fREE! over 3 houRs of video training + 66 nEw brushes!

woRk IT! Sandra Duchiewicz’s

six-page workshop

GET A job
rules the roost

In GAMEs
Develop pro skills with
Gnomon’s new course

ARTIsT InsIGhT
mappinG
a World
10 essential tips for painting
memorable environments
exclusive
WORKSHOP
WitHin!

create your own

EPIC GAME ART

Get inspired by Total War: Warhammer and
learn Photoshop skills from its lead artist
InsIdE
rioT Games: a neW
sTudio culTure
smash artistic bLock
with 3D DooDLing
creaTive possiBiliTies
of indie puBlishinG

weirD in game art

Blizzard! LaureL D austin on the power of being
 Editor’s letter

to fun and games!

Leafing through this issue, the word ‘epic’
resounds – and not just because we put it
smack bang on the cover in big letters.
Video games have always attracted the
wildest of imaginations, and with gigantic
titles like Total War: Warhammer, Fallout 4,
League of Legends and World of Warcraft
(all represented in this issue), studios are
hiring armies of visionary artists to map out
and fill all corners of these brave new worlds.
If you’re wondering where the studios go to fill their ranks, the
Gnomon art school is certainly one source, especially with its new
Games Track course starting to spit out highly skilled, industry-
ready creatives (see page 48). Blizzard’s Laurel D Austin’s path to
senior concept artist was a combination of working up the ladder
and embracing her weird side. Some of the amazing results for WoW
and Diablo III can be seen on page 56.
As studios morph into complex organisations befitting their
behemoth products, they become distinct entities. Visiting Riot
Games’ Santa Monica headquarters, I got to see its unique character
– and culture – myself: a seemingly impossible mix of collaboration,
focus and fun, all on a grand scale - head over to page 38 for more.
As ever, the workshops come from a range of insanely talented
artists, but for a kick off I’d start with Total War: Warhammer lead
artist Sandra Duchiewicz’s awesome cover tutorial on page 64.
A truly massive six-pager for a decidedly epic issue. BOOM!

Our special cover for

Beren Neale, Acting Editor subscribers this issue.
[Link]@[Link]

Contact us
Email: mail@[Link] Tel: +44 (0) 1225 442244
Art submissions: fxpose@[Link]
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Print subscription queries

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April 2016 3
 Save money when you subscribe
to ImagineFX! See pages 29 and 36

Contents
Your art
8 Reader FXPosé
A zombie apocalypse, rogue
56

wizards, adventurous foxes,

and much much more.

News and events

18 Indie publishing
Could small-scale publishers
be the answer for artists keen to
see their art in print?

24 Artist in residence
Rovina Cai’s Melbourne studio
is filled with books and curios.

Your questions
30 Artist Q&A
Advice from pro artists on See page 8 for the best new art
cloaks, bubbles, guns, futuristic
diving suits and much more.
31
Features
38 Studio profile
We head to California to
visit Riot Games’ new home.
“I loved dinosaurs and mythical
44 Sketchbook creatures. My parents said I’d
Iris Compiet’s sketches
mix humour with dark art. either be a scientist or an artist”
Laurel D Austin talks us through her art career
Q&A: bubbles
48 Gnomon
The first Games Track students
are nearing graduation from 48 34 37
their industry-backed course.

56 Laurel D Austin
We meet the artist who’s
putting the buzz into Blizzard’s
illustrious gaming output.

Reviews
90 Software Fast track to success? Q&A: characters Q&A: body language
95 Training
96 Books
38 44 24
Regulars
3 Editor’s letter
6 Resources
28 Letters
29 Subscriptions: US
36 Subs: worldwide Sketchbook:
54 Back issues Riot Games Iris Compiet Artist in residence
82 Next month

4 April 2016
 Issue 133 April 2016
DownloaD resources Turn over the page for
this issue’s art assets

Workshops 64
Advice and techniques
from pro artists…
64 Draw and paint
epic game art
Sandra Duchiewicz on
dynamic composition.

70 Paint a heroine
from Fallout 4
Zezhou Chen shares his
relaxed way of working.

74 Create card art

that’s romantic
Dong-Wook Shin uses
light to create drama.

76 Design engaging
video game maps
Trent Kaniuga gives a
concept artist’s perspective.

84 Get fresh ideas

with 3D sculpting
Paul Canavan shows how Paint a video game hero
to conquer artist’s block.

100 104 106

Inspiration and advice from

the best traditional artists
100 FXPosé Traditional
104 Fantasy chiaroscuro
Patrick J Jones paints The Sentinel. FXPosé Traditional Fantasy chiaroscuro Concept sculpting
106 Sculpting a concept
Eric Wilkerson sculpts an alien. 114
112 Painting from life
Anand Radhakrishnan on colour.
114 First Impressions
Chris Achilléos talks glamour.

112

Life painting Chris Achilléos

April 2016 5
 Resources

Resources
Getting hold of all of this issue’s videos, artwork and oVE
brushes is quick and easy. Just visit our dedicated 3 HourrS
web page at [Link] of workshop a
Q&A videos tond
watch and
learn from!
Workshop videos
Paint a video
game heroine
Zezhou Chen introduces you to
a relaxed way of working, as he
paints a character for Fallout 4.

Get your
resources
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):
[Link]

2 Find the files you want

Search through the list of
resources to watch or download.

3 Download what you need

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

pHotoGrapHy Future photography studio pHonE +44 (0) 1225 442244

aDVErtiSinG Email mail@[Link]
SaSHa mCGrEGor advertising manager art SuBmiSSionS fxpose@[Link]
[Link]@[Link] wEBSitE [Link]
+44 (0) 1225 687675 twittEr @imaginefx
EDitorial FaCEBook [Link]/imaginefx
BErEn nEalE AcTiNG ediTor CHriS mitCHEll account executive
[Link]@[Link] poSt imagineFX, Future Publishing Ltd, Quay
[Link]@[Link] House, The Ambury, Bath, BA1 1UA, UK
+44 (0) 1225 687832
ClairE HowlEtt ediTor print SuBSCriptionS
(on maternity leave) print & proDuCtion
ViViEnnE CalVErt production controller uk, EuropE & rESt oF tHE worlD
DaniEl VinCEnt ArT ediTor uk pHonE o844 848 2852
[Link]@[Link] mark ConStanCE production manager
nola CokEly ad production manager outSiDE oF uk +44 (0) 1604 251045
© 2016 Future Publishing Limited. All rights reserved. No part of this magazine
CliFF HopE oPerATioNS ediTor natHan DrEwEtt ad production co-ordinator Email contact@[Link]
[Link]@[Link] wEB [Link]
liCEnSinG uS anD CanaDa
Julia SaGar group content editor matt ElliS senior licensing & syndication pHonE (toll-free): 1-800 428 3003
Sammy mainE deputy commissioning editor manager wEB [Link]/imaginefx
aliCE pattillo staff writer FuturE puBliSHinG limitED
DominiC CartEr staff writer
DiGital SuBSCriptionS
roDnEy DiVE group art director applE DEViCES [Link]
Dan oliVEr global editor-in-chief, creative Bloq mattHEw piErCE head of content & anDroiD, pC or maC [Link]/r938Ln
CraiG StEwart managing editor, creative Bloq marketing, photography, creative & design GooGlE play [Link]
kErriE HuGHES content manager, creative Bloq JoE mCEVoy managing director, magazines BarnES & noBlE nook [Link]
ContriButionS division amaZon kinDlE [Link]
rovina cai, Paul canavan, chaanah carr, Zezhou ZillaH BynG-tHornE chief executive
chen, Tanya combrinck, Mélanie delon, Tom nExt iSSuE on SalE
dennis, Sandra duchiewicz, Vaughan emerson, tuESDay 29 marCH 2016
Gary evans, Tony Foti, Tom Foster, damian Hall, imagineFX is the registered trademark of
richard Hill, Patrick J Jones, Trent Kaniuga, Tom Future Publishing Ltd. All rights reserved.
May, Fraser Mcdermott, Mark Molnar, Jia-Ying ong,
Anand radhakrishnan, ed ricketts, Jamie ContaCt uS
Schildhauer, dong-Wook Shin, eric Wilkerson

6 April 2016
 Issue 133 April 2016

ExclusivE vidEo tuition!

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

Paul canavan Eric Wilkerson

Banish creative block by using 3D sculpting tools to generate ideas for your fantasy See why sculpting can be so useful for
illustrations, such as this hostile dragon – which started life as a pile of virtual clay. painting an imaginary alien concept.
plus Wips, brushes and final image plus Wips and final image

Q&a videos

Mark Molnar tony Foti

Understand why considering physical attributes, looking for randomness and Master the art of exaggeration in order
other physical foibles, is key when painting real-life objects such as bubbles in liquid. to paint a muzzle flash of a firing gun.
plus Wips and final image plus Wips and final image

Training

tom Foster Mark Molnar james gurney

Why good reference is key to giving comic Play with lighting scenarios to understand The artist and illustrator shows how the
characters convincing body language. the theory behind lost and found edges. outside world can take your art in new
plus Wips and final image plus Wips and final image directions, in Fantasy In The Wild.

and all this! Detailed workshops with essential advice from pro artists, including Zezhou Chen, Mélanie Delon,
Sandra Duchiewicz, Patrick J Jones, Trent Kaniuga, Anand Radhakrishnan and Dong-Wook Shin.

66 CUsToM BrUshes, inClUding…

background juicEr oil brush soFt brush
Paul Canavan’s default brush for Zezhou Chen uses this to simulate a Sandra Duchiewicz uses soft brushes
laying down large chunks of colour. traditional oil brush or add texture. for smoke and atmosphere.

April 2016 7
the place to share your DIGItal art

Andy Walsh 1
LocAtion: US
Web: [Link]
emAiL: info@[Link]
meDiA: Photoshop, 3ds Max

Andy quit his job after ten

years as a graphic designer
in 2010 and, after some
soul searching, realised
that he wanted to follow
his childhood dream of working in the
entertainment industry. “I began
painting digitally in earnest around 2011
and have been furiously working on
developing my skills ever since,” he says.
The artist is a huge fan of all things
dark and moody, which is pretty obvious
in his work. “I do environments that
reflect my passion. I would say I
specialise in a somewhat under-
represented area: urban, horror and
historical environments.”

1 RebeLLion “This piece was created

in 3ds Max initially and then brought
into Photoshop to paint over. Unlike
other 3D paint-overs in my portfolio, this
one was brought to a more painterly
finish. The goal here was to really push
composition and drama via a dynamic
camera angle. Many angles were
considered before arriving at this one.”

2 the meeting “I wanted to move

away from 3D in this piece and so it’s
all Photoshop. A little bit of photo
reference was used for the two guys, but
this was quite heavily edited. This began
life as a black and white thumbnail that
was more contemporary rural horror,
but evolved into a slightly historical-
cum-fantasy piece.”

