tone
work.
recognisable style to your effects. You can also create ‘fills’ as well as ‘strokes’.

January 2018 31
 ImagineNation Artist Q&A

Question
My paintings seem to lack focus and feel flat – what can I do?
Xin Qian Ko, Canada

Answer The finished lighting setup helps put

Dave replies the main focus on our foreground
character, with a secondary focus
Sometimes we have a great point on the warrior in the distance.
idea, a solid composition,
and nice line work and
rendering – yet the image
still ends up feeling bland and
unfocused. The quickest solution is to
utilise dramatic lighting effects. These
don’t have to be complicated or clever:
simple, yet thoughtful lighting setups
can make your whole image come
alive. They’re also a great way to direct
the viewer’s gaze.
Here’s my inked line drawing. The composition
I’ve been told by more than one art works and we understand the scene easily enough,
director that they’re always on the but it reads a little “flat”. The focus is uncertain.
lookout for great lighting and great
composition, so working on these are
a sure way to increase the attention
you get! Begin by making many
lighting variations of a single scene, Artist’s secret
and observe closely how each solution Double the value!
rower,
affects the impact and focus of your I often end up creating nar
ue ran ges tha n I intend, so
image. You can do this at the weaker val
e my final
thumbnail stage, but working digitally I often find it helpful to tak
te it, and set that
means that it’s also easy to work on colour layer, duplica
ly or Ov erla y to
this with a finished line drawing or layer to Multip
ge.
sketch – so let’s try it! quickly widen the value ran

Step-by-step: Explore different lighting solutions for a single image

 
This lighting setup puts the viewer in
1
the foreground. The smaller warrior
and far hillside are shaded to become
2  
This version flips the first setup, and
now we are looking out from the
shadows towards the distant warrior, who
3  
Finally, we have a combination of the
first two. The foreground figure is in
shadow lower down, but moves up into
more of a silhouette. There’s still enough is now fully lit. Keeping the foreground light, creating a dramatic effect. I still get
information in the shapes to read what’s value range narrow will let the overall depth between foreground and distant
going on over there, but the foreground shape tell that part of the story, and ground, and could even use the same
details are the ones that matter here. moves the focus over to the small warrior. effect on the far figure if I wanted to.

32 January 2018
 Your questions answered...

Step-by-step: Build up
dynamic movement in
a composition

1  
 It all starts with your horizon line. Once you have
this you can then pick your primary vanishing
point and begin to create your guides from the point.
Keep your angles simple to make your life easier –
you can always rotate your artwork later!

I created my own perspective grid for this

piece, and then exaggerated it slightly
to make it feel even more dynamic.

Question
I want to ramp up the perspective in
my scene. Do you have any tips?
2  
 Once you’re happy with your perspective,
sketch some loose shapes to see where and how
you want your objects to sit. I often have multiple
Marie Huber, Germany sketches with different angles and perspectives
before I decide on the one I feel works best.

Answer
Chris replies
There are perspective realistic, and it also enables you to
tools built into both convey the power you want the image
Photoshop and Illustrator to have. For example, picking a low-
(for example, click angle perspective, like in my racing
Edit>Perspective Warp in Photoshop). car piece here, gives a real sense of
When you’re first experimenting with speed and power, whereas picking a
perspective I’d strongly suggest using higher perspective angle (imagine
these tools as a guide to help you with looking down from a tall building)
your compositions. Once you feel can give a sense of height and fear.
more confident and understand Once you’ve decided on a
which is the right perspective for your perspective and angle for your
composition, then you can start to
create your own perspective grid for
more flexibility.
composition, you can start to bend
the rules slightly and exaggerate your
perspective for a more dramatic effect.
3  
 When your angles and perspective are working
well together, start to add detail and flesh your
drawing out. You can also add a secondary vanishing
Having a strong perspective in your However, don’t go too far because it point if necessary. For my piece here I added a
work helps the image feel more will begin to feel unrealistic! secondary vanishing point for the buildings.

January 2018 33
 Your questions answered...

Question
I want to try my hand at rim lighting – any advice?
Luz van Eekelen, US

Answer Eve Morandi as Tiona,

Dave replies from Mario Bava’s
classic pulp sci-fi film
Rim lighting or Terrore nello spazio,
with a strong, varied rim
backlighting will add lighting effect adding
dimension and interest to visual impact.

your figures. I’ve loved

using this kind of effect since
childhood, where I first noticed it
being employed for lighting the actors
on the original Star Trek TV show.
Even so, it took time for me to
understand why it was so effective. If
used incorrectly, it can flatten out your Observe the contrast in these two shapes. The
outline faintly suggests the form, but the “wrapped”
image rather than adding depth to it. rim light shape actually begins to reveal it!
A simple outline can easily create a
“cut out” feeling. This can certainly
have its own place, but isn’t really the
effect we’re after. To make your rim
light effects truly enhancing, try
bending and wrapping the back light
Artist’s secret
more around the object or figure. This Go beyond your
will help reveal, define and accent the reference source
trap us if
dimensional form, while also creating Reference photography can
Do n’t be
new opportunities for you to direct we become too tied to it.
exa gge rate
the viewer’s eye around the image. afraid to expand and
cts in ser vice of you r
Keeping the overall shape of the rim lighting effe
− pus h out wa rds bas ed on the
light varied and interesting is another image
way to engage the viewer. information you have!

Step-by-step: Add dimension to your rim light effects

1  
Here my portrait of Tiona is only
utilising one main light source. It’s a
perfectly serviceable image, but a
2  
This is what I would have done when
I was beginning in illustration – it’s
more of an even outline of the form. It’s
3  
I wrap the light around the form of
Tiona’s head and uniform, making
sure to vary the shapes and widths in the
second, strong light source from behind okay, but it’s something we need to push light pattern. She’ll separate better from
and above will add impact to the image, and exaggerate to make the image really the background, and the cool rim light will
and also help pull the character out from pop. You can see how this subtly flattens help to define the dimensional structure,
the background. out the figure. whilst contrasting the warm main light.

January 2018 35
 Artist Portfolio

Artist Portfolio

Jason
Rainville
The Canadian fantasy and sci-fi illustrator
tells Gary Evans why it’s crucial to build
up a pattern when tackling a project

J
ason Rainville is thinking about Jason makes tough-looking art that
Claim

© Wizards of the Coast

how to describe his art. The also tells a story. “The MtG art directors implied
fantasy and sci-fi illustrator Behind the scenes, Jason follows a I should try to tie the two images
– Claim and Fame [see page 39]
begins with the render: he likes strict regime. Day by day, he builds – together in some way. I decided to
to emphasise form – a soft image discipline, builds up a pattern, have the characters in similar poses,
with Claim seen from above.”
is an unsuccessful one – so he lands on improves slowly but surely. This regime
the word “chunky.” Pose and lighting applies to both his art and to his
help dramatise his work. It could be a everyday life.
drama that’s quiet and understated or “I love character moments and
a drama that’s loud and bombastic, but emotion,” the Canadian says.
his work must be dramatic. In short, “Nothing holds a viewer’s eye like
something they can relate to,
Artist something that strikes deeper than the

PROFILE
‘cool factor’” of the visuals or the
design. There are two stages to an
Jason Rainville artist’s early development: before and
Location: Canada after intentional study.”
© Wizards of the Coast

Favourite artists: Alphonse Mucha (for Jason didn’t begin intentional study
the Slav Epic more than anything), John
until he was 22. Before that, he
Singer Sargent, Norman Rockwell, JC
Leyendecker, William-Adolphe Bouguereau doodled. Growing up in small-town
Heir to the Night
“I welded together sections of similar value
Software used: Photoshop northern Ontario – in the “lower- to strengthen the composition. This is a
web: www.jasonrainville.com successful example of value-massing.”
middle class” – he had no idea how

36 January 2018
 Interview Jason Rainville

Hellknight Cover
 Nothing holds
“It’s always difficult to illustrate
two characters fighting on a
cover. The client always wants

a viewer’s eye like both faces shown, so you have to

get creative with posing.”

something they
can relate to 

© Paizo Publishing

January 2018 37
Artist Portfolio
Oracle of Dust
“One of my most successful Magic:
The Gathering illustrations. I fell in
love with the brief, which called for
a very quiet alien scene.”

© Wizards of the Coast

38 January 2018
© Wizards of the Coast Interview Jason Rainville

to make art a career. It wasn’t until Fame

the second year of college that he had “Fame was an example of
being honest with yourself
access to the internet. That’s when he and your art. Part-way
discovered conceptart.org. through I realised the
original background was
“It was a place where amateurs and boring and flat, and
changed it to include
professionals got together to more interesting elements
objectively critique each other’s art,” he at varying depths.”
says. “I learned how actively studying
from observation and a lot of hard
work can lead to real progress. After
that I was hooked.”

Two sides of the same card

Jason studied graphic design, but Characters
would always find himself including Opener
illustrative elements in his work. Still, “One of my favourite
illustrations. I feel like
he had doubts about making it as everything – values,
professional illustrator. After college, in colours, facial expression
– is working well. I added
2008, work as a graphic designer was a fun compositional
equally hard to come by. He moved element where the
character is already
home and looked for a job as a printer, trapped behind the net.
and finally any job at all. “I couldn’t
find work digging ditches,” he says. work” with Rite Publishing, a company every member of my close family into
© Paizo Publishing

The artist continued to study art and that created content for Pathfinder, the an illustration for various clients, with
eventually got some “very low-level role-playing game. More jobs followed. the final family member’s illustration
He landed projects with Paizo being released later this year. It’s my
Publishing and later with Wizards of small way of paying them back for
 So far I’ve worked every the Coast. Jason owes a lot to his years of support.”
member of my close family mentor at Rite, Steve Russell, and to his
family. The former supported him
When Jason works with a new art
director, he ask how they want to do
into an illustration for artistically, the latter financially.
“I’ll never forget Steve and the effect
things. Some like a lot of input, while
others let him do his own thing. There
various clients  he’s had on my life. So far I’ve worked are those who prefer to see concepts

January 2018 39
 Artist Portfolio

Brutal, bombastic,
and horrifying
Jason tells us how this brief from an adult RPG became a baroque bloodbath
This was the last image I produced for the Lamentations of the Flame Princess
– a brutal, bombastic and horrifying role-playing game set around the time of
the English Civil War. The brief was simple and visceral. The violent, blood-
splattered musketeer Alice would single-handedly take on an entire Spanish
terico, with the soldiers in her path enduring a number of horrible wounds.

1 thumbnailing
I pulled some reference of Spanish
tericos and their soldiers, and began
thumbnailing. I always thumbnail in
pencil first, and usually I try to be clean
about it, but this was a special case.
The scene is so chaotic, with so many
moving parts, that a looser impression
of the values was my early focus.

2 sketches
I sketched some basic values in
Photoshop and settled on a central
composition. I cleaned it up, added
some colour and sketched some key
characters. In a rare move , I sent the
client a “sketch sheet”, which clarified
what would go where.

40 January 2018
 Interview Jason Rainville

3 reference
I live in a remote area where models
are hard to come by, so I tend to
shoot myself for reference 99 per
cent of the time. So I had to fill in for
many characters in the same scene!
I brought all of the pictures into
Photoshop and arranged them
together into a ridiculous ref sheet.
Or maybe it’s cool – you decide.