3 infecteD - Zombie city“I created

this for a zombie RPG Kickstarter Illustrator and concept artist Daryl Mandryk
project called Infected. This is a kind of
photo-bash or slightly loose matte
admires the high level of finish in Andy’s art
painting. The guy in the foreground is
me because I’m not very good at
“Andy’s lighting and composition are the
characters and the level of photo- standouts here, as he directs your eye to key
realism was too high to just throw in a
painted hero, so I dressed up like an
elements and then uses cinematic lighting
apocalypse survivor and set up my techniques to pump up the emotion.”
camera. The gun was done in post
though – I don’t really own an M4!”

8 April 2016 Email your submissions to fxpose@[Link]

2

Email your submissions to fxpose@[Link] April 2016 9

 1

10 April 2016 Email your submissions to fxpose@[Link]

 Ursula Dorada
LocAtion: Brazil
2
Web: [Link]
emAiL: sulamoon@[Link]
meDiA: Photoshop

Ursula began working as

an advertising illustrator,
but when Ubisoft made a
call for artists for its
studios in Brazil, she
applied. “I worked there as a 2D artist
for the brief period the studio operated
in Brazil, igniting my passion to become
part of the games industry,” she says.
1 UnDeAD PRiest “The Warcraft
series were a hit with my guild mates
(yes, I still play it!), and my guild
Making the move to freelance, Ursula leader’s birthday was coming up.
now works for publishing and games I decided to paint her character as a
companies. “I want to focus on fantasy, gift, for all her hard work on keeping
so I’ve been slowly working the more the guild going strong all this years. So
traditional finish into my work. As a kid this is her character, in her favourite set
who was raised playing D&D at the from the game.”
weekends, it’s no surprise they’re one of
my biggest influences, along with video
games such as Zelda and Warcraft.” 2 oRc hUnteR “Here’s a portfolio
piece I created to build up my card
games/Warcraft-style body of work. It’s
an honest Horde scout, complete with
their most iconic bow and Orgrimmin
flames. Now I need to work on an
Alliance series, as soon as I have time.”

3 beRseRkeR “Here’s an image for

the game Ballistic, from Aquiris
Game Studio. It’s a class-based game,
and each class has its own splash screen.
This is my favourite from the bunch,
and painting the broken glass was a
fun challenge.”

IMaGINeFX crIt
“Ursula is certainly
able to place her
characters in
dynamic situations,
matched with great
colours and lighting.
I love the effect of the
flying shards of glass in
her Berserker artwork –
that was time well spent!”
© Aquiris Game Studio

Cliff Hope,
Operations Editor

Email your submissions to fxpose@[Link] April 2016 11

 Leesha Hannigan
Location: Australia
1 3
Web: [Link]
emaiL: [Link]@[Link]
meDia: Photoshop

Australian-born freelance
illustrator and concept
artist Leesha was
fascinated by fantastical
literature, Aesop’s Fables
and fairy tales from a young age. She
was later drawn to video games,
favouring high-fantasy role-playing
games. “I tend to work in a painterly
style with a particular focus on light,
often inspired by what I see in nature
and on my travels,” says the artist.
Leesha finds lighting a powerful tool
when it comes to setting a scene:
“Nature is inherently theatrical, and I
endeavour to capture that in my work.”
© Hi-Rez Studios

IMAGINEFX CRIT 2
“Leesha’s lighting
techniques play a
big part in her art,
as is clear on these pages.
From the handsome-
looking chap holding the
magical dagger, to the
little woodland critter, she
knows how to stage her
subjects to best effect.”
Beren Neale,
Acting Editor

1 Safe traveL “This painting was

done for a card in the upcoming
Hi Rez Studios game, Paladins. The
knightly character is stepping out of a
dark forest into a sunny and open valley.
I wanted to focus on the contrast
between the shadowed foreground and
the warm, picturesque background.”

2 a SmaLL meaSure of courage

“This was a painting done for a
client, based on their beloved toy fox.
They had invented a narrative for this
little guy, so the goal was to paint him
into one of his adventures and bring
him to life.”

3 freeLance DeatH WizarD

© Quote-Unquote LLC

“An illustration done for the card

game One Hit Kill. This character is a
rogue wizard, a relatively unusual
combination that led me to the spectral
weapon design. He bills by the hour…
or the corpse.”

12 April 2016 Email your submissions to fxpose@[Link]

Email your submissions to fxpose@[Link] April 2016 13
 1

anders Larsson
Location: Sweden
Web: [Link]
emaiL: anders@[Link]
meDia: Photoshop, Krita

“I aim to make people go,

‘Hey, that’s cool!’” says
Anders. When he works,
the artist often goes in
with a vague plan and
letting the piece evolve almost by
itself. “It’s a good way to inject some
of myself into the piece and to spot
what works and what doesn’t as
I progress,” he comments.
“My big passion lies in digital
paintings with fantastical and
supernatural themes. I’m also very
interested in games, and work with
pixel art and concept art. Some of my
big inspirations are Simon Stålenhag
and Sergey Koleso.”

1 DeatH at Sea “I love skulls, and

dark oceans are one of my big fears.
Here, I got to paint both in a dramatic
scene with pirates facing death at sea.”

14 April 2016 Email your submissions to fxpose@[Link]

 brittany a Pezzillo
Location: US
1
Web: [Link]
emaiL: [Link]@[Link]
meDia: Photoshop, Alchemy, Clip
Studio Paint Pro, Manga Studio

Brittany has always been

fascinated by the
fantastical and the surreal.
Working both digitally and
traditionally, a lot of her
commercial work tends to be digital
but her passion lies in oil painting and
even mixing media. “Regardless of
method, painting is this amazing battle
of creating and losing edges, and I love
it,” she says.
Brittany is a graduate of The Kubert
School in Dover, NJ, and paints mostly
for traditional gaming products and
comic books.“I grew up playing trading
card games and video games. I looked
up to Samwise Didier, Joe Madureira/
Liquid!, Frank Frazetta, Brom, Thomas
Baxa and Geof Darrow.”

1 aberration of tHe minD “A piece

inspired by the Lovecraftian notion
of collapsing into the waves of madness,
as skittering shadows become corporeal
form and in an instant disappear. The
Old Ones are all he knows now as the
last threads of his sanity slip away, the
poor soul.”

2 LySergicat “Pareidolia is an
interesting phenomenon. We’re
programmed to find familiar patterns in
things – especially faces – and I like to
use this to my advantage when creating.
Random mirrored shapes in Alchemy
slowly became this somewhat feline
face as I worked spontaneously.”

Email your submissions to fxpose@[Link] April 2016 15

 ˘
Çaglayan göksoy
location: Turkey
1
WeB: [Link]
email: vergilius09@[Link]
media: Photoshop

˘
Çaglayan is a 20-year-old
self-taught artist. “In
January 2014, after
I dropped my graphic
design course at Bilkent
University, I began practising digital
media seriously – lectures were not for
me!” he says.
The old masters are his biggest
inspiration sources, along with fantasy:
“I’m a huge Middle-earth worm!”
˘
Çaglayan reveals he usually hates his
paintings after he finishes them. “People
tend to think that this is a bad thing;
I think this is the biggest factor that
makes me keep pushing myself further.”

1 Bridge of Khazad-dûm “Gandalf

confronts Durin’s Bane on the narrow
bridge in Moria. I wanted to get as close
to the action as possible, and recreate
the scene as I imagined it when I read
The Fellowship of the Ring.”

2 manKind divided “I’m a big Deus

Ex fan, and the news of the latest
instalment made me really happy. After I
watched the first trailer, which made me
smile from ear to ear, I knew I had to
paint something from the game.”

3 imperial march “A year ago there

was a online challenge to redesign
Star Wars. I painted my version of Darth
Vader: I thought he’d be more badass
if he didn’t have any life-support tech,
but instead used the Force to reduce
the pain of his long-term injuries.”

4 hungry“This was an experiment

painting. I tried new things, new
approaches. I like to take characters,
concepts and make them cooler, at
least for my eyes. I like to say ‘what if’
while painting, and try to explore a
background story. Why is this guy here,
and what happened?”

16 April 2016 Email your submissions to fxpose@[Link]

 3

IMAGINEFX CRIT
“As a long-time fan
of the Deus Ex
games, I enjoyed
seeing Çaglayan’s
˘ painting
based on a violent
encounter from Mankind
Divided. It’s clever how
he’s made it look more
cinematic, simply by using
a narrow aspect ratio.”
Daniel Vincent,
Art Editor

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

email: fxpose@[Link]
(maximum 1MB per image)

post: (CD or DVD):

FXPosé
ImagineFX
Quay House
The Ambury
Bath, BA1 2BW, UK

All artwork is submitted on the

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

Email your submissions to fxpose@[Link] April 2016 17

 Artist news, softwAre events

At the core of the DigitAl Art community

Philip K Dick’s Variable Man, as

visualised by Tommy Arnold for his
collection of the author’s short stories.

A leap
of faith
Think different Should more artists consider using indie
publishers to get their work out there, wonders Tom May
© [Link]

It’s great to see your artwork online. But “I view my small press work as an Above: Tommy Arnold’s
cover for Hold-Time
let’s be honest, there’s nothing like seeing apprenticeship every aspiring artist should Violations by John Chu,
it in print. So do you pursue a traditional go through,” says Jim Lavery. “It’s helped published by [Link].
publisher, with the likely loss of creative develop my discipline, technique and
control that entails? Or self-publish your attitude to deadlines. It’s also
own work – then hit a wall when trying to resulted in a catalogue of
© Jim Lavery/Madius Comics

bring it to the world’s attention? published work I can refer to

Well, there is another way: the indie and learn from.”
publisher, aka the small press. Small presses Jim’s work has been
Madius Comics’
aren’t highly visible, mind, and you probably published in two indie comics: Little O Papercut and Inkstains
issue 2 features artwork
haven’t heard of most of them. So why are Productions’ Horrere, and Madius Comics’
from Jim Lavery and
so many artists keen to work with them? Papercuts and Inkstains. “The editors allow Rory Donald.

18 April 2016
 pick a card, wish you dem bones,
any card… were here dem bones
Lacking inspiration for Rovina Cai’s Melbourne Find out how an
your next piece of studio may be an innovative mannequin,
character art? Clark all-white affair, but named Stickybones, is
Huggins’ Reckless Deck colour is prevalent helping artists and
uses chance to help throughout, partly animators capture
kick-start your muse thanks to her collection the perfect pose for
into action. of holiday postcard. their characters.
Page 23 Page 24 Page 27

Industry InsIght

© F(riction)/Ian Hinley
Tommy
Arnold
The illustrator explains how indie
publishing works in practice

What does your project involve?

I came to Jon Schindehette of
ArtOrder Publishing with a fully
fledged idea that originally I was
going to publish on my own. There
are a number of short stories by
Philip K Dick that have fallen into
the public domain. So I’m taking
those stories and collecting them in
an illustrated hardbound volume.
It’s about 240 pages and I’ve got a
designer who does covers for Tor.
com Publishing, Jamie Stafford-Hill.
How does working with
ArtOrder differ from self-
publishing?
It’s similar in some ways. For
Illustration by Ian Hinley entitled Scrolls example, there’s no cash upfront so
From The Silent City, which appeared
on the cover of F(r)iction issue two. I’m still doing my regular schedule
of freelance work. Any time I have a
gap I try to fit in another illustration

indie publishers for this project. The main difference

is that you’re working with
can help with the someone in your corner, so to
speak. But there are still some of the
stress of preparing typical hurdles of self-publishing.

work for print… Like what?