4 tight sketch 5 Final Image

Using all of my shots and gathered references, I set about From there it was just a case of
creating a tight sketch of all the characters. I find working rendering everything overtop my
out all of the poses and details beforehand really helps rough colours and sketch. I tend to
with workflow. Noodling with basic aspects of an image use simple brushes and techniques,
down the line slows me quite a bit. Underneath this sketch and minimal layers if I can afford to.
I put in some rough colours. I very much wanted this to
look like a baroque painting of the time, with a dark
background and very dramatic lighting.

January 2018 41
 Artist Portfolio

Kari Zev’s Expertise

“I’d made some studies of clouds before
working on this card, and it really helped.
Study a subject and apply it to a similar
subject you’re working on.”
© Wizards of the Coast

for every individual element, while can usually see it and fix it. But he’s
others ask for a sketch of the full equally happy for art directors to chip The Bather
“An attempt at a new take
image. He likes to go back and forth on in with their observations. on the classical bather
trope. I presented a tough
illustrative elements such as mood, “When I’m asked to change Viking woman rather than
themes, the back stories of his something,” he says, “I’m very a symbol of feminine
delicacy. Her nudity here is
characters, and visual and narrative amenable. Not only because I want to triumphant and imposing
depth. “These are very satisfying keep the job and have a good working rather than titillating.”

exercises,” Jason says, “that I feel are relationship with the client, but
both gratifying and necessary in the because I also simply want my best
more complex or one-off jobs, like a work to be out there.”
book cover, which needs to do so Jason began working for Magic: the
much with a single image.” Gathering in 2013, which he calls “a

 When I’m asked to change something

I’m very amenable… I simply want my
best work to be out there 
A recent Magic: the Gathering project blessing.” The trading card game has a
called for two illustrations, Claim and huge fanbase full of avid collectors.
Fame, featured on the same card, to be The game’s online store makes it easy
in some way connected. Jason did this for fans to find Jason’s work, which
through clever composition. Claim acted as a “catalyst in my business and
shows a woman dead on a slab and marketing education.”
Fame shows the same woman as These two factors – business and
warrior reincarnated, her pose nearly marketing – are what Jason finds most
identical in each. difficult about life as a professional
artist. “Thinking about what may or
What does and doesn’t sell may not sell causes me a bit of
Jason begins with thumbnails, very anxiety,” he says. “Typically, what has a
small in size, to work out overall wide general appeal doesn’t interest
values without getting “too carried me, and what does interest me might
away.” If something isn’t working, he not have a lot of general appeal.

42 January 2018
© Wizards of the Coast Interview Jason Rainville

Thunderbreak Regent
“A fun Magic: The Gathering
illustration. My studies of
snow, ice and large icicle
formations really paid off.”

January 2018 43
Artist Portfolio

© Wizards of the Coast

Reality Smasher
“Another fun illustration to work on. It took ages
but it was time well spent, getting the iridescent
elements of the giant creatures carapace just right.”

44 January 2018
 Interview Jason Rainville

learning to Andrew Loomis

From Andrew’s book, Drawing

Find your form

the Head & Hands, Jason
learned key composition skills
such as lighting, place features,
and foreshortening.
Jason explains how you can grasp the
most important aspect of visual art…
“When I first started studying, I often felt frustration at
how slowly things were moving. Then, about six months
in, that changed. I learned two things: how to measure
accurately with my eyes, and form.
I was annoyed that my studies from observation
looked little like their subjects, so I started training
myself to line up features and elements, measuring
things with my eye, comparing the size, angle and
shapes of those elements to others in the subject. With
practice, I was able to more accurately capture my
subject. I’d sketched Krillin from Dragon Ball Z and
noticed that his forearm looked more like a real forearm!
That was when I first realised that I had progressed.
Form was something I learned from Andrew Loomis,
especially his book Drawing the Head & Hands.
I focused on constructing planes that recede and
advance through space, which made it so much easier
to determine lighting, place features, foreshortening –
everything. Krillin and the other drawing here are from
between 2006 and 2008. Compare them to, say, The Krillin
Bather [page 42], and you see that the most important Two of Jason’s biggest breakthroughs were learning form and how
to accurately measure with his eyes, the development of which can
aspect of visual art is an understanding of form.”” be seen in this early sketch.

 It’s more
important to
build discipline
than inspiration 
“Trying to fit a personal project of
any kind in between work becomes
even more difficult when you feel
you have to justify every aspect of it.
That’s the “dark” side to business
considerations, when you feel like
your interests won’t sell well.”

Build up a pattern
Jason has been working on one
illustration for over three years. It
features more than 100 characters
in a “complex narrative scene.”
Commercial work always comes first.
So he found it hard to spend an
extended period of time on this
personal piece. Instead, he added to it Odin in the House dedication and repetition: “This past general, but I’ve noticed progress,
when not tackling paid jobs. He’s of Giants February, I was in a bad place. I wasn’t which is the point. I’m competing with
“A personal piece
finally at the rendering stage. displaying my love
the person I wanted to be, so I enacted only my past self. It’s an easy regimen
Jason recently started another of Norse mythology. a self-improvement programme that to follow and builds up a pattern. It’s
I wanted to present
project that feeds into his work in an something very dramatic spanned various parts of my life. One more important to build discipline
interesting way: bodybuilding. and classical.” such part was my physical fitness. than inspiration. I feel the same way
Improving his art, like improving his “I’m not rippling with muscles and about art: build up a pattern and don’t
body, is done bit by bit through as a shorter guy I lift less weight in just rely on inspiration.”

January 2018 45
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47
 profile
Lorena Lammer

mer
location: Germany

Lam
Lorena is a freelance

a
illustrator and concept

Loren
artist based in Germany.
She works mostly digitally,
but loves sketching
traditionally – especially with ink.
t to
ndercurren s
When she isn’t painting or drawing

h a dark u she spends her time with friends,

wit ion
are mixed s and visual explorat
reading, playing video games and

sy themes entertaining her two crazy cats.

ta he
Classic fan uiling range of sketc
www.lululana.com

be g
produce a

Candles
“I love illustrating things that are
surreal and magical, even if it’s just in a
test drawing like this one.”

Feed the Rain

“I came up with this drawing while listening
to the song Carnival Of Rust,
by Poets Of The Fall.”

48 January 2018
 Sketchbook Lorena Lammer
I’ll Be Waiting Hero’s Sorrow
“Peter S Beagle wrote that great
“I often experience sleep paralysis
episodes, being watched by an heroes need great sorrows and burdens, or
unknown presence while asleep.” half their greatness goes unnoticed.”

 I love illustrating things that Cold Wind

are surreal and magical, even if “I was always fascinated by the tales
about the Kelpie, which inspired

it’s just in a test drawing 

me to draw this piece.”

January 2018 49
  Not everything
is as beautiful on
the inside as it is
on the outside 

Carrion
“This piece is about
how not everything is
as beautiful on the
inside as it is on
the outside.”

50 January 2018
 Sketchbook Lorena Lammer

Strange Trees
“I love drawing trees and faeries, so
Sooner Or Later
“Of course this one is inspired by Alice In
here I combined both elements. Wonderland, but this bottle isn’t
Basically it’s trees coming to actually labelled ‘Poison’…”
life in the form of nymphs.”

Scared
“This drawing also
deals with sleep paralysis.
It’s one of the most
terrifying feelings even
though it’s not real.”

January 2018 51
 Real
Magic
“To make real magic
happen you can’t
simply offer anything –
you have to give away
pieces of yourself
to make it work.”

 To make real

magic happen you
have to give away
pieces of yourself
to make it work 

52 January 2018
 Sketchbook Lorena Lammer

Souls
“Here I wanted to show a silent
world, with just one living being left
among the souls of the dead.”
I Regret
“I always felt so sad for
The Last Unicorn. She’s
probably one of the more
tragic characters in
literature and film.”

Fairies
“A fairy collecting stars. This
was inspired by a JM Barrie quote
out of Peter Pan.”

Do you want to share your sketches with your fellow ImagineFX readers? Send us an email with a
selection of your art, captions for each piece and a photo and bio of yourself to [email protected]

January 2018 53
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54 January 2018
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January 2018 55
 Feature

the life of a
concept
artist
Concept artist Gennaro Grazioso’s
career in the games industry has been
aided by Autodesk SketchBook’s tools

G
ennaro Grazioso lives the like Polycount and communities like
kind of life many dream of. ArtStation, to expose my art to other
Having graduated from people and hoping someone would see
Teesside University in 2012, my potential. Eventually, I got an email
the likable artist is now greatly in offering me an interview for a job, and
demand as a freelance games artist, it snowballed from there.”
working with everyone from cool That job was as senior character and
indies to triple-A studios. But the secret concept artist for Improbable, the
of his success is quite a simple one. London company behind the gaming
“It was basically constant grafting,” platform SpatialOS, which recently
he says. “I was constantly at home, achieved a $1billion valuation. During
drawing, posting online, on forums his 18 months at Improbable, he
took full advantage to develop his
Artist skills, working on 3D characters,
PROFILE environments, weapons, prop
modelling, animation, level design
Gennaro Grazioso and prototyping. He also spent time
Location: England art directing and concepting new
Favourite artists: Calum
Alexander Watt, Yoji Shinkawa, IP, characters, robots, environments
Karl Kopinski and props for projects.
Software used: SketchBook Pro
web: www.grazeart.com
Then in late 2014, Gennaro took the
plunge into full-time freelance, and

clean sweep
SketchBook’s
stripped-back interface
gives you plenty of screen
space to draw on.

robot warm-ups
“Here’s a set of robot
designs I created for a free
Gumroad tutorial
(http://ifxm.ag/gen-g).”

56 January 2018
In association with

Geiko 03
Gennaro came across an online
competition to create a geisha or
samurai character and from that, his
idea for his geiko series was born.

 I was constantly
at home, drawing,
posting online at
Polycount and
ArtStation… 

January 2018 57
 Feature

Geiko 02
five ways to “A lone wolf lurking in
the shadows, waiting

generate ideas
for vulnerable men to
wander through…”

Gennaro Grazioso presents his tips

for coming up with new concepts…
“The way I generate ideas really depends on how I’m
feeling at that moment in time. Some techniques will
work one day, and some don’t. When you’re trying to
do something creative, there’s no one way. You
should have a multitude of approaches to
accomplish something: here are five for starters.”

1 Rather than going straight into drawing sketches,

I often start by writing about the character. I try to
get in their head. What they would do, day to day?
Do they have friends or family?

2 I always ask myself: what do I want the audience

to feel when they see this character? So
sometimes I write scripts of what the character
would say to other people. I also like to make
little mind maps.

3 I don’t always start with words; something I’ll just

jump into a sketchbook and start sketching
thumbnails instead, to get my brain warmed up. At
this point, I’m not really committing to showing
anything to the client. It’s all for me.

4 It doesn’t matter what it looks like: I’m not

bothered about making a pretty drawing at this
point. I’m really just making sure that I can see
 I like how clean SketchBook is, and
potential in this idea. how it really is just about the drawing.
It’s a nice experience 
5 The result of all this might be a couple of words,
or a very rough and loose doodle. And then from
there I’ll jump into SketchBook, and actually start It’s the kind of discipline other artists photoreal work that’s used
thumbnailing different designs. will envy, and it’s born of a passion predominantly in the gaming industry
for what he does. “I always knew that right now,” he explains. But more
I wanted to do art as a career,” broadly, his inspirations are often
hasn’t looked back since. But he’s so Gennaro says. “Growing up, I was drawn from all art forms, including
determined not to rest on his laurels always doodling, drawing all of the architecture, fashion, and films. “And
that he devotes two hours every sketchbook pro’s Pokémon that you could possibly I think it’s important to stay true to
morning to advancing his artistic skills.
tools in action draw. So wasn’t really an option. It was what I like, versus being too concerned
Gennaro loves how
“I have a deep obsession with Autodesk’s symmetry what I was going to do.” with what else is out there.”
tools helps him quickly
studying anatomy and expanding my produce orthographic His style is strongly influenced by Most of his work is done in
drawing techniques,” he says. To make drawings – crucial when comic books: “I really like the kind of Autodesk’s SketchBook, which is not
producing concept art for
sure that happens, he gets up around commercial projects. heavy ink work versus the more the most feature-rich of drawing tools
5-5.30am, goes out for a run, and then
studies from 6 to 8am. “After that, I’ll
go and walk the dog, do the things
I need to do, then start my day’s work
about 9 or 10am, finishing around
six in the evening.”

forward thinking
But even that’s not the whole story.
“Before I go to bed, I’ll plan out the
next day,” he adds. “I’ve got a little
whiteboard and I spend an hour
writing out what I’m going to do.”

58 January 2018
 In association with

Yakuza Boss
“Here are some of the
ideas I had for possible
Yakuza leaders.”

Dishonored
Underground
Boxers
“Even though the father
left the fight empty
handed, he smiles at his
son to reassure him
everything will be okay.”

– but Gennaro sees that as a positive

thing. “It doesn’t try to focus on doing
too many things; it just gives you a
really nice experience,” he says.
“Painting and drawing software is so
often filled with clutter. I like how
clean SketchBook is, and how it really
is just about the drawing.”
He does, however, say that the
program’s Symmetry (Mirror)
function is well worth a look. “It
enables you to draw on one side and it
will update on the other,” he explains.
“I use this all the time when I’m
designing characters, because it just Miner World
speeds up the process so much – “It’s about a world
where robots are
especially when producing more enslaved by nomads.
orthographic drawings.” I wanted to combine
a light and uplifting
aesthetic, and contrast
tools of the concept art trade that with a dark and
harsh narrative.”
Gennaro will usually then use
Photoshop to add finishing touches,
while 3DS Max, ZBrush and Keyshot
come into play for 3D work. But in
general, this artist takes quite an old-
school approach to technology. So for
instance, when an idea pops into his
head, he heads not for a digital tablet
but his trusty paper sketchbook.
“I carry it everywhere with a couple
of pens,” he says. “I like the fact that
with a physical pad, there’s no Ctrl-Z.
I find that quite liberating. It enables
me to not care about how it looks and
just more about getting it down as
much as possible.”
A work ethic, a determination to
succeed, and a no-nonsense approach
to tools: new artists could do worse
than follow Gennaro’s example.

January 2018 59
 THE EVENT FOR THE CG COMMUNITY

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VERTEXCONF.COM
13 MARCH 2018 OLYMPIA LONDON TICKETS ON SALE NOW
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 get your
resources
See page 6 now!

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

Advice from the world’s best artists

62 70

78 This issue:
62 New ways with
colour and light
Maria Poliakova paints a
gentle portrait of a girl using
a variety of vibrant colours.
70 Paint a classic
fairy tale scene
Chrissie Zullo uses Procreate
to create an iconic moment
from a much-loved fairy tale.
76 Core Skills:
ZBrushCore
See how Pablo Muñoz
84 Gómez is able to add visual
interest to any model.
78 15 techniques for
painting dragons
Alex Stone shares his ideas
on designing realistic-looking
dragons with personality.
84 Mastering the
Mixer Brush tool
How to develop a traditional
look on the digital canvas,
with Wangjie Li.

January 2018 61
 Workshops

Photoshop
new ways with
colour & light
Given a brief to create a bright and charming illustration for this month’s
cover, Maria Poliakova paints a portrait of a young girl in vibrant colours

I really like working in When creating personal work, I’ll shadows and colour.
Artist
PROFILE colour, whether it’s in
Photoshop or painting
often start with colour blotted above
a rough sketch. Then I’ll sculpt form
I particularly like the art of
Klimt, Mucha and Van Gogh.
Maria traditionally with with colour and strokes, and overlap Klimt was able to capture a strong
Poliakova watercolours. Vibrant layers of different colours on top of sense of character and nature with
Location: Ukraine
colour will often make an illustration each other. It’s easy to experiment brush strokes and colours. I adore
Maria has spent the past more decorative, but there’s also a when you’re working digitally! Mucha’s line art. He depicted
five years working in the danger of it becoming flat. However, For inspiration I often study classic feminine beauty perfectly, and had
game industry for a
range of companies, you can counteract this by adding a artists. You can learn a lot from an eye for decorative details, brilliant
mostly as a freelance sense of volume in the right places them, such as how to guide the composition and gorgeous colours.
illustrator. In her spare
throughout the composition. viewer’s eye with help of the light, And Van Gogh was just a genius.
time she likes to create
female portraits and
experiment with colour.
http://ifxm.ag/maria-p

get your
resources
See page 6 now!

Design illustration phase

1 The first thing I do before starting an illustration is
to browse through my folder of inspiration. Inside are
plenty of sub-folders, containing images of lighting, faces,
Buy third- human figures, clothing, illustrations from favourite
party brushes artists, animals, caterpillars, flowers and plenty more
I use the Speedpaint
besides. I quickly look through some folders, keeping in Produce a rough sketch
option within Jonas de
Ro’s Custom Brush mind my theme or work brief. I notice what makes a 2 Next, I need to visualise my idea, so I produce a
panel. It has a good particular image look good, what emotion it brings out in series of small sketches, which are made up of flowing
range of brushes and
they’re well organised.
me, or what’s actually beautiful in it. My own idea comes lines. This acts as both a warm-up exercise and a way of
You can buy this from studying these images. When working with colour focusing on the task in hand. After I’ve finished drawing,
Photoshop plug-in from the most inspiring thing is nature: flowers, butterflies, I narrow down the options and continue to refine them,
www.jonasdero.com.
caterpillars, especially tropical species. until the best one is ready to be used as a base.

62 January 2018
In depth Colour & light

January 2018 63
 Workshops

Final tweaks
During the final stages of
an illustration I’ll use the
Levels tool to adjust my
colours. I especially like
the Selective Color
option, which enables
you to modify your
colours separately. I’ll
also apply a little noise to
my finished art
(Filter>Noise>Add
Noise). The noise level
ranges from four to
seven pixels, depending
on the size of the image.

Refining details of the line art Developing the colour palette

3 I create a new layer, then reduce the Opacity of the 4 As I said earlier, nature is a great source of
sketch layer and select an opaque brush. Then on a new inspiration, especially for developing colour combinations.
layer I create the line art. I try to do it as cleanly as Look how bold the colours are on insect and fishes, for
possible, so that there are no unnecessary lines, and every example. So follow nature’s lead: pick a vibrant colour,
stroke and dot serves a purpose. I lay down flowing, soft select a big Soft brush and start to draw. I select colours
lines for this portrait of a pretty young woman, because that I know work together well, and bear in mind that
they help to create the correct mood in the piece. every colour has its tone. It’s best not to rush this stage.

resources

Photoshop
custom brushes:
one edge

This brush comes in

handy for illustrating
volume and shadows.

oil 2

This brush creates a

pleasing sense of texture
with light pressure.

soft round

Developing the facial details

6
The standard Soft brush,
works well as a base for
Colouring the line art My favourite part of illustration is painting the face.
blending colours.
5 If you want to retain some of your line art in your Because I’ve chosen to keep the line art on show in the
big softie final image, then it can be done in an interesting fashion. finished piece, I sense this illustration will become more
I lock transparent layer pixels on the line art layer, select decorative and graphic. I’m trying to add volumetric
the big Soft brush and paint in my colours. The results shading only in a few spots and most of the time I work
This brush combines vary: sometimes they’re the same tone, sometimes they’re with a big Soft brush. I also use a textured brush for doing
features of soft and darker and sometimes they’re lighter and brighter. the highlights. At the same time, I’m trying to shape a
textures brushes.
Whatever the outcome, it’ll add interest to your artwork. nose, lips and eyes. It’s always exciting to paint!

64 January 2018
 In depth Colour & light

Colouring the face

7 I refine the colours of the face using the principles of
warm colour theory. In this image I paint with bright and
vibrant colours: the shadows are orange and the light is
colder. But sometimes it’s hard to do all at once. One
solution is to first paint the face with a neutral skin colour Using blending modes
using shading techniques, rather than simply filling in the 8 I often use a range of blending modes: Soft Light, Hard Light, Overlay, Multiply
face with a single tone. Then create a new layer, set it to and Color. All of them (except Multiply) help me to create bright, saturated colours.
either Hard Light or Soft Light, and then add orange in Try creating a new layer and setting the blending mode to Soft Light. Then pick a big
the shadows and a light purple to the brighter areas. Soft brush, choose a light colour and experiment here and there on your canvas.

Depicting shadows in an illustration

9 I always like to experiment with colour. It’s easier to do this in light areas on the canvas, but don’t forget the shadows − try to paint with
bright and saturated colours. There’s no need to do this with all your shadows; it can just be in a small part of your illustration. Here, I’ve selected
a bright red. This will add variety to my overall colour palette, and ensures my shadows won’t look dull and boring.

January 2018 65
 Workshops

10 Painting the character’s hair and wings

I leave the face as it is and turn my attention to the hair. I paint it in purple with bluish highlights, then decide to add pink in the shadow.
I like this effect because it enables me to get rid of the strong dark shadow on the bottom, which otherwise might prove distracting for the viewer.

Take the time to set up an efficient workspace

11 I keep three windows open during my painting process. I paint in the main window; there’s also a smaller version of my WIP so I can see
how the image is developing and spot any mistakes; and a black and white version that enables me to check my values. To set up your workspace,
go to Window>Arrange>New window for…(name of your file), once for small version and second time for black and white. To set up the black
and white window go to View>Proof Setup>Custom>Device to Simulate>sGrey. Then press Ctrl+Y when the black and white window is active.

66 January 2018
 In depth Colour & light

Make use
of shortcuts
I strongly recommend
learning all of
Photoshop’s basic
keyboard shortcuts. This
will free up time – useful
when you’re painting to a
deadline. Once I became
confident in using
Photoshop I changed
some of the default
shortcuts to better suit
my painting process. You
can do this by pressing
Ctrl+Alt+Shift+K.

12 How to draw a face

As an artist, it’s vital to know how to draw a face. You need to know the anatomy and be able to imagine it as a
simplified geometrical form. I often sculpt face in clay, which is a great way to break down a face into basic structures
such as a sphere (an eye) or two cylinders (the lips). And every shape has its own shadow, light and highlight.