Well for one, we’re not planning to
print more than 10,000 copies so
me a tremendous amount of freedom,” he
we won’t be able to go through a
enthuses. “On the downside; money,
traditional distributor, which
specifically the lack of it.”
means a lot of the responsibility for
Shouldering the burden advertising and distribution will
fall on Jon’s and my shoulders. But
Alisdair Wood, the founder of
in terms of those elements, Jon has
Horrere, admits that cash is
pretty broad shoulders.
tight in the indie world, but
believes it has a lot to offer So what’s the publisher bringing
artists. “An indie publisher can to the table?
take away a lot of the stress of preparing Jon’s got a wide online audience
work for print for the artist, as well as the and a lot of pull and reach in a lot
cost,” he says. “This gives them enough room of places. So I’m bringing in an ally
to show off their talents without committing that, in exchange for a percentage
a huge amount of valuable time.” of the project, is going to boost the
Patrick Mulholland, who’s worked with project’s success and efficiency. This
US indie publisher Broken Icon Comics, tells means I feel a lot more confident
a similar story. He responded about the project and seeing it
to its advert seeking an artist through to completion.
to work on graphic novel The
Cowboy Gauntlet. Patrick Tommy lives in Atlanta,
initially accepted the role
Georgia, and works as an
illustrator of fantasy and
unpaid, in return for exposure; the publisher Patrick Mulholland has created science fiction pieces.
was so pleased with the artist’s work, artwork for Todd Mitchell’s
graphic novel Broken Saviors. [Link]
though, it later agreed to pay him for it.

April 2016 19
© Neil Ford/Little O Productions ImagineNation News

“One of the best things is the chance for a big publisher yet – I’m very early in my Just some of the unable to get their work out
artwork by Neil Ford for
to build your own world and stories,” Patrick art career,” he explains. “But Horrere asked Horrere Comics’ story,
there before have way more
says. “If you’re starting a new series or pitch me to do the art for a script by Rob Jones If You Go Down To the options now,” enthuses
Woods Today.
with a writer, you can have a lot of influence and Mike Sambrook, entitled If You Go Mike Sambrook. “I’m incredibly
on the look and feel of the book. You can Down to the Woods. positive about the way that
put more of your personality into it.” “We had a great time assembling the things are looking.”
Indies can be great for artists starting out, comic,” Neil says. “Long Facebook group Rob Jones is equally upbeat. “At the
he adds. “You’ll gain experience in working chats every night were both hilarious and comic festival Thought Bubble, held in
on scripts and taking notes on your work,” inspirational. I thoroughly enjoyed it, and Leeds, England last year, New Dock Hall was
Patrick says. “You’ll learn to would definitely recommend getting wall-to-wall indie publishing,” he says. “It was
work in collaboration, taking involved in small press.” incredible to see: this huge swathe of people
ideas and giving them.” Neil’s collaborators agree, and see indie who had taken a half-formed
That was certainly the case publishing as a growing scene within the idea that they may have had in
for Neil Ford. “I’ve not worked digital art landscape. “People who were the bath, then turned it into
this dream. As well as Horrere
and Papercuts and Inkstains,
there’s amazing stuff from Redshift Press,
Raw Edge Comics, Insane Comics, Fifth
Dimension Comics and others coming out
over the next few months.”

indieS can be fun

And it’s not just about new
artists. Paul Williams, aka
Sketchy Magpie, is a full-time
illustrator of five years and has
had work published by the
likes of Macmillan and Oxford University
Press. “But generally, those experiences
have felt a lot more like ‘work’ compared to
drawing comics for FutureQuake, which is
always a hoot,” Paul explains. “I feel a lot
more freedom to experiment and be
creative, and that’s where the most valuable
development comes from.”
The indie publishers themselves have
similar motivations – creative passion
trumping the desire for big
money. Take Dani Hedlund,
Between his full-time
assignments, Sketchy editor-in-chief of F(r)iction, a
Magpie created this fan literary journal featuring sci-fi
piece of The Evil Dead.
stories and bespoke digital

20 April 2016
 Artist news, software & events
Issue three of F(r)iction featured
Witch, by
Alyssa Menold’s ChristianInterstellar
illustration Alzmann,
Space, who
for asays
shortthat creative
story of the block
same
is “inevitable.”
name by Scott O’Connor.

these artists are pouring their heart and

© F(riction)/Alyssa Menold

soul on to the page and we believe that should

be represented as beautifully as possible
artwork. “Whenever I go to a publishing Commissioned covers
for F(riction), as painted
conference someone will say: ‘Dani, what the by Alyssa Menold
hell are you doing? This is not a viable (left) and Daniel
Reneau (right).
business plan!’” she laughs. “And yes, we’re
all living off ramen noodles and working out
of coffee shops.
“But F(r)iction has this emphasis on weird
work that would never otherwise see the
light of day. These artists are pouring their
heart and soul on to the page and we
believe that should be represented as
beautifully as possible.”
But while the indie publishers aren’t
obsessed with money, that doesn’t mean
© F(riction)/Daniel Reneau
© F(riction)/Alyssa Menold

that there isn’t money to be made. At a time

when social media and crowdfunding are
disrupting the old publishing models, artists
are looking beyond traditional publishers
and establish their own new wave of indies.
Creative director Jon Schindehette is one
of them. The author behind
the ArtOrder blog is planning a wide spectrum of services, provide that are run by a bunch of suits and just
to launch a new initiative, transparent pricing, leave artists’ rights freelance out art needs,” he explains.
ArtOrder Publishing, in the intact, and put as much money back into the So far, ArtOrder has a number of projects
first half of 2016. pocket of the creative as possible. I’m taking underway, including table-top games, art
“I got the idea when I met an artist whose my last 30 years of experience, networking, books, a poetry book, an artist/writer
art book had been created by a well-known and know-how to create new opportunities collaboration, and “some innovative
publishing company, but he’d made less for all of the artists I know.” apparel/toy development.”
than $1 off every book sold,” Jon says. “With Jon will only take projects where the Creative freedom and a decent amount of
ArtOrder I’m working to cut out as many project is owned and driven by creatives. money – is this the future of indie publishing
middlemen as possible to reduce costs, offer “I have no desire to work with companies for artists?

April 2016 21
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Born out of a desire to spend and wasn’t weighted too heavily in the retails shops. He even has enough material
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time painting, Clark Huggins Originally drawing on recurring imagery environment deck for concept artists that
came up with the concept of from Clark’s collection of Spectrum annuals you could use in conjunction with the
Reckless Deck. and even back issues of ImagineFX, character deck,” he reveals.
A couple of cannibalised decks of playing Reckless Deck has now gained significant The unpredictable nature of Reckless
cards formed the basis of the Reckless Deck, attention following a successful promotional Deck has fundamentally changed how Clark
which quickly produced crazy results unlike tour during 2015. “The Art Order Challenge approaches illustration. “For artists, this can
anything Clark would’ve produced on his we did with Jon Schindehette was extremely feel very dangerous, but also very thrilling,”
own. His wife Kelly saw the deck’s potential, validating,” Clark says. “His willingness to get he says. “And actually, it has a lot to do with
and soon they were working on a prototype behind Reckless Deck gave it legitimacy.” how we came up with the name Reckless
with New York designer Keith Coney. “It was Clark is constantly Emails from young artists and writers Deck in the first place.”
coming up with card
extremely challenging to design, because ideas, usually when he’s inspired by Reckless Deck have motivated You can order Reckless deck by visiting
we needed a look that was its own thing, walking his dog. Clark to get the cards into conventional [Link].
© Subroto Bhaumik 2015

Clark says that Reckless Deck

creates taboo and empowering
artistic combinations.

April 2016 23
 ImagineNation News
I’ve begun collecting small original artwork. There’s Somehow I seem to be accumulating a teacup and
something magical about an original work that a teapot collection. First there was one and now I have
reproduction can never capture. stacks of teacups scattered throughout my studio.

This shelf holds

drawing tools
and various
decorative bits
and pieces. I like
to change these
around once in
a while.

Rovina Cai
I use this table for bookbinding and other crafty
projects. It’s also a no-computer space that I use
when I need to concentrate on a drawing.

Rover’s return After years on the move, the Australian illustrator has
settled down in a Melbourne studio filled with books and curios
Over the past few years I’ve surrounded by things that I find beautiful, Photoshop. As such, I have two work spaces:
moved around a lot, and because it helps me get in the zone when one desk for computer work and general
have only recently returned I’m working. A space doesn’t feel right to tasks, and another desk for drawing. I’m
to Melbourne and set up a me unless there’s a bit of clutter. I tend to be often distracted by shiny things on the
studio. It’s nice to have a a hoarder and like to keep things. You never internet, so it helps to work in a separate,
dedicated space to work in, instead of know when a piece of cardboard or some computer-free zone when I need to
painting on a kitchen bench or on my bed! ribbon might come in handy, whether it’s for concentrate on a drawing.
I wanted to fill the space with things that a reference photo or a crazy craft project. I’m still trying to figure out a good
inspire me: from books and images to curios My work process involves drawing schedule to stick to. I love getting up early
I’ve picked up from my travels. I like to be traditionally and colouring digitally in and knowing that there’s a long day

24 April 2016
 Artist news, software & events
I have an eclectic mix of books for inspiration, from picture books to costume
references to poetry anthologies. I think it’s important to have a good variety of
books to dip into for inspiration, and not just art books.

Some work for a gallery show at Krab Jab Studio.

I’ve been playing with watercolours lately and I’m
happy with the results; it’s fun to play with things like
metallic pigments. Here I’m about to add some
decoration to the mat before framing the piece.

I love book design and bookbinding, so I have a

special shelf for particularly beautiful and
unconventional books. The hat is a Mad Hatter Hat
that I made a few years ago for a costume. I’ve used
it as reference many times.

I have a vast collection of postcards and little

trinkets. When I moved around a lot, I took these
things with me, and putting them up in each new
location became a little ritual. The postcards are
mostly of artwork from museums I’ve visited.

This is my main work area where I carry out

most of my digital work, sketching and other
day-to-day illustration tasks.

stretched out before me. But I’m also a night

owl, and love working when I know that no
one is around to bother me. That’s why
I work late nights and on weekends. I tend to
switch between getting up very early and
staying up so late that it’s early.
Rovina is an illustrator creating evocative
images rooted in conceptual ideas. Her clients
include [Link], Riot Games and The Folio
Society. See more at [Link].

April 2016 25
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Hatboy
by Vaughn Pinpin

Strike a pose Despite its metallic

appearance, Stickybones
is made of industrial-

with Stickybones
strength plastic.