13 Construct an outfit from leaves

Because this is a stylised illustration, I don’t need to
draw the leaves of the figure’s clothing realistically. This is
why I create soft transitions of colour using light, subtle
strokes. In just a few places I add contrasting shadows, 14 Making final tweaks
I review areas that need polishing, and adjust colours using the Levels tool.
which helps to boost volume. Placing a branch on one The Selective Color tool enables me to adjust individual colours during this review
shoulder helps to add visual interest to the right-hand side. stage. Finally, I add a layer of noise to my image, sit back and call it done.

January 2018 67
Next month

Game art
We’re jam-packed with astonishing art.
Readers, you won’t want to miss this one!
68 January 2018
 Next month

THE ART
OF Assassin’s
Creed
W e interview legendar
y art
director Raphael La
coste
about the trials and
triumphs of being at
the
helm of this stunnin
g
games franchise.

All this, and more!

Game art Interview with Working for Create unique
workshops Jesse van Dijk indie games concept art
From characters to The endlessly vast We speak to artists The creators of The
environments to and beautiful art making a living Long Dark share
weapons… we’ve from this Destiny at independent their secrets to
got it all covered! concept artist. games studios. stand out art.

Issue 157 on sale in the UK 29 December 2017

January 2018 69
 Workshops

Procreate
Paint a classic
fairy tale scene
Chrissie Zullo uses Procreate, the affordable and much-loved painting
app for the iPad Pro, to create an iconic moment from a fairy tale

Procreate has quickly paired with the Apple Pencil, I found variety of brushes. All of the brushes
Artist
PROFILE become my go-to
digital painting
it to feel the most natural way to
draw digitally. Don’t be fooled by
I use are straight from the Procreate
library, but the app allows for easy
Chrissie Zullo app. Thanks to the appearances, though: this application import of downloaded or imported
Location: US portability of the iPad offers all the tools you’ll need to brushes as well. I try to work in the
Chrissie is a Connecticut- Pro, its appeal to me was to be able to create higher-level artwork. The more least amount of layers possible, so it
based illustrator who has create high-resolution digital I use this app, the more new tools, feels more like painting on a canvas.
created artwork for
comic books, posters
paintings from anywhere, with the adjustments and shortcuts I find. I decided to pay homage to classic
and toy designs. She has same quality you would find in a For this workshop, I’ll be painting fairy tale illustrations for this piece –
a curious collection of all desktop program. entirely using the Procreate app. The in this case, Snow White and the
things yeti-like.
http://ifxm.ag/c-zullo
Procreate’s clean and simple process is similar to working in poison apple. I love the old storybook
interface makes it welcoming to new Photoshop: making use of multiple paintings, and decided to try my take
and novice artists alike, and once layers, colour adjusting and using a on the subject matter.

get your
resources
See page 6 now!
Refining the Idea and Inking
Start with a sketch 2 Next, I lower the Opacity of the pencil sketch layer.
1Procreate has a great selection of “sketching” brushes, and my go-to is the 6B I create a separate layer on top and choose the Brush Pen
Pencil brush. I loosely sketch out the concept of Snow White and the apple, not from the Calligraphy Menu. I choose a dark brown colour
worrying too much about details and specifics, but just blocking in very general to ink, avoiding black (for now) for a softer look. Using
ideas. I know I can change and tighten ideas later on, so I keep the sketch simple. simple strokes, I ink over the drawing.

70 January 2018
In depth Fairy tale scene

January 2018 71
 Workshops

Blocking in flat colours

3 Now having both the light pencils and inks, I merge the two layers and set the combined layer to Multiply. Then
I create a layer underneath and then fill the background with a green colour using the Paint Bucket tool. Next, I select
the Hard Airbrush and fill in the very basic, flat colours of the drawing that are underneath the lines.
resources

Procreate
custom brushes:
Flat Brush

I use this brush, similar to

a chalk, for most of my
painting and rendering.

Hard Airbrush

Ideal for finer detailing

and highlights, due to its
opaque and hardness.

Brush Pen

This is my favourite brush

for inking because it has
a variety of line weight.

6B Pencil

Know your light source

This is my go-to for
4 I select the Flat Brush and set its brush properties to Multiply, before choosing a grey-blue colour. I decide that one
sketching. Tilt the pencil light source should come in from the left, so I lightly paint in a thin layer of shadows on the figure and start to define
to achieve a softer effect.
her shape. I tackle a bit of the shadows in the background at the same time.

72 January 2018
 In depth Fairy tale scene

Time to paint
5 Now that I have the basics laid out, I create a layer
on top and set the Flat Brush properties back to Normal. Pushing the values
I eye-drop the colours, then choose lighter colours to 6 Now that the basic textures are painted on Snow White’s face, dress and hair,
push things forward and darker colours to pull things I create a Multiply layer on top. Still using the Flat Brush, I lightly go over the
back. I also try to choose colours that are already on the painting with a dark brown colour to intensify the shadows. I also make the four
screen, which keeps the colour palette cohesive. corners darker, which places more emphasis on the centre of the painting.

Secrets of
the layers
If you have multiple
layers that you are ready
to combine, you can
place two fingers on the
top and bottom layer
Playing around with Curves and “push” them

Painting over shadows 8 Procreate has different colour adjustment options.

together. Pressing the

7 I like to pick a lighter colour (in this case, a light I like to use the Curves tool to play with contrast, and
layer once reveals
different options, such as
locking transparency,
turquoise/blue) and paint inside the shadows. I do this in Color Balance to tweak the colours in the shadows, filling, merging or
thin, gradual layers and build up the Opacity where it’s midtones and highlights of the painting. Since I’m masking. Swipe a layer
closest to the edge or where it’s the darkest. This can help working in one layer at this point, the adjustments change left to Lock, Duplicate,
and/or Delete.
to create a rim lighting effect. all aspects of the piece.

January 2018 73
 Workshops

Speedy Cut,
Copy & Paste
After making a selection
using the selection key,
use three fingers and
swipe in a downward
motion on the iPad
screen. This brings up a
shortcut menu with the
options of Cut, Copy and
Paste individually, as well
as Cut & Paste or Copy &
Paste to speed things up.

On to the background
9 Using the same principles as painting Snow, I start 10 All about the details
After using the Flat Brush for the bulk of the
defining the background. I use colours that are local to painting, I select a Hard Airbrush to focus on details,
the painting, eye-dropping yellow for highlights and dark reducing the diameter to make the brush head smaller.
browns for shadows. I slowly start to render out the leaves, Since this brush is opaque, I try to make bold decisions in
roof tiles and wood grain, still using the Flat Brush. colour and highlights, giving the painting a crisper look.

Brighten the composition with the Color Dodge setting

11 Now moving on to a soft airbrush, I pick a local yellow colour and set the brush properties to Color Dodge. Then I very lightly paint in
some highlights around the leaves, wood and face of Snow White. I try to keep these highlights to a minimum to avoid a heavily airbrushed look.

74 January 2018
 In depth Fairy tale scene

12 Going a bit further

Next I switch back to the Hard Airbrush and add
elements that were not originally in my sketch. I paint in
some trees, flowers and a subtle background to suggest a 13 Adopting a different perspective
Throughout the process and more often at the end, I like to flip the canvas
forest location. I use the Brush Pen from the Calligraphy horizontally. If something seems off, seeing the mirrored version of the painting
menu to paint tree branches and grass blades, because it usually helps to identify any problems. This is also a great way to check symmetry.
tapers off nicely at the ends. The painting should make sense both normally as well as mirrored.

Import files
and images
If you want to drop an
image for reference that
you’ve found online,
simply hold down the
image, double-tap the
home button to bring up
the application tabs, and

14 Taking a final glance, before calling things done drop it into Procreate.
This will drop and image
I feel like I’ve come to a point where the painting is almost complete. Using the Hard Airbrush, I look for places to without having to save it
add minor details and make any adjustments and tweaks. This is also the point where I play with the Curves and Color or manually copy. This
works for brush files, too.
Adjustments one last time. And with that, the painting is finished!

January 2018 75
 Workshops

Core Skills: Part 5

Surface Noise
in zbrushcore
Pablo Muñoz Gómez uses Surface Noise to produce high-frequency
details. It’s a quick technique for adding visual interest to any model

Surface Noise in greyscale image to interpret high and You can repeat a Surface Noise
Artist
PROFILE ZBrushCore is a useful
feature that enables
low points). However, there are a
couple of things that make Surface
pattern across a surface. So if you
want to use a custom image (or
Pablo Muñoz you to create high- Noise the perfect tool for certain Alpha), it helps if it’s tileable. Surface
Gómez frequency details and situations. You can apply the noise Noise can be applied from the
Location: Australia
patterns. This means you can uniformly to an entire area and it Surface subpalette within the Tool
Pablo is a concept artist simulate the texture properties of a also works in a preview mode. The palette, by clicking the Noise switch.
and animator. He’s also variety of surfaces, such as wood, upshot is that you can see the effect, Once active, the settings of the
a instructor in 3D
techniques, and enjoys stone or fabrics. but you can also edit the details as Surface Noise are controlled from a
passing this knowledge Surface Noise is closely related to much as you want before committing pop-up window. To edit a surface
on to his students.
how Alphas work (it also uses a to applying it to the model. noise, press the Edit button.
www.zbrushguides.com

You can change the colours

in both pickers and use the
ColorBlend slider to tweak
their contribution.

Click anywhere
on the curve to
create a point. Some noises use the
To delete a colour pickers to add
point in the colour variations.
Here’s a preview of a
curve, click it selected NoiseMaker
and drag it file: Noise43.ZNM.
outside the
curve window.

The Focal Shift The two colour pickers

slider controls affect the peaks and
the sharpness the valleys of the noise.
of the point.
Presets and lightbox noises
Creating details with Surface Noise 2 There are a bunch of great noise presets that you can load up and
1Use the Move and Polish brush to quickly shape a sphere into a tweak to create your details. From the Surface subpalette, click
rock. Next, enable Noise and click Edit. The scale slider changes the Lightbox>NoiseMakers. The Lightbox will open and you can simply
size of the noise and the strength determines how intense the noise double-click any noise to load it and see it placed over your model.
will be. Let’s set those sliders to 200 and -0.00152, respectively. The Choose something cool like Noise43.ZNM and then click Edit so you
noise curve controls the peaks and valleys of the noise, so play with it can see this noise’s properties. Feel free to tweak the values of the
to customise the look of your surface details. sliders to change the effect of the noise.

76 January 2018
 Core skills ZBrushCore

The plugin’s scale

can be controlled
separately, so you
can use the Noise
scale to add smaller
You can use these details to the bricks.
four tools to
interact with the
model in the
window and
recentre the model.

The Alpha On/Off button

enables you to upload you
own images and create
more complex noises.

Working with the Noise Maker plug-in

3 The Noise Maker plugin is a powerful feature that extends the capabilities of Surface Noise. Load up a cube, turn Noise on and click Edit.
Now switch the NoisePlug on to launch a second pop-up window. Select Bricks in the left panel, change the style pattern to Herringbone, enable
Round Corners and Row Offset Variability and hit OK. Now decrease the strength of the noise to -0.05 to make the effect more visible.

Noise Maker settings

4 In the SurfaceMaker window
you have a list of generators on the
left (much like the bricks that we just
made). Each modifier has its own
settings, but the Translate, Rotate and
Scale options are common settings.
The Interactive Update option
enables you to see the changes you’re
making on the model, but if you can’t
see any changes, then go back to the
Surface Noise edit window and crank
up the strength.

Masking
5 Sometimes you might
want to have details in
certain areas and not on the
entire model, or maybe
you’re after two types of
noise in the same mesh. To
achieve this, you can use the
Masking brushes to protect
the area where you don’t
want the noise to appear,
then click Apply to mesh, to
convert the preview into
actual geometry.

Blur the masked area to create

You can mask out other areas and apply a gradual fade between the
other noises over the same model. noise and a smooth surface.

January 2018 77
 Workshops

Artist insight
15 techniques for
Painting Dragons
Illustrator and board game artist Alex Stone shares his ideas on
designing and painting realistic-looking dragons with personality

Dragons have been a assigned challenge of late. For the – and they come in many colours,
Artist
PROFILE staple of the fantasy
genre for as long as
past few years, I’ve been working on
an ongoing personal project in which
shapes and sizes.
Here, I’ll be sharing some of my
Alex Stone anyone can remember. I paint dragon portraits, trying to favourites with you, as well as things
Location: US So with so many imbue each one with its own unique I’ve learned over the course of my
Alex is an artist from out there, how do you keep them personality. Some are aloof, some endeavours so that, hopefully, you
Brooklyn, whose work interesting? This has been my self- arrogant, some downright ferocious can design some fun dragons, too!
has appeared in games
such as Dungeons &
Dragons and Smash Up.
Lately he’s been painting
a lot of dragons… Tortoise scales
www.alexstoneart.com

Crocodile teeth and scales

2 Borrow from Nature

When designing my dragons, I take as much as I can
from real life. I study the skull shape of an animal
1 Personality and Attitude such as a bear, lion or eel, and combine that with the
The first thing I ask myself is, “What kind of attitude or teeth of an alligator or the beak of a snapping turtle.
personality do I want this dragon to have?” Often I opt for I also look to crocodiles, tortoises, snakes and other
proud, sarcastic, ill-tempered… or some combination of all reptiles for scale patterns and colours. Anything in
three. Keeping this in mind while I work enables me – often nature that looks interesting and inspires me is fair
subconsciously – to include visual cues to convey this to game. Many of my dragons are a handful of real-life
the viewer. Perhaps through a wicked toothy grin, or a animals combined to create something new.
mischievous twinkle of the eye.

78 January 2018
 Artist insight Painting dragons

3 make use of Reference

This goes hand in hand with the previous tip, but dinosaurs like the Tyrannosaurus Rex, so the
use reference! Throughout my process, I keep a accompanying reference helped inform my
collection of various images that I think might be decisions about his bone structure and anatomy.
relevant to the current sketch or painting next Other images I would use here include various
to me while I work. In the above example, I knew pictures of dappled light, forests and reptiles, to
I wanted this dragon’s design to be based on help with colour, texture and lighting.

 For every dragon, I arrange

the key elements in a way that
creates a good silhouette 

5 consider the Setting

When painting a dragon, I think about what environment
4 Find the Silhouette they’re in. This is another element that helps to imply story, as
For every dragon, I arrange the major elements in a way that creates a good well as influencing my design decisions. Here, I knew when
silhouette. This achieves two things. First, it makes the painting instantly starting the painting that I wanted a tropical environment. This
readable, even at a distance. Second, it’s simply more pleasing to look at from led me to decide on a colourful design on the dragon itself,
an abstract perspective, even if I’m painting realistic-looking dragons. taking inspiration from tropical birds and reptiles.

January 2018 79
 Workshops

6 Texture considerations
Think of what kind of texture you’d like your dragon to have. Are they covered
in leathery scales, or hard, armour-like plates? I imagine that a very old dragon
would have thick, gnarly scales, like an old crocodile, while a younger one
might have a smoother, more even pattern. If you’d like to be a little
unconventional, consider painting a dragon with feathers or fur instead of
scales. You can even look to materials like bark and rocks. Try different things!

7 convey scale
There are visual cues you
can use to help imply
size. A commonly used
trick is to include some
birds for scale, but also
consider architecture or
other props. Another
concept that can easily
be applied here is that
larger creatures (think
whales or elephants)
generally have small
eyes relative to their size,
and vice versa.

8 developing your ideas

Discover how to take a dragon drawing from sketch to final painting

A  Pencil sketch
Most of my dragons start in my
sketchbook, and are done as loose pencil
B  Underpainting
Once I’ve completed the sketch, I
transfer the drawing to my painting surface
C  Refinements
After I have the whole painting
surface covered, I go back with a smaller
drawings. When I come up with a design and seal it with a wash of watered-down brush to add detail and refine shapes
that I like, I scan it and continue to build it acrylic paint. Then I proceed to block in the where necessary. This is also where I might
up in Photoshop, adding rough colours and major shapes of the painting. I’m trying to add glazes to adjust colour or value, as well
lighting until I have a clear idea of how it maintain a balance between being precise as soften edges. This stage can be short or
will look when I move on to painting the in my mark-making, without becoming too long, depending on the painting. It’s an act
creature on the canvas. fussy or precious about tiny details. of pushing and pulling until it looks good.

80 January 2018
 Artist insight Painting dragons

9 Implying Story
Think about bringing in details that
can enhance your piece. Even in a
simple portrait, there are things you
can add to give the viewer a better
idea of the underlying story. Scars
might imply an old dragon who’s
been around for a while. A flaming

 Even in a simple portrait, maw tells us that perhaps this dragon

has laid siege to a town, or roasted an
there are things you can add intruder. In this piece I took
inspiration from parade elephants:
to give the viewer a better idea the flags and decorative dressing
indicate royalty and some form of
of the underlying story  alliance with human masters.

January 2018 81
 Workshops

Spotlight Underlit Rim light

10 Dramatic Lighting enhances the design

Lighting can be used in a number of ways. I often place a spotlight on the dragon’s face to draw the
viewer’s attention, while obscuring elements closer to the edge of the painting in shadow. Lighting
can also be used to build mood. Lit from below, with its eyes obscured in shadow, a dragon will look
much more intimidating, whereas using rim light can make a dragon look epic and beautiful.

11 Atmospheric Perspective
According to the concept of atmospheric perspective, objects
at a distance will appear hazier and pick up the colours of the 12 Colour and Value
surrounding atmosphere, thus appearing further away. This When thinking about colour and value, I first determine what colour I would
can be used to make your dragons look more massive, by like my dragon to be. After that, I make sure the surrounding environment and
including a wing or tail receding into the background. An background complements it in a way that enables it to pop. As a general rule,
environment with more smoke, dust or moisture, such as fog, I choose a value and colour for the background that contrasts with the dragon.
will have more pronounced atmospheric perspective, which For example, if the dragon is dark with a lot of cool blues and purples, I’ll
also makes it a useful tool to build mood. choose a light background with warmer reds and oranges.

82 January 2018
 Artist insight Painting dragons

13 bear in mind a
dragon’s weight
Think about how much mass you
want your dragon to have. When
painting a particularly old or powerful
dragon, I like to make it look heavy.
I take inspiration here from old
crocodiles or turtles, with thick scales
and flesh that hangs down,
particularly around the neck. If I want
a dragon to look more graceful then
I’ll make it lithe and use smooth,
flowing forms when designing it.

 I’m inspired by
old crocodiles or
turtles, with thick
scales and flesh
that hangs down

Soft edges

Hard edges

15 What power lies within the eyes

The eyes are the window to the soul… this might be a
Lost edges
cliché, but this still applies when painting dragons! A
lot of information about a dragon’s personality can
be told simply by how you choose to portray the
eyes. I find that including the pupil tends to make
them look more “human” and intelligent. Beady and
14 Vary the Edges glowing, with no pupil, and they’ll look more feral,
Use a variety of soft and hard edges to direct the viewer’s animalistic and threatening. A wide-open eye might
focus and create the illusion of three-dimensional space. I keep indicate inquisitiveness and curiosity, while one half-
the hardest, most crisp edges around the face and eyes. The closed might convey arrogance and nonchalance.
closer to the ends of the painting, or further back in space the Placing the eyes in shadow can make a dragon look
object is, the softer the edges become; sometimes they’ll be very menacing and wicked. The point is to play with
lost entirely. Edges can also be used to imply movement. A different types of eyes and find the one that shows
blurry edge on a wing looks like the dragon has just landed or the personality of your dragon the best!
is about to fly off, and helps to bring the image to life.

January 2018 83
 Workshops

Photoshop
mastering the
mixer brush tool
Wangjie Li makes good use of Photoshop’s Mixer brush to develop a
traditional look on the digital canvas, as he paints a female portrait

Digital painting tools elements from the Old Masters and painting in Photoshop. Although
Artist
PROFILE have come on in leaps
and bounds in the past
portray them in my work, because it’s
important to pass on these ideas to a
many people think the brush settings
aren’t important, I still believe that
Wangjie Li few years. Artists can new generation of art fans. configuring an appropriate tool can
Location: US use tablets to produce I’ve learned the majority of my help the artist in many ways.
Wangjie is a concept works of art at home or away, with all painting techniques by studying both My secret is to use the Mixer Brush
artist. He worked as a the convenience that brings. And it’s the Old Masters and those digital tool in Photoshop. Artists can
freelancer in Los
Angeles, before moving
also become easier than ever to take artists whose art stands out from the quickly make brushstrokes in the
to San Francisco to study traditional painting techniques and crowd. My favourites are John Singer style of a traditional artist. I’ll be
for a masters degree in apply them to the digital canvas. Sargent and Craig Mullins; you can using the Mixer brush a lot in this
fine art.
www.wangjieli.com
I’m a young artist who approaches learn much by studying their work. workshop. I’m happy that I can share
his work with great enthusiasm. I’m Recently, I received a few questions my ideas about Mixer Brush tool and
keen to take the idea of expressive on how to recreate the look of an oil hope you guys like my workshop.

Build the form of the shadow

2 Next, I create two separate layers for the character
Produce line drawings and background. Then I paint the shape of the shadow of
1I begin by drawing multiple sketches. These figure poses help me choose the the character. In this stage, I ignore the local colour and
best one, based on the visual language such as composition, shape and proportion. only capture the form of the shadows. It’s preparation for
In this case, I select the figure looking at the viewer, in a more straightforward pose. using the Mixer brushes, later on in the process.

84 January 2018
In depth Mixer brush

January 2018 85
 Workshops

resources

Photoshop
mixer brushes

Included with this issue’s

resources are my custom
Mixer brushes. They
range in use, from mixing
background colours, to
creating a sharp edge, or
recreating the look of
traditional oils. Try them
out and see what you can
achieve with them.

Adjust the gesture

Adding the local colour 4 When it comes to portrait paintings, the hand is
3 I fill in the colours of her skin and clothing. Because equally essential as the face. If the face is a flower, then
of the edge light, I use a brush on low Opacity to add a the hand is its leaf. Painting a portrait without the hand in
little green into the lightest area and a little red into the the image would be like showing a flower without the leaf
dark area, to make her look subtly different on both sides. – it’s a incomplete object. So I paint the hand first.