Flexible figures Two animators have smashed their

funding drive for their revolutionary poseable figure
Co-founded by Erik and
Lauren Baker, a husband and
wife team of film animators,
Stickybones is a reference
tool they both craved while
working on stop-motion projects.
The Bakers, who have worked on
blockbusters including TRON: Legacy and
The Peanuts Movie, say that Stickybones is a
new kind of poseable figure that represents
By painting Draco
a cross between traditional artist’s Malfoy symmetrically,
mannequins and animation puppets. Jim added a little
creepiness to
“It can hit the most expressive poses,” the character.
Character artists will appreciate just how easy it is to
says Erik. “Drawers, painters, sculptors and adjust the pose of Stickybones to suit their painting.
photographers can all push their art further
by exploring many poses and expressions seemingly infinite number of poses.” Indeed,
quickly before committing to one.” it took a year of development to perfect the
Erik envisioned the patent-pending joint final design, yet the Baker’s efforts have
system that makes Stickybones capable been worth it: Stickybones exceeded its
of hitting complex positions way back in crowdfunding goal in just ten hours. “We
2000, while working on his final college continue to make small tweaks to constantly
stop-motion animation project. push our designs even further,” says Erik.
“The biggest hurdle was perfecting the “We aim for constant improvement.”
Giant gamekeeper
tension of each joint,” Erik explains. “They You can stay up to date with Stickybones Hagrid was one of
Jim’s favourite
had to be firm enough to hold, yet have the developments, and place pre-orders, by
characters to draw.
ability to be smoothly positioned into a visiting [Link].

April 2016 27
 ImagineNation

Your art news that’s

YOUr feeDBacK & OpInIOnS grabbed our attention
contact acting editor, Beren neale,
on beren@[Link] or write Gülce Baycık
to ImaginefX, future plc, @gulcebaycik
Ronald Hughes enjoyed Katarzyna Oleska’s Krita
Quay house, the ambury, workshops. What do other readers think? Let us know.
Bath, Ba1 1Ua, UK ”Hey @imaginefx you
back in the February issue. Could you please are a big inspiration
follow us on twitter: source for me, thank you”
tell me in which issue the Krita articles
[Link]/imaginefx
started? It would be nice if you could
tell us your thoughts on: include more workshops about Krita,
[Link]/imaginefx written by people who use it regularly.
Ronald Hughes, via email
Staying stress-free
I’ve always been interested in art, Beren replies: Hey Ronald, I really
but over the years the hobby faded. appreciate the feedback - it’s always good to
It was a couple of years ago that hear about specific tutorials readers find
I began to feel an urge to draw and interesting. Kat’s Krita series started in issue
paint again. Digital art enabled me 124 and ran up to 131 (missing out 130).
to paint without the complexity The series comprises seven individual pages,
of setting up an easel. At this time and you can go see if the print issues are still
I also came across ImagineFX. available here: [Link]/ifxbackissues. LukeArtography
I’m 37, a father of three and @LukeArtography
I work as an IT consultant – which Searching for the sequel
isn’t especially fun or rewarding. Is there any possibility of purchasing a print “Say Arrrgh”
In Portugal 25 years ago, drawing copy of How to Draw and Paint Anatomy:
for films and video games was Volume 2, or even the Complete edition?
not a career path – at least, not I bought Volume 1 many years go and still
one known to me. Today I regret use it today. I didn’t realise there had been
not taking the professional art a second volume and after much searching I
path and although a part of me can’t find it for sale anywhere unfortunately.
keeps dreaming, it’s probably Steve, via email
a bit late for a career shift.
I do it for myself, for fun and as an One of Nuno Pinto’s Beren replies: Hey Steve. They are a
paintings. He says he
escape from stress. I created a website regrets not pursuing art popular series and unfortunately there’s no
at [Link] and I also try as a career earlier in life. immediate plans to reprint volume 2 right
to regularly publish my sketches on now. However, there’s another ImagineFX
[Link]. special magazine called Practical Painter
Keep up the good work and that might interest you. You can get it in
congratulations on a great magazine. print or a digital version. It covers plenty Sacrinoxia Art
Nuno Pinto, via email of anatomy – check out more here:
[Link]
@SacrinoxiaArt
Beren replies: Thanks for getting in touch,
Nuno. I really appreciate letters like yours A plea for wall art “Fantasy portrait of my
– to know our little mag has been a Please could you tell me if I can purchase psychic character”
companion to you over the past couple of a poster of issue 132’s cover, featuring David
years is rewarding for us. Art – digital or Bowie, Gremlins and The NeverEnding
otherwise – is a healer, and if IFX can play Story. I would love this as a poster for my
any part in giving you time off from the studio wall. Oh, and I’m enjoying
stresses of the daily grind, we’re doing our ImagineFX more and more each month!
job. And thanks for sharing your art with Michael McLaughlin, email
us, it looks like you’re well on the way to
mastering digital. Keep up the great work. Beren replies: Thanks for your kind words,
Michael. That fantasy film art issue has
Little Kritas DID YOU MISS been a big hit and our initial plan was to
I’m an ImagineFX subscriber and also the fantaSY accompany it with a poster. We weren’t able
a new user of Krita 2.9.10. Consequently,
fIlM-art to do that in time, but it’s something we
SpecIal ISSUe?
I was pleased to discover tutorials by may go back to – whether that’s a
Turn to page 54
Katarzyna Oleska in the November, for more details subscriber’s special, or part of a limited run,
December and Christmas issues. I was we’re looking into options. If anybody else Just finished something you want us to shout
on our brilliant about? Send it our way on Twitter
disappointed when I was unable to find 132 issue and wants to see posters or prints of this issue (@imaginefx), or find us on Facebook!
her in the January issue, but delighted she’s others, too! – or any other – it would be good to know.

28 April 2016
 Subscribe and save!

US readers: subscribe
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at any time and we’ll refund you for all unmailed issues. Full details of the Direct Debit guarantee are available upon request. Prices correct at point of print and subject to change.
For full terms and conditions please visit [Link] Offer ends 15 April 2016.

April 2016 29
 ImagineNation Artist Q&A

Struggling with a painting technique or get your

topic? email help@[Link] today! resources
See page 6 now!

Question
I want to paint my character with a painful-looking
expression. What should I take into account?
Finley Curtis, England

mélanie Delon
Mélanie is a freelance
illustrator who specialises in
fantasy. She divides her time
between working for different
publishing houses and
creating her own artworks.
[Link]

mark molnar
Mark is a concept and visual
development artist for the
entertainment industry, and
is currently working for
international film, game and
animation companies.
[Link]

Jia-Ying ong
Jia-Ying is a freelance 2D
artist from Singapore, who
has done work mostly for
mobile games, books, and
dabbles in animation every
now and then.
[Link]

Tony foti
Tony is a freelance illustrator
from California who works
primarily in the gaming and
publishing industries, most
notably on Fantasy Flight
Games’ Star Wars lines.
[Link]

Tom foster Answer

Tom is a professional comic Mélanie replies
book artist, best known for his i start this task by conducting When painting a painful shape of a person’s eyes, the inclination of
work on 2000 AD and the expression, accentuate
Judge Dredd magazine.
some research, because and exaggerate. The their eyebrows and mouth are effective yet
Outside of work, he likes to however much i think i can more obvious the simple way to express emotion.
expression, the more
do stand-up comedy. visualise a painful expression, to work the expression’s intensity – in
the viewer will grasp
[Link] seeing one in front of me will be much what’s happening to this case, pain – i simply accentuate the
the character.
more useful. i also have the options of facial movements, such as the mouth,
either using myself as a reference, or which can be more or less open to
asking a friend to recreate the desired simulate a cry of pain. the eyes could
expression. For convenience’s sake i either be wide open or tightly closed with
usually go for the self-reference: i have a frown lines. and if the pain is intense,
need our advice? small mirror placed next to my screen, consider adding details such as tears, or
Email help@[Link] which comes in pretty useful during the extra pale skin, indicating the onset of
with your art questions and painting process. shock. here i’ve chosen not to show what’s
we’ll provide all the answers! expressions are mainly conveyed by the causing the pain, so that the viewer can
eyes and mouth. as well as the size and focus on the facial features.

30 April 2016
 Your questions answered...
Step-by-step: Question
capture the look I’m having trouble depicting
of physical pain bubbles in a liquid. Any ideas?
Bruno Shearer, Canada

My first step is to determine the base

1 of the face. My character is suffering,
so I want to give the impression that she’s
crying. Her mouth will be open, with lips
inclined downwards to indicate pain. The
base of the face is crucial when trying to
create a strong expression: this sketch
helps to visualise the final expression.

When painting a bubbling liquid in

a glass tube you have to focus on
Now I start working the details. I refine
2 the eyes and accentuate the position the lights, the material’s reflective
qualities and the slight distortions
cause by the curved surfaces.
of the eyebrows. I want them to give the
sensation of surprise but also of pain, so I
depict them raised. I add a few more eyelid Answer
wrinkles to indicate slightly closed eyes, Mark replies
which will increase the overall intensity of when painting materials, you to give a bit of extra realism to the image
the character’s expression. should always consider their i also play with distortion and the reflective
physical attributes. Bubbles usually qualities of the outer shell of the glass tube. in
appear in water or other liquids case of a tube the reflections are always going to
when heat is applied and the liquid starts to be sharper and more distorted around the edges,
evaporate. it turns into gas because of the energy before slowly fading away towards the centre,
of the heat. we can see these bubbles, because where we can more easily see through it. the
the refraction index of the gas bubble is different tube also slightly distorts objects behind it,
to that of the surrounding substance’s. because the angle of the light changes when it
essentially, we’re seeing the reflective qualities strikes a different material.
of the liquid inside the bubble.
painted bubbles can go from a stylised sphere,
to highly realistic with lots of reflections.
however, it’s more important to capture the

I move on to the less-important parts

randomness and other physical behaviours of
the bubbles as they form. Bubbles occur around
Artist’s secret
3 of the face, such as the cheeks. This the source of heat, which is why i paint more of Create your own brush es
area reacts to the rest of the face, in them at the base of the tank. they then migrate
patterns, like the
you can easily create random
r own brushes.
particular the mouth. The shape varies towards the surface, because they’re lighter than bubbles in this image, with you omising
is by cust
little: I just need to make them more round the liquid most of the times. multiple bubbles the easiest way to do this
brushes. I crea ted the base
than when the face is at rest, and add large usually merge on the way to the surface, so it’s Photoshop’s default
d round brush
wrinkles at the corners of the mouth to link always better to paint a few larger bubbles some shape of the bubbles with a har edges.
ng and wet
the mouth and cheeks together. distance from the heat source. by adding some scatteri

April 2016 31
 ImagineNation Artist Q&A
Question
My character’s torn cloak looks too new and unrealistic. Can you help?
Gem Rolles, US

Answer Add whatever details are

Mélanie replies necessary to enhance the
storytelling element of a
there are several options to composition. They can
tell a lot about the
make a cloak look old and character’s background.
torn. For the colours, the tones
must be desaturated.
Furthermore, the cloak isn’t new so the
fabric needs to look worn and weathered.
to give the fabric a sense of age, i add
some torn areas all over the cloak,
especially on the bottom and the edges
where it’s in contact with the ground. i
also add some threads to accentuate the
wear effect, and some patches to give the
impression that the cloak has been
mended several times by its owner.
i want to convey the impression that the
cloak is made of rich fabrics, so i add some
golden patterns around the hood. i don’t
overwork them or cover the whole cloak in
them, though. i need it to suit my
character’s design, so i suggest that the

Artist’s secret
cloak belonged to a noble family. indeed,
the storytelling element of the cloak is
important. it’s a part of my character’s the Patt ern brush terns I create a
history and so the clothes will help me to I always spend more time to paint quickly repetitive pat
quickly sketch
brush with the desired shape. I clean or
bring the story into the illustration. i on the important area of
my composition. Here it’s
imagine that she’s a destitute orphan, I don ’t need it to be
her face and the hood, so the pattern :
whose only connection to her family is the I increase the light here
ned because I like to hav e a lot of texture
and add vibrant colours. defi y.
ing real isti call
old cloak that she’s always seen wearing. for painting someth

Step-by-step: illustrate a cloak that’s seen better days

I start with a quick piece of I quickly paint the key
1 line art, then choose a
2 fabric folds, following my
colour scheme. The character’s line art and adding tears to the
costume will be quite dark with fabrics. I also want the cloak to
the bottom of the cloak look almost like silk so that it
floating in the air. My colours floats around my character. To
are desaturated, but I’ll add achieve this effect I add more
brighter light and patterns colour variations and tiny folds
later. It’s important to find the everywhere. I use a custom
general shape of the cloak. I brush to paint and sketch
want to show off the torn because I need to have a lot of
edges to enhance the aged texture to make this element
look of the fabric. look convincing.