A B

2
1 2 1 3
Using the Mixer brush
5 Click and hold the Brush icon in the Tool palette, then select the Mixer Brush
and set it to Sample All Layers. This enables me to pick up the canvas colour from all
visible layers. Figure A shows two distinct colours (1 and 2). By using the Mixer
brush on the colours – figure B – you can create an effect similar to painting on a
traditional canvas (3). Using various combinations of colours and brushes, you can
achieve a range of real-world painting effects – see image (right).

86 January 2018
 In depth Mixer brush

Fill in the background

6 I usually try brushes on the background area before
drawing characters. In this case, I decide to use the large Illustrate the hair
Mixer brush to fill the background. Sometimes, the result 7 I choose a leaf brush to paint the hair and the background. I try to add some
isn’t what I intended, and in such cases I’ll cover the layer cold and warm colours to inject a bit of life into the environment, so it’s not too
with a standard brush instead. stuffy in appearance. Sometime I’ll paint the background like an abstract painting.

Limit your
layer usage
In the early stages, it’s
important to work on
separate layers because
it enables you to make
changes easily. Having
said this, I limit myself to
working on just three
layers before I start to
polish my image. These
Change the outline
8 I adjust the outline of the body, to make the sharp shape softer in appearance. I decided to omit the bottom part
are the background, the
shadow area and the
primary object.
of the hand because it’ll help me to express the upper portion of the character’s body.

January 2018 87
 Workshops

Introduce facial features

9 I switch to a low Opacity brush to paint the face, because the Mixer brush is unsuitable for painting details. My approach is to paint a
big egg shape, then use a small brush to paint the facial volume, then use an even more smaller brush to tackle the details.

Build the form

I use the Hard brush to
paint anatomical
features. Many people
are afraid to introduce
hard edges to their
figure work because they
think the human body is
roughly cylindrical in
shape. My human figures

10 Preview and check the shape

usually feature plenty of
hard edges, but then I
By using the Mixer brush, I produced many small Adjust the hand position
use the Smudge tool or
analyse the mid-tones to shapes and tiny brushstrokes. So I take the opportunity 11 The position of her hand looks incorrect so I adjust
help me illustrate the to review the form and find some ideas to finish my work. it slightly. I change the colour in the arm because I want to
curved surfaces.
I use these pauses to manage my pace of painting. reserve any vivid colours for the character’s face.

88 January 2018
 In depth Mixer brush

Limit your
polish passes
In the final stages of an
illustration, don’t spend
too long polishing the
form to the nth degree.
Instead, check that the
image reads well as a
whole. This is because
it’s easy to tackle a
painting in sections,
leading to areas that are
unintentionally more
detailed and worked
up than others.

12 Vary the look of the character’s clothing

The colour of the fabric is the purest object in this painting. For me, red is the hardest colour to express. I try to
give most of the red dress a cold appearance, only keeping a strong red near the character’s arm.

14 Finishing up the portrait

This is my favourite step in the creative process – and not just because I’m

13 Adjust the shape around the head

I’m nearing the finish, now. The head still the
close to finishing! I like paintings with a sense of visual rhythm. So in this
workshop, I try to do less detailing, to create a contrast between the rough and the
primary part of this painting, so I adjust the shapes intricate. I won’t connect all the details using dark colours. Instead, I’ll leave some
around the head, to ensure they’re simple yet not stiff. areas to serve as a link to the surrounding tones. This approach creates ebb and flow
I keep the loose texture on her right side and add a subtle within an image, and avoids the trap of a dark painting that just looks stiff. The
dark colour to mix the hair into the background. rougher areas will encourage the viewer to use their imagination.

January 2018 89
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 Artist’s
Choice Award
Art resources with a five-star
rating receives the ImagineFX
Artist’s Choice award!

The latest art resources are put to

the test by the ImagineFX team…

product
5
on test s

software
92 Photoshop CC 2018
We find out what’s new in the latest version
of the industry-leading painting program.
training
95 Creating Key Art Illustration 97 Star Trek: TNG
for Film and Games The Art of Juan Ortiz
Alex Nice’s tutorial video tackles a striking Illustrator Juan Ortiz gives every episode of
scene from The War of the Worlds. Star Trek: The Next Generation its own
poster. How successful has he been?
Books
96 Spectrum 24: The Best in 97 Dinosaur Art II: the Cutting
Contemporary Fantastic Art Edge of Paleoart
Lose yourself in the many fantasy and sci-fi This book brings together a range of artists
highlights that appeared in 2016, with art who are applying the latest scientific
from Wesley Burt, Karla Ortiz and more. findings to their dinosaur artwork.

Ratings explained Magnificent Great Good Poor Atrocious

January 2018 91
 Reviews

Photoshop CC 2018
Brush hour We check out the new tweaks that Adobe has
made to the digital art tools in this year’s Photoshop update
Price £20/month Company Adobe Web www.adobe.com

one are the days of Adobe that they’ll be become part of most and a quick preview beside it, so that

G releasing a new Photoshop

package every other year,
with a collection of new
artists’ workflows.
The Brush tool is the big talking
point this year. One of the simpler
you’ll never confuse two brushes
again, and you’re free to create your
own folders, too. Given how important
tools that it thinks will be popular for ideas of the update, you can now store layers have been to graphic designers,
designers. Creative Cloud means your various brushes into folders, the Brush tool’s folders could well
more updates, more often, and such which is a godsend for artists with prove to be one of best updates for
is the digital age that the Photoshop hundreds of brush files stored on their digital art management in years; you
audience now has a voice regarding computer. Each brush now has a name can even convert .tpl files to .abr within
the features that the software needs. Photoshop now. Organisation within
With the 2018 version of
Photoshop, digital art is the focus of  You can now store your the program is better than ever.
Another relatively straightforward
what’s new. Adobe rarely
revolutionises its software packages
various brushes into folders, update, Adobe has added a
Smoothing option to the Brush tool.
these days – it’s more gentle evolution
– but the updates to Photoshop are
which is a godsend for artists Rather like the Lazy Nezumi plug-in,
you can now almost drag the brush
most welcome, and we’re confident with hundreds of brushes  for a far more controlled finish to your

92 January 2018
 Art tools Software
Artist interview
Kittozutto
What does the Singapore art team
think of Photoshop’s new features?

Which tools do you use most

often in Photoshop?
The Brush tool, and the masking
and layer blending options. We’re
also addicted to the Blend If
Go to Preferences (Cmd/Ctrl+K) to decide on a brush leash and its colour. sliders. Combining these four
tools has given us a huge degree
of flexibility in our work.

How useful is the new

Smoothing feature?
It’s the update that excites us
most! We were awestruck by all
the lovely calligraphy produced
on iPads that we see on Instagram
and we can’t wait to try the
smoothing feature in Photoshop.
We think this feature will one day
be as important as Undo.
Hawaii, painted by Kittozutto.
The well-respected art duo are What do you think of brushes
excited by the new Smoothing being stored in folders?
feature in the 2018 update.
Goodbye to scrolling and
The new Curvature Pen
searching for the right brush! The
tool now makes it nested folders allow even more
even easier to create
curves, or select along
precise organisation. It would
a curved edge. definitely encourage us more to
make custom brushes, too.

Can you see yourself using the

new Curvature Pen tool?
There is now artificial This tool is great for creating
intelligence-assisted
upscaling, which helps symmetrical, curved lines. It
to preserve important guarantees a smooth transition
details and textures
when resizing images. between the points. We can then
decide how smooth we want the
transition to be. I see us using it to
create more naturally rounded
and curved corners of complex
shapes in our illustrations.

sketch; choose between 0 and 100 program, which may come in useful, Features
Overall, is this a good update
per cent to alter just how smooth too. There’s a Learn panel now to help n New option to store for digital artists?
brushes in folders
you’d like the brush to be, and watch beginners get to grips with tools in n Smoothing option
Yes – we think it’s going to save us
the little “leash” icon as you’re drawing basic tutorials, while the Properties for brushes time and makes the creative
n Option to convert
to control. panel, Select and Mask and Camera .tpl files to .abr process a little easier. The new
Smoothness must have been a key Raw features have all seen n Curvature Pen tool Color and Luminosity mask for
n Learn panel
area that Adobe felt Photoshop improvements in this edition. There’s n Subtle tweaks across Camera Raw will change how we
needed work on, as the brand new also the option to access your the software to the
Select option, the
alter colours. And we’re going to
Curvature Pen tool is similarly user- Lightroom photos in Photoshop now Mask tool and the introduce more organic shapes
Properties dialog
friendly and capable of creating more as well, for CC subscribers who love now with Brush Smoothing and
natural lines. The results of these cross-editing. System the Curvature Pen tools.
Requirements
features are immensely satisfying: give In the coming months, there’ll no PC: Windows 7 and
it another year, and you’ll wonder how doubt be further tweaks related to this above Kittozutto is made up of Yana
you ever lived without them. update. For now though, CC 2018 is a
Mac: OS X version 10.11 and Jun. With their studio
and above
Büro Ufho they’ve worked for
Along with all the mouth-watering much-needed evolution for the Adobe, BMW and more.
Rating
changes to the illustrative tools, there industry standard, with plenty of new
are other subtle tweaks across the options to get stuck into.
★★★★★ www.kittozutto.com

January 2018 93
 get your
binder today!

Featuring
artwork by
Wylie
Beckert

This sturdy binder will store and protect 13 issues of ImagineFX.

Prices start at £9.99, which includes delivery!

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 Inspiration Training

Brought into 3ds Max,

Alex’s sketch of a
Martian tripod enables
him to assess how well
his 3D modelling is
coming along.

3D elements like the Martians A smoke-filled sky

take their places in the final scene enables Alex to play
as Alex starts on his final piece. around with colour
temperature and
different light sources.

Creating Key Art Illustration

for Film and Games
MARS ATTACKS Professional concept illustrator Alex Nice offers
a widescreen vision of how to develop artwork for the big screen
Publisher The Gnomon Workshop Price As part of subscription package (£37/month) Format Streaming video Web http://ifxm.ag/gm-ws

lex Nice shows in Creating 3D render passes into Photoshop:

A Key Art Illustration how he

crafts a piece of key
concept art: something
you’ll get plenty of tips for taking 2D
elements into 3D software to help you
build your model.
Artist profile
Alex Nice
he’s done for a succession of While the section where Alex
Hollywood blockbusters. His tools of models a Martian tripod in 3ds Max Alex is a visual effects art director
the trade are a familiar selection: and ZBrush is helpful, it’s the and concept illustrator with over
Photoshop plus 3ds Max and ZBrush. Photoshop sessions that bookend the 15 years’ experience creating
But it’s how he uses them together video that offer the most compelling content for film. Originally
that makes this video so good. insights. Alex shows you how to make trained in fine art and illustration,
There are several reasons why a selections quickly to photobash some Alex’s skill set includes managing
Topics covered
concept artist might integrate 3D n Value sketching
visual elements, and goes into great art teams, concept art look
renders into their 2D painting. The in Photoshop detail as he polishes the artwork, development, making project
n Basic box modelling
apparent time sink of making a 3D n Sculpting in ZBrush explaining how he achieves a sense of pitches and creating film-quality
model from scratch can repay its n Using 2D elements richness, depth and movement. visuals. Over the years he’s created
for reference
investment if you use the model n Exporting 3D Separating elements in his scene into epic shots for Hollywood’s biggest
several times in the scene, as Alex render passes
n Managing
distinct layer groups, he plays with features and VR’s most immersive
does here with the Martian tripod he Photoshop layers colour temperature, interior experiences. Past
n Adding effects
makes. It’s also helpful if you’re in Photoshop
illumination and image noise to films include Jungle
attempting a complex lighting set-up. achieve precisely the results he wants. Book, The Hunger
Length
Whatever your reasons, Alex’s 125 minutes Alex is very good at explaining what Games, Oblivion
workflow feels particularly organic he’s doing and which tools he’s using. and Pacific Rim.
Rating
compared with others we’ve seen. It’s This is a skill that isn’t as simple to
not just a one-way street of bringing
★★★★★ develop as you might think.
www.alexnice.com

January 2018 95
 Reviews

Spectrum 24: The Best in

Contemporary Fantastic Art
Awards annual The many highlights of fantasy and science fiction
art from 2016 is brought together in this richly illustrated hardback book
Editor John Fleskes Publisher Flesk Price £30 Web www.fleskpublications.com

emember 2016? It might the book’s introduction we meet the

R have been a controversial

year, but one thing’s for
certain: it was a great year
distinguished judges tasked with
picking the gold and silver award
winners across the collection’s eight
for fantasy and science fiction art. categories. These sections include
The best genre art from those 12 advertising, books, comics, concept
months is sandwiched between art, dimensional (which covers
Spectrum 24’s covers, in what proves sculptures and fine art), editorial,
to be a worthy addition to the institutional (as in promotional
premier showcase series. material), and perhaps the most
Thanks to its unrivalled status as the exciting category of all: unpublished.
place for artists in the genre to be
Petar Meseldžija’s dramatic take on the legend of
seen, appearing in its hallowed pages
is a dream come true for many, if not
 There’s page after page St George and the Dragon, which he painted in oils.

all, of those included in this most

recent collection.
of exquisite art that readers What follows is a bombardment of
over 500 works by more than 300 of
As well as shouldering the duty of will become lost in  the most gifted visionaries working in
helping the featured artists reach a the field of fantastic arts. This means
wider appreciative audience, Before diving into the categories there’s page after page of exquisite art
Spectrum 24 also includes the winners we’re introduced to Spectrum Grand that readers will become lost in. Each
of the coveted Spectrum awards. In Master Bill Sienkiewicz, Spectrum image has thorough captions that
Rising Star Alessandra Pisano, and the shed light on what medium has been
creator of the award statues, J Anthony used, which is sure to fascinate and
Kosar. Then it’s up to the book’s editor assist artists poring over them.
John Fleskes to deliver his year in With a series as influential as
review. After acknowledging the Spectrum it’s difficult to overstate its
divisions forged in 2016, he ends on a importance. But if you want to see
rousing note by observing that diversity how high the bar is set in fantasy and
is at the core of Spectrum. “Its motto of science fiction art this is a must-have.
A digital piece painted inclusion will always remain constant.” Get it and be inspired.
by Wesley Burt entitled
Saheeli’s Artistry, for
A fitting way to kick off the eclectic mix
Wizards of the Coast. of artists across the 305 pages. Rating ★★★★★

96 January 2018
 Inspiration Books

Star Trek: The Next Generation

The Art of Juan Ortiz
Make it so so Every single episode of Star Trek the Next Generation
becomes an indie-film inspired poster in this ambitious collection
Author Juan Ortiz Publisher Titan Price £40 Web www.titanbooks.com

ack in 2013 Juan Ortiz

B imagined how every

episode of Star Trek: The
Original Series would look
as a film poster. Now he’s back with a
similar collection for Star Trek: The
Next Generation.
The biggest difference this time
round is that Juan is shying away from
the retro aesthetic that ran through his

first book. In the book’s intro he says techniques. There’s the occasional eye-
that the show’s relative youth played a catching design that doesn’t rely on
part in the decision: “A lot of what was Photoshopped images of the cast, but
good decades ago is still good now. they’re few and far between. We can’t
So why just leave it in the past?” help but think Juan could’ve made a
Detail of Juan’s poster It’s debatable whether the end better collection by focusing his talents
for the episode
Parallels, which results succeed. Lots of the posters on posters for selected stories.
featured quantum have good ideas, but they’re executed
realities bamboozling
the Enterprise’s crew. with similar elements and repeated Rating ★★

Dinosaur Art II: The Cutting Edge of Paleoart

Roar material Discover how leading palaeoartists go about interpreting
the latest scientific evidence to depict the beasts of the prehistoric world
Editor Steve White Publisher Titan Books Price £30 Web www.titanbooks.com Available Now

epicting dinosaurs is a mix

D of artistry and scientific

accuracy. On the one hand,
scientists have discovered
clues to what these prehistoric beasts
looked like from fossils and other
evidence. But when it comes to
texture and colour, we have no way
of knowing, so guesswork and
imagination must also play a part.
In this way, a discipline known as
palaeoart has grown up over the years, working in a feedback loop with scientific controversies, and the
palaeontologists to bring their processes they use to create their art.
discoveries to the wider public through If your knowledge of palaeontology
books, magazines and science papers. is limited, you might get a bit lost:
Steve Wright’s second volume there’s just a short glossary that’s not
devoted to dinosaur art showcases the particularly comprehensive. Yet
work of 10 major names in this niche anyone who loves dino art – or just
Up close and personal field. Alongside the art itself, lengthy dinosaurs in general – will find this a
with Peter Schouten’s
Appalachiosaurus, Q&As with each artist get to the fascinating read.
which he painted bottom of how they carry out their
using watercolours
and gouache. research, their views on current Rating ★★★★

January 2018 97
PU T A PAUSE
IN YOUR DAY
With so many demands from work, home and family, there
never seem to be enough hours in the day for you. Why
not press pause once in a while, curl up with your favourite
magazine and put a little oasis of ‘you’ in your day?

To find out more about Press Pause visit:

pauseyourday.co.uk
 get your
resources
See page 6 now!

Workshops assets are available…

If you see the video workshop badge then you can watch the artist
in action. Turn to page 6 to see how you can get hold of the video.

Traditional Artist
Inspiration and advice from the best pro artists

104 100

This issue:
100 Traditional art FXPosé
Artwork from some of the finest
traditional artists around today.

104 Workshop: Become

good at line work
MrHass renders a key character
from the Faustian legend in black
ink, demonstrating the power of
single colour line art.
110 114
110 Core Skills: plein air
Christopher Moeller starts a new
series by rediscovering the rich
and astonishing world that lies
beyond his studio door.

114 First impressions:

AM Sartor
This artist is continuingly aiming
to infuse her fantasy work with a
sense of immediacy.

January 2018 99
 Traditional Artist FXPosé

showcasing The FINEST traditional artists

Nico Photos
Location: US MEDIA: Oils Web: www.nicofineart.com

Freelance artist Nico has been working in fantasy and

sci-fi illustration for nearly a decade: “Nothing beats
the application of real paint to a physical surface.”

1 2

1 The Killing of a Cardinal

“This was a book cover intended to have
that bright, in-your-face, pulp feel.”

2 Far From Home

“I wanted to explore the use of colour and
develop my handling of texture in oil paint.”

3 Oh My
“I was going for this soft, beautiful values
of some of my favourite academic artists.”

4 The Oracle
“When producing some rough sketches
for this painting I came up with a sort of
rotated cross as an underlying compositional
device for the image.”

100 January 2018

Inspirational art

January 2018 101

 Traditional Artist FXPosé

Mary Pohlmann
Location: US MEDIA: Graphite pencil, watercolour, coloured pencil, acrylic Web: www.marypohlmannart.com

Mary’s art combines pop-surrealistic and fantasy imagery, and depicts the
messier bits of life. “My heroines manoeuvre through dark forests, bottomless
rabbit holes and unkissable frogs with attitude and humour,” she says.

1 Fight The Good Fight

“In the world of fight or flight,
I’m usually a ‘let me get some
2 My, What Big Teeth
You Have!
“Little Red never quite makes it
3 Try Again Tomorrow
“This was inspired by the
Mary Radmacher quote:
4 Feeding Time
“As human beings – and
especially as artists – we
chocolate and a book and sit over to Grandma’s with the food. “Courage does not always roar. occasionally put our hearts
there’ kind of person. But in The wolf is just way too easy Sometimes courage is the quiet out there for others to do what
today’s political climate, ‘warrior to blame.” voice at the end of the day saying, they may. Sometimes there’s a
goddess mode’ is necessary.” ‘I will try again tomorrow’.” feeding frenzy!”

102 January 2018

 Inspirational art

2 4

Fancy sharing your traditional art with your fellow readers? Then email five pieces of your work and a short
explanation about each one, along with a photo and a few details about yourself, to [email protected]

January 2018 103

 Traditional Artist Workshop

Pencil Inks

become devilishly
good at Line Work
Explore the intricacy and power of single colour line art as illustrator
MrHass renders a key character from the Faustian legend in black ink

W
hat I love about artist insight that now bind Johann Faust in an
drawing is how The Switch To Ink
unholy pact. The cape that Mephisto
you can capture Just tracing over the wears drapes over his throne, it’s
the imagination. pencil marks with ink brimstone surface testimony to every
It’s the thing that usually leads to soul that he’s taken. His features are
keeps me fascinated. My speciality is uninteresting line work. cast in shadow, giving a sinister edge
hand-drawn illustration, and in For this reason his casual demeanour. It’s these
particular, the creation of line work I prefer to keep my narrative points that occupy my
with dip pen and black Indian ink. In underdrawing slightly mind when I create the artwork.
raw. That leaves room
this workshop I’ll show how I create I start with an underdrawing, on to
for the ink to take
my own interpretation of Mephisto, which the line work is inked. moment. It’s a mindful process that
things further and
the demonic antagonist in the Through this process I emphasise responds to what’s happening on the
encourages line work
German legend of Faust. that looks spirited. anything that conveys the fantasy page. The ink-work that impresses me
The guiding forces in this artwork noir atmosphere of the tale, in is when a subject is handled with
are the sinister overtones of what lies particular the hard lighting. Unlike technique, rather than being
ahead for Johann Faust: the horror of digital drawing, inking with a laboured. What I’m striving to
eternal damnation in exchange for traditional dip pen only allows the achieve is solidity and vitality
worldly gain. With Mephisto being draughtsman to push forward. It’s a throughout the entire picture, so the
the emissary of the Devil there’s huge live take with every mark of the pen. viewer can journey into the image.
scope for character design. In this Every nib gives a different stroke, MrHass specialises in hand-
case however, my preference is to each responding differently to drawn illustration. His
show who he is rather than how he pressure and speed. With practise the signature line work is created
looks. Here, Mephisto reflects upon range of lines that can be made with by dip pen and ink, a
the blood-tipped quill that’s been a single nib is enough to create technique he’s continued to explore and
used to consign a willing soul to Hell. compelling line work. refine. This gives a graphic style to his
His thorny fingers also hold a velum Using a single ink colour distils all work, which typically focuses on inventive
scroll, the marks written in blood the focus to what’s happening in the drawing. See more at http://mrhass.co.