At this point the character To give the fabric a

3 needs to be brought to life.
4 decadent look, I add some
The cloak is too much golden and purple patterns. I
desaturated so I boost the use a textured brush with very
colour scheme with a more soft edges because I don’t
vibrant red. Then I refine the want the result to be too neat;
torn parts, using a textured the patterns are old and worn.
brush to introduce more colour To reinforce this idea, I add
variations and realism to the some golden loose threads
fabric. I also add some holes with a very fine brush. The
here and there: this is a nice embroidery pattern gives a
visual detail to accentuate the story to the garment and hints
old, worn look of the cloak. at my character’s tragic story.

32 April 2016
 Your questions answered...
I want to show a bounty hunter
blending into the shadows, so
Step-by-step:
applying lost edges around the
character is a great choice to
strengthen his personality visually.
Building an image
from soft to hard

I want to break up the composition

1 into a smaller lit area and a bigger one
in shadow, making my character almost
disappear. After a quick line drawing
I quickly block in the lights and shadows,
and also lay down the small reflected light
patches in the dark, which will give shape
to my character in the shadows.

After a quick colour overlay, where I

2 block in the darker cold and the
brighter warm hues, I start to paint
Question everything on top. I wanted to keep this
step loose, so I use large brush strokes and
Please can you explain the theory almost smudge my forms into each other. I

behind lost and found edges avoid defining shapes and adding hard
edges, so that the figure is ghost-like.
Ally Demoray, US

Answer
Mark replies
an edge can disappear when a Sometimes it’s enough to paint only a small
foreground object has the same part of an edge and leave the rest to dissolve
value as the background, and can into the background. the most important
become sharper by strengthening thing is to describe the dynamics and direction
the contrast between those two values. on an of the edge, but we can leave the rest to the
illustration we can play with different lighting viewer’s imagination.
scenarios and create parts with disappearing the face or the cape of this character is a
edges in the shadows or lights. great example for this. Because i’ve already
it’s always useful to vary your edges between painted one side of the character’s face, it’s fine For detailing my character I use the
soft and hard. this helps to direct the focus of to leave the other half fully in the shadows – 3 desaturated cold bounce light of the
your image, and makes it more interesting and the viewer’s imagination fills in the missing sky above, which contrasts with the warm
painterly. you can define differences between details. the same thing happens with the cape tones in the piece. I place the most contrast
forms with hard edges more clearly and you on the right side. it’s not necessary to depict its around the face to create a natural focal
can create a resting point for your viewer by silhouette all the way. instead, painting the area and leave more lost edges on the
applying soft edges. the trick is to find a bottom edge and hinting at the shoulder part is silhouette, to keep the figure mysterious
balance that supports the story. enough to describe the whole form. and to inspire the viewer’s imagination.

April 2016 33
 ImagineNation Artist Q&A
Question
What are the basics of character design
Devin Tucker, US
I usually stick with
Answer a maximum of four
base colours that
Jia-Ying replies work well
together, while
There are several ways to by borrowing elements from existing keeping the design
approach character design; design or being inspired by them. If your clean and simple.
there’s no fixed process that you inspiration stems from one main source,
must adhere to. And rather than don’t just limit yourself to that: look up
dwelling on the effectiveness of the subjects that are unrelated yet can help to
finished art, I recommend simply enjoying enhance the concept. For this example,
where that process takes you. I base the golden swirls loosely on antique
I often begin creating a character from china tea set patterns.
scratch by branching out ideas from a For cohesiveness, I repeat colours,
specific source of inspiration. Start small patterns and overall concept throughout.
scale with thumbnail sketches and rough I use a single colour more than once, while
poses to convey the general form. Not maintaining a relatively strong contrast,
having to worry about details will also give makes certain elements pop. Bear in mind
you more options. In the example, I chose that details shouldn’t be littered throughout
to create a more or less neutral character (a the entire form, but concentrated on
supporting role, like a particularly flashy specific areas to avoid confusing the eye.
shopkeeper in a mystical underground To round them out as an individual,
district) drawn from Asian folklore. factors such as your character’s posture,
Next, do some research. This will help fashion choices and even favourite objects
interpret the form in a way that’s believable, should reflect their personality or lifestyle.

Artist’s secret
Shape it up h keeping
photoshop’s pen tool can help wit a
lines poli shed, whi le usin g
pattern
te a roug her,
basic Soft brush will crea you
ct. Go with whi che ver
painterly effe
prefer for the look you wan t.

Question
Help me concept a futuristic diving suit
Brenden Grove, Republic of Ireland

Answer
Tony replies
My first goal whenever bit like it’s made of, well, eggshell? Or is it
designing something is to hunt more a grim, gritty dystopia where modern
down a mood. I’ll write out technology feels more like a strange
some choice adjectives that Frankenstein of older parts scavenged and
succinctly describe the feel I’m going for, assembled by survivalists? Your diving
then narrow it down to a short list of just gear’s design will tell that story, whether
the most important ones. In this case, we you want it to or not.
know it needs to read as underwater gear, Beyond just reinforcing the narrative,
and that it should have an advanced, you also want the outfit to look appealing
otherworldly feel. and original. If it fits the adjectives, then
Since this is sci-fi, a lot of the decisions the thumbnail stays. If it doesn’t, I’ll
To give the diving gear that shiny look, you need to make are going to depend on attempt to modify the silhouette in a way
remember that those highlights are
simply reflections. The more glossy a what sort of path this world has gone down. that makes the descriptors work. If the
surface is, the brighter and more Is it a clean, shiny apple of a future, where modifications aren’t helping, I just move on
sharp-edged the highlight will be.
everything is eggshell coloured and looks a to a new design. Wash, rinse, repeat.

34 April 2016
 Your questions answered...
Question
How do I paint the muzzle flash of a firing gun?
Laurie Bomford, England

The core of the muzzle flash

Answer will feature the brightest
colours, verging on white.
Tony replies Use a rough brush to lay
these colours down.
A muzzle flash is basically a
small explosion. The core
will be the brightest, with
darker values and colour
being added as you move further out.
I prefer a rough brush when painting the
edges, because you’re not going to find
many clean lines anywhere in the blast.
Once the main shape is in, stick a
clipping mask over it and start adding
the high-saturation warm colours to all
around the edges.
Look up different muzzle flashes and
pay attention to the shapes they make.
These can vary, but this is a good time to
use your illustrator brain to decide
which kind of flash creates the mood
you’re looking for. It’s up to you how
much you want to exaggerate. Muzzle
flashes in films tend to be over the top,
because the blanks they use are
specifically made to create large,
dramatic bursts (especially when it’s
added in later with CG). But still, this is
an illustration, and you may want to
consider exaggerating the blast to push
the art. The bigger the gun, though, the
Artist’s secretto colour
bigger the flash, so with things like
From core
mounted weapons you should be
the core is generally less
painting it pretty huge.
saturated, but having that
Once you’re happy with the main
transition from white to
colorful makes the image feel
more intense. use a color layer
shape, flatten it, copy it, then use Since any burst of flames in
Filter>Gaussian Blur to create a light
to experiment with dif ferent
your painting is going to act
as a light source, be sure its
halo effect. Adjust the Opacity of the
layer to keep things as subtle as you like.
colours can be seen on
surrounding objects.
hues and see what works.

Step-by-step: Ensure your design match your keywords

1  
Begin with silhouettes, drawn small 
and quickly. The idea here is to not 
get bogged down with detail too early on. 
2  
Once you have some ideas, it’s time to 
pick out the ones that appeal to you 
the most and start fleshing them out.  
3  
Now figure out a colour scheme. It 
helps to work in layers for this part, 
because then you can just adjust the hue 
Just knock out as many as you can, as fast  I generally switch to a middle value and  and saturation easily. Use colours for their 
as you can. Then start curating the things  paint on top of the thumbnail silhouettes,  value. Ultramarine is inherently dark, so 
you’ve come up with to see if they fit the  trying out different smaller shapes inside  don’t put it next to a lot of yellow or your 
list of adjectives you wrote down earlier. the large ones. Eventually I add lines. new address will be in Contrast City.

April 2016 35
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36 April 2016
 Need our help?
If you have a question for
our experts, email us at
help@[Link]
Question
How can I give my comic characters
convincing body language?
Hamilton Maddock, US

Answer
Tom replies
Good reference material is a
must when you want to convey
a specific emotion in your
characters, but I often find it
difficult to source pictures of people
emoting convincingly. Stock photography
is often very obviously staged and using
myself as a model relies too heavily on my
own, pitiful acting ability.
A few canny changes in my image search
criteria can make all the difference. For
example, footballers are almost always
either wildly elated or incredibly angry.
This affords a tremendous opportunity to
the student of human behaviour, as
photographs from football and other
sporting events often provide a unique
glimpse of raw, unfiltered emotion. For
subtler expressions, I turn to screen actors. I
try to think of a memorable performance
that conveyed the emotion I’m trying to
relate and seek out screenshots from that
film, or pause the DVD, if I have it.
I try to track down at least two pictures
of different people for each expression.
I then look for the commonalities, to divine
what is universal about how a certain
emotion affects the face and body. Once
I isolate those visual cues, I apply them
to my character.

Your characters have a potentially limitless range as

actors, but utilising it can require a bit of homework.
I used seven photographs for reference here.

Step-by-step: Conveying specific emotions

1  
A tense character will be a little 
hunched and have uneven shoulders, 
because the body is gearing up to have to 
2  
Laughter is often involuntary. While a 
person in the throes of hilarity may 
make themselves more prone by leaning 
3  
When your character is exhibiting an 
aggressive emotion, such as rage, the 
head and hands will typically be projected 
either protect itself or run. The jaw will  back and dropping their shoulders, the  forward. Tendons and muscles will be 
usually be clenched and the eyes wide.   body will sense its vulnerability and often  tensed and the lips curled inward to bare 
I emphasise this by  try to shield the face  the teeth: these are 
making the iris/pupil  and vital organs with  primal intimidation 
a little smaller. There  the hands. Nostrils  tactics. Be careful 
might also be a hint  will flare; the fat of  not to exaggerate 
of disgust in their  the face will converge  the mouth too much 
expression, to  around the eyes; and  though, as doing  
suggest their sense  the teeth and gums  so can dehumanise 
of nauseous anxiety. will be on show. the character.

next month: paInT a ShamblIng SlIme horror | dynamic figure poses | creaTe
phoToShop brUSheS | depict magic wand effects | Show a mUTanT hUman | and more!

April 2016 37
Location: Los Angeles, US
project: League of Legends
other projects: Blitzcrank’s
Poro Roundup (mini game)
Web: [Link]

studio profile

riot
games
imagineFX heads to California to see
the huge new home of Riot Games,
the team behind League of Legends

tanding guard near reception are ImagineFX is in west Los Angeles, at the Brandon Beck and Marc Merrill, founded

s life-sized statues of Annie and

Tibbers, the Dark Child and
the Shadow Bear. On the walls
offices of the team behind LoL. Except Riot
Games doesn’t call this place an office or a
studio, or even its headquarters. This is a
the company in 2006, and it’s since grown
into not only one of the most bankable
game developers around, but also one of
around them, a rogues’ gallery of official campus. The name fits: not just because it’s Fortune’s 100 best companies to work for
and player-created art, characters with sprawling, but because an important part of – debuting at number 13 in 2015.
names like Amumu the Sad Mummy, the work that goes on here has to do with
Warwick the Blood Hunter and Gangplank learning, with striving. the grand tour
the Saltwater Scourge. These champions In case you’ve been in a cave for a bit, Strolling around the campus, it’s easy to see
and the 67-odd million monthly gamers League of Legends is a multiplayer online why. Walkways lead through the site’s
who play them, helped League of Legends battle arena game. A really big one. sprawling quad, among drought-friendly
(LoL) become one of the biggest, and best Released in October 2009, it remains Riot plants, past a giant chess set, with fairy
loved, video games of all time. Games’ only title. A couple of gamers, lights leading the way overhead. There’s a

38 April 2016
 studio profile

riot games
There’s a riot going
on in this epic ‘splash’
by artist Suke Su.
jason
chan
When LoL needed a new
look, Riot turned to the
former Massive Black artist
What do you like about at Riot?
Riot has done a very good job of
providing a comfortable, uplifting
environment, where people want to
be. Everyone is professional,
everyone is trusted to do their work.
The crazy thing about Riot is that we
allow the entire company to see
most things. It doesn’t matter if you
are in the art team or not, you have a
voice. If you’re getting a large
percentage of the company that’s
not involved in the asset, but feeling
strongly about it in a negative way,
then you know exponentially that
same feeling will exist elsewhere
outside of the company.

What does Riot do differently?

It places quality above speed and
budget. There’s always an
opportunity to talk about pushing
something back and spending more
time on it, turning it into something
special. This was foreign to me when
I started here. I was very obsessed
with staying on schedule and I would
get very nervous when a deadline
was approaching and we hadn’t
settled on a solution. I had to get
used to the idea that it’s not about
getting it out as fast as possible. It’s
about making sure something is
going to be valuable as art.

Why does the company look for

in an employee?
You’re spending more time with your
team than your family, probably. So
you want to surround yourself with
people you want to be around. The
company actively does that. Sure,
you’re good at your job, but are you
someone everyone wants to be
around? It sounds like a high school
popularity contest, but it’s just like
a way of keeping everyone happy.
If you’re around people who are
inspiring, there’s no limit.

How do you make an impression in

such a big organisation?
By being a conduit for everyone’s
Walkways go past a giant ideas and being able to take those
ideas and represent them in a cool

chess set. Fairy lights lead way. You have to be very open to
critique and to know that sometimes

the way overhead your idea isn’t the same as other

people’s. That sometimes means
cutting your idea out and running
with theirs, even when you’re very
passionate about your own. That can
basketball court between the canteen and that’s great. It’s original, it’s super, super be a tough switch and I’ve seen
cafe. Inside one of its wings, an old-school broad, but it’s really inconsistent when it people struggle with it. That’s a big
thing at Riot. You’re not doing
arcade room and a modern PC bang. There comes to quality and consistency across the artwork for yourself anymore.
is, in fact, almost 300,000 square feet of board and that’s one of the things I think Sometimes it’s nice to own a piece
space, housing well over 1,000 employees. we need to fix’.” He braced himself for a of artwork, but sometimes it’s just
nice to know you’ve contributed to
When Riot moved here a year ago, The LA backlash. But the team, to his surprise, something bigger. It’s not your show.
Times reported it as the “biggest new office agreed with him.
lease in southern California in five years.” In the four years since, Adam has grown
Before joining Riot Games,
On Adam Murguia’s first the art department from 20 staff to more Jason studied at San Francisco’s
day, the studio art director than 200, a kind of dream team of digital Academy of Art, freelanced for
called his new team into a artists. The campus on which they work is a Magic: The Gathering and
worked at Massive Black.
meeting: “I said, ‘Look, there’s flexible space, one designed to adapt to Riot
[Link]
a lot about the game’s look Games’ collaborative approach.

April 2016 39
studio profile
poppy gets
With its organic culture
of creativity, Riot is a
unique games studio.

a revamp
Based on a Jason Chan comic original (see page
43), Josh Smith works up a striking illustration
What started as a promotional comic from
the stylus of Jason Chan, for the new look of a
champion, ended in this beautiful and dynamic
‘splash’ illustration of Poppy, Keeper of the
Hammer. Josh takes us on a step-by-step guide to
how he created this lasting image.

Clean and confident

I originally drew this for the cover of Poppy’s digital comic,
1 but everyone was so smitten by it that we decided to make it
her splash as well. In this step I have my composition and story
locked in. I’ve found that a clean and confident drawing at this stage will
make the rest of the process easier and more reliable.

The Bilgewater Brew

enables Rioters to get
caffeinated for the day.

“Our focus turned to the product, to who has unique abilities and battle against
holistic product quality,” Adam says. “So all a team of players or computer-controlled
of these desks, they’re all on wheels, they’re champions. The Riot team, or Rioters, can
all plugged into the hubs, and literally the take around eight months to create and
configuration is different week to week. complete a champion. As many as 100 from
Teams self-organise. One of the things we various disciplines are involved in that
hire for is adaptability.” process. Adam says there are over 120 Rough colour and lighting
Everything on campus is carefully playable champions and each can have With the help of masks for the major pieces, I do a rough colour
thought-out: champion-themed conference multiple skins. Skins range from simple 2 and lighting pass. My focus is on finding a mood that suits the
story and champion. I’m looking for colours and setting up
rooms sit in the centre of workspace areas, costumes to full thematic overhauls. They a lighting situation that makes me feel something, while also

We just say, ‘We need an awesome

complementing Poppy’s unique elements. This is the vision.

champion. Go do what you need to do creating. We’re critics, man, we really are.
to make an awesome champion’ And when something’s resonating
internally, it’s a good sign. We’re very
so teams aren’t interrupted by Rioters don’t boost the character’s stats, just collaborative, we’re very competitive, we’re
rushing in and out of meetings. The changes their appearance. Paid-for achievement driven, we’re a team. We’re not
Korean-style PC bang – the kind of large cosmetics are where free-to-play League of a family, you know. The distinction being
gaming room where many fans play League Legends generates much of its money. that you can’t fire your grandma. We’re very
of Legends – is where work and play plain spoken. Somebody’s not carrying
overlap. Nearby machines vend endless anyone for esports? their weight? They’ll know about it.”
snacks. There are bars and cafes, and almost ‘League’ also has a huge competitive Recent ImagineFX cover artist (see issue
100 breakout rooms. element to it. Regional competitions 131) Alvin Lee was recruited by Riot’s
“We’re not the company to say, ‘Hey, culminate in the annual World The art department Splash Team just over a year
transformed, and grew,
concept artists, do 10 concepts by Tuesday,“’ Championship, which in 2015 offered four years ago when ago: “Splash is basically just a
Adam says. “We just say, ‘We need an over $2m in prize money and attracted Adam came on board. name for an illustration team,
awesome champion. Go do what you need almost 40m online viewers. which went from working
to do to make an awesome champion.‘” “Our audience is hardcore gamers,” almost as a standalone team
In League of Legends, you play an Adam says. “We hire hardcore gamers, so to following the rest of the company into
unseen summoner. You control a champion we’re also very critical of the products we’re being more integrated. If I jump into

40 April 2016
 studio profile

riot games

An ambient occlusion pass Block in cleaner light and colour

Next is an ambient occlusion pass. A term generally reserved for 3D renders, With my occlusion pass on a multiply layer above everything, I create masks to
3 it refers to nooks and crannies light can’t reach. By putting dark shadows with
steep drop-off in areas two objects meet or overlap, I get an illusion of volume.
4 separate major materials. I then block in a cleaner version of the light and colour
from step 2. I mask out and treat the background and soldiers in a similar way.

Refining details
I start to see the fruits of my
5 labours. Masks keep me sane while
I render materials, zooming out
often. Once it looks clear and believable,
I suck it up and keep painting. Our splash
style is to feel like a photograph from a
fantasy world, so I refine details further.
Lastly, post-processing: light bloom, depth
of field and colour adjustments.

working with another person, hopefully

both of us will level up.”
Around the campus, you hear terms like
‘level up’ and ‘force multiplication’ used
a lot. Evan Monterro, an illustrator on the
Champ Team, is one of Riot’s
newest employees. He
explains what these terms
mean: “I was sort of a
generalist. I had a good
amount of knowledge about a wide range of
things. They want someone here that is a 10
in the thing we’re hiring for, and a three in
everything else. Not fives across the board.”
Some concept art from
Once they have the job, Rioters bump the Summoner’s Rift
those threes up to 10s by collaborating, map. It’s the most
viewed game maps in
which is how they level up and force LoL and that’s saying
multiply. There are also on-site sketch something!

April 2016 41
studio profile
sion’s LeveL up
This ‘splash’ of Miss Fortune by
Jason accompanied a story event,
aimed to enrich the existing
character for Rioters and fans.

Tasked with producing 3D models for one of the original LoL

characters Sion, Josh Singh helped update the champ for today

Baby (monster) steps

The art quality in League of Legends
1 had far surpassed Sion’s humble
beginnings. He was a prime candidate
for our Champion Update Team. We identified
what makes Sion appealing and what wasn’t
hitting the mark. We identified the fantasy we
were trying to deliver on. In Sion’s case it was
an Ancient Unstoppable warrior, who’d been
brought back to battle through fell magic.