104 January 2018

In depth Line work

January 2018 105

 Traditional Artist Workshop

Lay in the figure

Pencilling the structure 2
1 Marking lightly with an overhand grip, I map where the major elements fall
The blocks offer visual cues to lay in the drawing.
Although good body language, anatomy and
on the page: gestural lines, blocks, cylinders, spheres, wedges, and in this case a musculature are central in this piece, it’s more important
few anatomical landmarks. Any compositional changes are made at this stage to capture the main idea than perfect every single detail.
before moving forward. If any pencil lines need to be lifted, then I use a soft eraser To keep the paper intact I continue to work lightly with
to ensure that the paper isn’t distressed. the pencil, especially when using a hard lead.

Materials
Paper
n Daler Rowney
160gsm fine grain
cartridge paper
(A3 size)
Mark Making
n Derwent Graphic
pencils, F to 2H lead
n Cork tip penholder
n Steel G nib
n Winsor & Newton
Series 7 brush, no. 2
n Winsor & Newton
Black Indian Ink
Miscellanous
n Soft putty eraser
n Raised edge ruler
n Inkwell
n Small dish of water to
clean nib
n Lint-free cloth to
Light and shadow Ease in the ink
wipe and dry nib
n Lightweight rolling
3 I refine parts of the drawing, and with the light
4 Inking with a dip pen requires precision and
paper to soak up blots source in mind the shadow shapes can be mapped. This is sensitivity. To warm up I begin on areas of the picture that
n Scalpel to scratch up an underdrawing, so the pencil values don’t matter. What aren’t critical. That means no facial details until I get into
unwanted ink marks
does matter is deciding where to ink in full black, and how my stride. There are no golden rules with inking, but it’s
halftones and plane changes might be inked. always visible when an inker has found their rhythm.

106 January 2018

 In depth Line work

artist insight
Internal Logic
Within a image there
may be rubble, timber,
glass, steam... each
surface reflecting light
differently. I strive to
assign each material
with its own look, so
there’s good internal
logic. This helps the
viewer register the
image as intended.

Balance is key paper

6 As the drawing finds its shape my attention shifts
tip
Inking Technique
Between the lines
5 Rather than following the pencil work, I interpret
to balancing the image. When solid blacks and halftone
hatching are evenly measured throughout, it brings
Get a comfortable angle
on your ink strokes by
the underdrawing, as tracing often makes a picture lose cohesion to the picture as a whole. The same goes for
rotating the artwork, and
vitality. For this reason I explore ways to improve on the different line weights and textures. These are all
practise on scrap paper
original pencils, so the line work moves the image along. techniques that I use to pull the image together.
before you commit.

Filling areas with black

7 I spot any black areas by brush, planning the route to avoid tide marks. Many
inkers prefer to leave all the black fills to the end. My own preference is to add them
as I work through the drawing, so I can respond to the illustration as it emerges.

January 2018 107

 Traditional Artist Workshop

Adjustments on the fly

8 With the inks in place it becomes easier to
assess what might benefit the artwork. The
inking usually becomes more improvised beyond
this stage, so it’s good to keep in mind what the
aim is, and to keep the artwork legible.

108 January 2018

 In depth Line work

It’s a grey area

9 Taking one final pass
Good hatching that flexes around the forms can
help lead the eye through a picture. As a rule of thumb, if
10 Before signing off the artwork, I like to take a look with fresh eyes. With so
I want to cross-hatch I avoid intersecting at 90 degrees many details it’s easy to lose sight of the big picture, even when it’s right under your
because this can look like a wire mesh. Overlaying lines of nose. Now I see that leaving the lower left of the picture clear doesn’t create the
different weights is also preferable for the same reason. effect I’d hoped for. The solution doesn’t take long to appear.

nib tip
limit your Choice
Of Tools
To help make a cohesive
drawing, aim to ink as
much as possible with
just one type of nib.

artist insight
Cross Contours
Cross contours are
shapes that wrap
around the form. They
might be shadows,
edges, or even the
creases in clothing. By
leveraging these
contours the illusion of
volume is enhanced,
Embrace the unexpected
11 As I mentioned before, visual balance is key, so when I realise that an area needs working up I let the ink dry and
even though only one
colour is in use.
plan the next move. Using light pencil marks as in step one, I develop the area that needs attention. When I’m
confident with the layout I go back in with ink, ensuring the line work remains consistent.

January 2018 109

 Traditional Artist Workshops

Core skills: Part 1

plein air: Painting
Outside the Box
Join veteran fantasy and comic book illustrator Christopher Moeller as he
rediscovers the rich and astonishing world that lies beyond his studio door

F
or the past 27 years, I’ve easel out into nature is something artist insight easel (a portable easel with telescopic
been a studio painter. I’ve artists have been doing for the past It’s all about
legs and built-in paint box and
emerged from my basement 200 years, and is more popular than direct observation palette), and the introduction of
studio after all-day sessions ever today. We who paint paints in tubes. In my own case, an
and asked my wife what the Painting en plein air was made representationally can additional crucial invention was the
weather was like that day. I’ve gone famous by the French only benefit from mini-van: large enough to hold a
downstairs in the dark, and come back Impressionists, who advocated deepening our ability bicycle and all of my painting gear.
to observe, measure
up in the dark. painting outdoors with a focus on Christopher’s a writer and
and understand the
As much as I love studio painting, “true” light and colour. A number of painter who specialises in
world that we wish
I’ve often felt my work disconnected technological advances contributed to represent.
producing fully painted
me from the outside world. It turns out to this new approach to painting, graphic novels. See more of
I’m not the only one. Taking one’s notably the invention of the French his art at www.moellerillustrations.com.

Getting the most out of your travels

1 Have you ever seen a gorgeous landscape and felt like your camera just couldn’t capture the feeling of the place? Have you gotten
restless sitting on the beach? If you keep a paint box in your car, then you can channel your emotions from awe or boredom into art.

110 January 2018

 Core Skills Plein air painting

Painting outside your comfort zone

2 Like elite athletes, artists need to challenge themselves to
strengthen their performance. Drawing with the left hand, working
without reference, painting from a limited colour palette… these are all
ways to nudge us out of our set ways. Painting en plein air is the triathlon
of that type of exercise. Not only are you seeing your surroundings with
fresh eyes, but you also battle rain, snow, heat, wind, changing light,
subjects that move and inquisitive strangers. There are any number of
ways you’ll be tested when you leave the comfort of the studio.

January 2018 111

 Traditional Artist Workshops

Making friends and influencing people

3 Unless you’re in a studio with other artists, art can be a lonely activity. Getting out into the wider world can add a lively social element to
your practice, particularly if you choose to set up on a busy street corner rather than on a remote mountain top. There are also hundreds of plein
air events all across the country, where you can work alongside, and learn from, other artists.

The tools of the trade

4 The key to plein air work is to
set up kits of varying levels of
complexity, so that when the mood
strikes, you can grab the appropriate
gear and hit the road with a minimum
of fuss. I have a shoulder bag that
goes everywhere with me. It has
sketching materials and a little
watercolour kit. In my van, I keep a
more elaborate setup, with a chair,
umbrella, easel, oils and so on. The
point is to make it an easy decision if
you’re considering heading outside.

112 January 2018

 Core Skills Plein air painting

Plein air isn’t just about oil, or even paint

5 When people think of plein air, they usually think of oil painting. In my view, if you’re outside
and working from direct observation instead of photographic reference, you’re working in the spirit
of plein air, regardless of the medium. This can include sketching with pencil or charcoal in a little
moleskin sketchbook (very portable), painting in watercolours, acrylics or gouache. It can also
include working on a tablet (look up amazing digital plein air artist Robh Ruppel).

January 2018 113

 Traditional Artist Interview

First Impressions
AM Sartor fortunate enough to have a husband
This artist is keen to that can cover expenses, otherwise
making ends meet would be
infuse her work with difficult. My wrist and my eyesight
a sense of immediacy are showing signs of wear. And yet
I can’t imagine doing anything else.

What was your first What advice would you give to your
paid commission? younger self to aid you on the way?
Does it stand as a Experiment more! Unique style
representation of comes from experience, and
your talent? stubbornly refusing to change your
It was a long time ago. I can’t style, or forcing a change when it
remember the first time someone doesn’t feel right, will only hinder
paid me to draw something, but the progress. Also, when abrasive
first major job I had was a chapter comments are made about your
book for an educational publisher. It work, don’t take them too seriously.
was about Susan B Anthony, so Constructive criticism should be
besides having a feminist aspect, it useful, not paralysing
wasn’t very representational of my
current repertoire. What character or scene that you’ve
painted do you most identify with?
What’s the last piece you finished, I would have to say Endless Edifice,
and how do the two differ? Endless Edifice because I’m continually confused
My last piece was The Nightmare for “This was created for the and frustrated with myself. I also get
Midnight show at Light
Month of Fear. The prompt given Grey Art Lab. I used ink, harassed by crows.
was ‘paralysed’, but the idea is my gouache, pastel, coloured
pencil and mixed media.”
own. My process has gone through a Do you have an art tool that you
number of changes over the years, can’t live without?
mostly to try to create a sense of
immediacy to the final product.
 When abrasive comments I like to pick up new tools and see
what mark they make. So defining
I tend to overwork things,
overcoming that and creating an
are made about your work, one as being The Thing That Makes
Art Possible would be difficult. If
image with intention and don’t take them too seriously  I were on a desert island and I was
coincidence takes discipline. only allowed one art implement, it
The Nightmare I find that if I’m too happy I don’t would be some kind of brush pen so
You’re a child, you see a painting “I contributed a few pieces make interesting art. I could draw on myself. It’s a habit
to the recent Month of Fear
that changes everything. Where are challenge. This painting is on that I never grew out of.
you and what are you looking at? the theme of paralysis.” Does one person stand out as being
I was more influenced by books helpful during your early years? What does the future hold for you?
than by individual paintings. A Is it weird if I say my mom? My Accessing and building an audience
book that I was kind of obsessed mom is an artist, and her creativity outside the traditional gateways of
with was My Mama Says There and energy are forces to be publishers and agents is actually
Aren’t Any Zombies, Ghosts, reckoned with. She also made sure possible, and it’s inspiring to see so
Vampires, Creatures, Demons, I changed my clothes many illustrators succeed at
Monsters, Fiends, Goblins, Or occasionally, and that I didn’t marketing their own products. I’m
Things by Judith Viorst and Kay live off junk food. working on putting together a small
Chorao. I still think the run of art books that’ll be completed
illustrations are creepy. Two Is making a living as an artist sometime in 2018, and if that’s
other favourites were The all you thought it would be? successful I’ll continue to produce
Canterville Ghost illustrated by I’m a bit of a pessimist, so yes? and distribute my own books.
Lisbeth Zwerger, and Castles That is to say, this isn’t the career AM Sartor has worked in video game
illustrated by Alan Lee. I think I choice of those looking for fame or development, children’s/YA books and a
liked that feeling of melancholy that riches. Most of my time is spent range of commercial illustration projects.
comes along with ghost stories. alone, drawing or painting. I’m See her art at www.amsartor.com.

114 January 2018

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