Background’s
everything
After we found an
2 idea and a few
images we liked, we
began to refine and add
story to the design. We
began to ask questions like,
“What did Sion look like
before he died?” We also
asked things like, “Should
Sion have any relationship
or connections to
champions who are
currently in League?”
We also began callouts of
his weapon and character
headshots, figuring out how
undead we wanted to go.

Seeing in 3D
After we found a
3 design we liked,
I modelled Sion in
ZBrush. We used the sculpt
as a reference for the splash
team as well as a source for
the ambient occlusion map groups, life-drawing classes and craft
to speed up the texturing classes taught by Riot artists.
process. One of the key jobs
So how do you get a job at Riot Games?
of the splash is how we want
people to feel when playing “Skill gets you in the door,” says principal
this character? In Sion’s case artist Moby Francke, “but
I think the splash team nailed more important is you’re a
it. In the splash he’s
destroying his enemies, and cultural fit.” Moby’s remit is
seeing them driven before broad. “I work with
him. Perfect Sion! everybody. I’m making
characters sometimes, I’m doing paint-
overs of somebody else’s work, marketing,
art direction for an event. Most things take
six or seven months. This is a dream job for
a lot of people. They let you take chances.
They let you fail catastrophically, as long as
you learn something from it. You’re not just
pigeon-holed. You’re not a widget. We’re
extremely anti-widget at this company.”

never clock in again

“They don’t hire guys who come in for a pay
check,” concept artist Chris Campbell says,
“they look for the people who
are passionate. My team’s
goal is to make a new
character that’s going to
change the game. It’s gonna
fundamentally blow everyone’s minds and
be the kind of experience that gets people
excited to play. If it doesn’t reach a level
of excitement with us, we just don’t put
the character out.”

42 April 2016
 studio profile

riot games
aLeX
FLores
The chance to work at Riot
was a dream come true for
the senior concept artist
With such a demanding job, how
do you find time for you own art?
I find it hard to work on personal
stuff these days because it’s also
the stuff that’s done here at Riot.
It’s super fun and there’s just a wide
variety. I can be painting a robot one
day, then a knight, then some kind
of creature. It’s nuts. I remember in
a previous job it was like a year and
a half of medieval stuff. But with the
amount of skins and champions in
the League universe, it’s so colourful.
Also, you might see a cosplayer
dress up and you’re like, “Holy shit,
they got that little detail that I put
in!” That’s a good feeling and I guess
it wouldn’t happen with personal art.

What do you think separates Riot

from other companies?
Previous companies I’ve worked at
definitely want speed. They want
quality as well, you know, but the
timeline is very important. Pushing
back on something because you
don’t feel like it’s the best it can be
is harder in other companies than
Working at Riot Games is like here. Here, people understand.

working on an aeroplane that’s And what about Riot employees?

Everyone in Riot is passionate about

being built in mid-air the game. In other jobs I’ve seen

people working on art and they
don’t even play the game. ‘Hey what
you working on?’ ‘I don’t know, this
thing.’ Oh, man! Here, people are
Chris’s job on the Champ Promo Team, super passionate. They understand
he says, is to develop the nuances of a champions or other parts of the
game and really make something.
champion: who they are and what
motivates them. “It’s never some solo We’ve heard about collaboration
project. It’s open, a communal gathering and adaptability. How important
are those things at Riot?
of thoughts and ideas.” Very important. I once said to Eric
Senior concept artist Canete, ‘That looks so sick. How do
Trevor Claxton says working you even think of that pose?” He’s
like, ‘Well, you know, it’s kinda
at Riot is like working on an broken – the anatomy.’ Wait, what?
aeroplane that’s being built I thought things couldn’t be broken.
in mid-air. And that’s not to He broke the anatomy just enough
everyone’s taste. “I’ve seen people come to push the gesture even further, and
that’s why the axe swing looks so
on-site and work like that for a while and much stronger, like it’s really going to
just not be happy. They need peace and kill someone. So I try to tweak things
space to create the best work they can A detail from Jason detail. The Riot Games campus is exactly and see if there are areas where I can
Chan’s Poppy comic, break just enough to enhance the
possibly create.” It seems working the Riot a release to give the same. A lot of care is taken to create gesture, but so it’s not viewable to
way may not be right for everyone, and backstory to the what appears to be a care-free working the human eye.
revamped champ.
could even upset its specific culture. environment. And the results
How does an artist get a job at
League of Legends is a game of great speak for themselves. “We are a studio like Riot Games?
scope, built on meticulous attention to always trying to push, push, It’s beneficial to be well-rounded and
push,” says skins illustrator try different styles. If you think, ‘Oh
my god, I have to do that, I want to
Chengwei Pan. be in that company,’ then research
“In other companies you might get a and see the kind of stuff they’re into.
week or two to produce an illustration,” he It pays off to put more work into that
kind of style. That will help you get a
continues. “When other artists hear that
foot in the door.
they’re like, ‘What? It takes you four weeks
to do one illustration?’ But we’re not
Alex Flores studied in the
wasting time. We have more iterations, Philippines before moving to the
PC bangs are a
common sight in Asia,
more narrative talk and a lot more feedback US to work at EA as a concept
and so Riot built its own than other illustrators get. That’s why the artist for the Sims, before
in-house to keep taking a job at Riot Games.
Rioters connected with
quality of the illustrations keeps growing.
[Link]
their gamer audience. Riot has a fantastic culture.”

April 2016 43
 profile
iris Compiet

i et
loCation: The Netherlands

Iris Com p
The Dutch artist studied at
the University of Art in
Breda, before carving out
a successful freelance
career. She’s produced
art for books, concepts for films and
been commissioned for gallery
shows. Iris cites European folklore,

th her
mythology, fairytales and ghost

x h um o ur w i stories as just some of her inspirations

d to mi s artist ’s sketches
behind her award-winning work.

to learn , an [Link]

A desire t, fuels many of thi

darker ar
Light
and shade
“I love horror: give me Edgar Allan Poe
to illustrate any time! But I need to throw
in some humour, too. By doing other
styles I learn much more: in my comic
stuff it’s more about gesture –
something I can use to loosen
up my darker work.”

some
warm-up fun
“Sketching characters like these
is just about spontaneity and fun.
They start out simple, yet by the
end of the line I’ve got a
complete story in mind.”

harpies
“I love the structure of wings
and birds, but I find it a challenge
to depict them accurately, so I try to
understand the anatomy and just
sketch away, often with added birds
claws! Harpies are such
interesting creatures.”

44 April 2016
 Sketchbook Iris Compiet

YuLe Lord
“I’m fascinated by Krampus and
the lore around that creature. What
better way to spend Christmas than to
sketch my own version? I researched horns
and creatures, mixed and matched
elements, and a creature was born. But
instead of a horrifying version I made
him more of an impressive beast
that’s not all bad.”

traveL sketch
“While travelling by train I sketch quick
characters, like this chap. By exaggerating facial
features to the extreme I gain a better
understanding of how to draw correct
facial anatomy.”

“My comic stuff is more

about gesture, which is
something I can use to
loosen up my darker work”

April 2016 45
 JennY greentooth
“This is one of the many sketches I’ve done to thank
people for contributing to my Gofundme campaign to start
oil painting. Sketching with watercolour gives me so much
texture to play with. The happy accidents provide new
insights and avenues to explore for the story that
accompanies my finished pieces.”

penciL
wanderings
“My sketchbooks have no rules –
I often let my pencil wander around
the page. Sometimes a photograph
captures my imagination. Here,
trophY wife
“Often, imagination takes hold
I found a vintage photo I loved and anything can happen. This
and that profile had to was certainly the case for my
be drawn.” Trophy Wife sketch.”

46 April 2016
 Sketchbook Iris Compiet
witch worLd
“I’ve got this imaginary world of weird
witches. I draw them when I need a giggle.
They’re great practice for gesture and
movement: they don’t have to be perfect,
so there’s no fear of failure.”

eYes
“Eyes are the focal
point for me. They tell the
story. Here I’m trying to find
a balance between human
and eagle to create my
version of a harpy.”

“My sketchbooks have no

rules. I often let my pencil
wander around the page”

constant
Learning
“I never really know what’s going to happen.
Things start with a line, another line and from
those two lines a character is shaped. Adding
quick watercolours in a limited palette
gives it life and stops me from
overworking things.”

Want to share your sketches? Email us with a selection of your artwork, to sketchbook@[Link]
NEXT MONTH’S SKETCHBOOK: raNdy BiSHOp

April 2016 47
 Right
on tRackGnomon’s first batch of Games Track students are
nearing graduation – so how has this innovative art
course fared so far? Ed Ricketts finds out

ounded in 1997 by its school was born, offering training for In fact, last year Gnomon introduced
president Alex Alvarez, digital production aimed at Hollywood’s a new two- and three-year Games Track to
Gnomon: School of Visual entertainment industry. its Digital Production for Entertainment
Effects, Games and Animation was These days Gnomon is a fully accredited course, specifically aimed at those who
born into a very different industry teaching institution, and while its goals want to work in the games industry – be
environment than the present. Its remain the same, the spread of subjects that on console, PC or mobile platforms. As
inception was due largely to Alex’s and industries it caters to has broadened well as traditional tools such as Maya and
experience as a support tech at considerably. In those early days, for Photoshop, the course covers the Unreal 4
Alias|Wavefront, which produced the instance, none of its courses covered game engine, Unity and Marmoset among other
software which would become Maya, development, as there simply wasn’t a tools, so graduates get a well-rounded
before being bought out by Autodesk. EnvironmEnt demand among potential employers. But education in workflows and processes.
He realised artists desperately needed Michael Sheffels nowadays there’s a roughly 50/50 split Next term will see the first crop of
graduated from Gnomon
to learn it, yet there wasn’t any formal in 2013 and is now a
between those studying for television and graduates emerging from the Games
resource where they could do. Thus the concept artist at ILM. film, and video gaming. Track, and the results are looking very

48 April 2016
 Gnomon’s GAmEs TRACK
Holding PattErn
Student work by concept artist and
illustrator Alec Beals, Best of Term
Winter 2015 for Environment.

Previously no
courses covered
games, but now 50
per cent of students
study gaming

Hands on
Gnomon currently has seven
fully stocked study labs, with
another two on the way.

April 2016 49
 positive. Shannon Wiggins is the
director of placement and alumni relations
EnvironmEnt
intErior, 3d
A large part of Gnomon’s success
at the school, and therefore
well-placed to gauge industry
Produced by student
Rhonda Chan, winner of is due to its canny location: slap bang
demand: “Blizzard, Riot,
this category in Best of
Spring Term 2015. in the middle of Hollywood
Naughty Dog, Respawn, Sony
Santa Monica, The Workshop, “The students pursuing the Games Stephens, or props and weapons for games
Blind Squirrel, Fireforge Games, Disney Track have been very happy with their – taught by Nick Reynolds from Riot
Interactive, Infinity Ward, Treyarch, and coursework and the Games – are consistently full classes wait-
Ready at Dawn, to name a few, are waiting programme,” says listed by full-time students who get priority
to hire from the grad course,” she says. Anton Napierala, technology for seats in Gnomon courses,” Anton adds.
education lead at Gnomon. A large part of Gnomon’s overall success
virtual jobs “Although the programme is due to one very canny decision by Alex:
Virtual reality is, naturally, one area that’s is relatively new, as the Games Track- its location. Set slap bang in the middle of
seeing a rise in popularity, thanks largely specific classes have been rolling out, even Hollywood, within the Television Center
to the imminent launch of PlayStation VR students outside the track have been eager Studio lot, Gnomon has almost
EnvironmEnt
and the PC-focused Oculus Rift. And of for gamEs to get in on the game art training, by unprecedented access to major film and
course general gaming demand, on all Servando Lupini is now picking up the classes as electives. effects studios, and an increasing number
an associate 3D artist at
platforms and all project sizes, continues Blizzard and produced
“Classes such as environment creation of game developers. These are not small
to grow with each year. this at Gnomon in 2014. for games, taught by industry veteran Nate outfits, either: the LA area is host to

ConCEPt
for gamEs
Maria Carriedo’s
design won Best
of Term for the
2015 spring term.

50 April 2016
 Gnomon’s GAmEs TRACK
GAmE ART
sTudEnTs
Jenna Ruth is in term 11 out of 12
in the Games Track, with half a
year to graduation. We chatted
about her experience so far
Can you briefly tell us a bit
about your background?
I’m an LA native who studied
fine arts in New York. I
became interested in 3D
art after school. I’ve been
playing video games since 1994, so it was
an awesome discovery to find out that
making them was something I could do.

What first attracted you to taking the

altogEtHEr now Games Track option at Gnomon?
The possibility of being able to tell
Teamwork and peer review
is a vital part of the study stories and create worlds. That sense
process at Gnomon. of communication and exploration was
something that I loved about art, and felt
very strongly about in some of my favourite
games. I just begun my demo reel, so
bot hopefully I’ll be able to start posting lots
From 2013 by Chris Gillett,
who’s now working as
of cool stuff on ArtStation soon.
a character artist at
Sony Santa Monica. What’s it been like?
So far, it has been an incredibly challenging
but also highly rewarding experience. There
is so much to learn. It’s exciting but also
overwhelming sometimes. A big challenge
is just adjusting to how different the
workflow is from film. Normal-map baking
is quite different from anything else, and
the pace of the pipeline is quite different.
There are several aspects that I was
surprised to find fun. It’s immensely
satisfying to throw a level blockout in-
engine and get to run around in it
immediately. Also, texturing has become
incredibly fun. The combination of
physically based shading and projection
painting programs give you a solid start
and really help to make the process fluid.

What’s next for you?

I honestly can’t wait to get out there and
make games. I would love to contribute
to a passionate team of people making a
game that they care about. The programme
is fairly intensive, so there isn’t much time
for many outside activities. It’s incredibly
rewarding though, so for those just starting,
don’t get discouraged! So, I’m excited to
get to work on personal projects with the
extra time I’ll have after graduating.

in tHE wild
Because sometimes only a
life-drawing trip will do…

April 2016 51
FuTuRE GAmEs
As with everything at Gnomon,
orC faCE
Modelled, textured and
rendered by Sameth
Sim, who graduated
from Gnomon in 2014.
the Games Track is something
of a work in progress…
So far the results for Games Track
are looking very promising. But there’s
always room for improvement, and
progress has been a keystone at Gnomon.
So what’s next?
Well, the introduction of two new
computing labs – to join the existing seven
stocked with workstation PCs – ought to
give students more hands-on time with
software when they roll out in the spring.
Based on feedback from the students,
changes will also be made to Games Track
where deemed necessary.
“Aside from constantly working to
improve the quality of classes here at
Gnomon, we’re always looking for ways
to improve our students’
educational experience,” adds
Anton Napierala. “Recently
our different tracks have
started to form student-run
clubs. Easily the most active
group on campus, the Gnomon Games
Club enables us to organise events such
as exclusive Q&A sessions with industry
professionals, presentations by interesting
and important developers, and also has
opened the door to students forming
voluntary internal group projects such
as game jams.
“My goal going forward is to build on and
improve these extra experiences that will
help to enrich our students and better
prepare them for their careers,” he adds.

CHaraCtEr dEsign
By Steven Womack, winner
of this category in Best of
Term Summer 2015.

52 April 2016
 Gnomon’s GAmEs TRACK

r&r
Gnomon has plenty
of cool stuff to keep
students entertained
(and inspired) during
any down times.

anatomy of
a skEtCH
Getting a grasp on basic
anatomy is essential for
every student at Gnomon.

sCi-fi girl
This was created by
concept and 3D artist
Ian Whittaker.

major players such as Sony Santa

Monica, Naughty Dog (of Uncharted and
We’re not at the stage where ‘I went
Last of Us fame), Blizzard and plenty more.
With such weighty employers to hand
to Gnomon’ has the same clout as ‘I
– both in terms of corporate size and went to Harvard’, but it’s not far off…
cultural heft – the Gnomon games track
can benefit hugely. “Proximity is Games Track emphasises this, with hands- things could be related to VR – anything
everything,” explains on experience of working as part of an that has to do with this process may soon
Jonathan Berube, VFX art iterative team. Which specific areas does be in high demand. It seems like the Unreal
director at Blizzard Jonathan feel are likely to be in most Engine is well-suited for VR development,
Entertainment and part of the demand in the near future, when it comes so to be familiar with the Unreal engine
Gnomon Advisory Board. to game art development? could soon lead to serious employment
“This has enabled Gnomon to host panels “Well, animation has been assisted opportunities.”
with industry professionals who come and greatly with the use of motion capture over The games industry is now the most
teach after work. A lot of busy professionals the course of the decade, but animation lucrative entertainment medium in the
live in the area so they can save on skills are still in great need as there are world. In short, the art of making fun is big
commuting to work, which means it’s easy many things that are simply impossible to business, so potential employees really do
for them to come to Gnomon to teach.” mo-cap,” he says. “Lighting has also need both the skills and attitude, which the
become more and more accessible and Games Track aims to foster. We may not
tHErE’s no ‘i’ in tEam automated over the years with the use of quite be at the stage where ‘I went to
Game development necessitates artists high dynamic range illumination maps and Gnomon’ carries the same clout as ‘I went
being more closely tied to the overall real-time ray-trace renderers. to Harvard’, but it’s not too far away…
workflow process, as opposed, say, to a “The bigger the worlds, the more asset To learn more about the Games Track
concept artist creating ideas for a film. creators are needed. Potentially, the next big visit [Link]/programs.

April 2016 53
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April 2016 55
DiabLo iii:
storm of Light
Laurel D Austin’s cover
art for the Diablo III:
Storm of Light book.
Her work also graces the
screens of millions of
gamers – the Diablo series
has sold more than 24.8
million copies worldwide.

LaureL
D austin
© Blizzard Entertainment

Tom Dennis catches up with the

concept artist and illustrator who’s
putting the buzz into Blizzard
56 April 2016
 LaureL D austin
LorDs of War:
grommarsh
One of Laurel’s concept
animation pieces of
Grommarsh Hellscream,
the legendary World of
Warcraft character.
© Blizzard Entertainment

erhaps, like some of

the readers out there,
I think! I was lucky that my parents were
very encouraging. I loved drawing and they Game art is a lot less

P
I was the weird arty
kid in my class,”
always made sure I had reams of paper and
buckets of crayons, pencils and markers
restrictive than other areas.
says Laurel D Austin,
senior illustrator
at my disposal. I was interested in a few
subjects from an early age – animals of
There’s more room to play
at Blizzard all sorts, especially dinosaurs, mythical around and do fun things
Entertainment, recalling when thinking creatures and worlds they lived in. My
about how she grew from small-town parents told me they knew I’d either be an
Canadian bedroom artist to becoming one artist or a scientist.”
of the leading concept illustrators in the Science’s loss is the concept art world’s
video games industry. gain, though, and after studying a
Weird or otherwise, her dynamic, multidisciplinary art course at NSCAD
energetic style has served her well, finding University in Nova Scotia, Canada, Lauren
her commissions working on big-name embarked upon a career in the games
trading card series and numerous industry with the London-based Splash
blockbuster games titles. It seems being Damage (creators of Wolfenstein: Enemy
weird can get you very far in the world Territory, Enemy Territory: Quake Wars,
of concept art and illustration. Dirty Bomb and more).
“I was definitely an arty kid,” says Lauren was eventually let loose on the
Lauren, “to the exclusion of a lot else, studio’s first original title, BRINK. Under
the stewardship of art director Olivier
Leonardi she flourished: “It was a small
team, but full of great talent. I learned a lot
from artists like Georgi Simeonov and Tim
Appleby. I was incredibly lucky to have
my first few years in the industry at such
a unique studio.”

more than a game

Video game art seems like a calling to
Laurel, and her passion for the broad
imagination and creativity required to
create whole worlds of believable characters
and environments is evident when she
talks. This isn’t an artist who’s simply
© Blizzard Entertainment

treading water. Gaming development and

art is her lifeblood, it seems.
“Since video games are such a young
medium, the art surrounding them seems
a lot less restrictive than other areas of
green parrot Dragon entertainment,” Laurel explains. “There’s
An example of Laurel’s skilful
blending of animal attributes and just more room to play around and do starCraft ii: LegaCy of the VoiD
anatomies for which she’s famous. Laurel’s eye-catching poster art for the StarCraft expansion pack Legacy of the Void
things that are fun. that was released at the end of 2015. She also directed the artwork for the game.

April 2016 57
learnIng From The BeST
“Seeing what pro artists were posting
online, what careers were possible LorDs of War:
and what working to a professional
standard meant, gave me a clear
Durotan
“The most enjoyable
target to hit and showed me episode for me to work
the resources I needed.” on...” she says. “I love me
some wolves.” Adding:
“I can’t help but feel more
connected to Durotan as
a character after drawing
him so much. Funny how
that happens, really.”
© Blizzard Entertainment

sigVarD the
ViCtorious
A character concept
Laurel created for
the online Game
Artist Academy.
© Blizzard Entertainment

hearthstone
The Hearthstone, Heroes of Warcraft
expansion, is one of Laurel’s favourite
games, and features many of her
character creations.

“The way I look at it, the art for video tell where to go next because there’s
games does three basic jobs. The art is no environmental cues to guide you
certainly not the only aspect that can tell along. Like the story, this is achieved
the game’s story, but it’s the medium that
does the lion’s share of the job
best when designers and artists are
working very closely together to get VITal STaTISTICS
communicating mood and background the best results.” Laurel talks terror birds and choice of dessert
to the players. In games like Portal and Current location Sketchbook
BioShock, you actually get tableaus in the the artist’s job Southern
California
or canvas
Sketchbook
environments that describe events in the “Finally, art sells the game. The first Favourite artists Favourite food
game – words scrawled on walls, and moment anybody sees any media about Too many to Candy. But as for
bloody trails leading to locked doors, a game, the thing we’re most likely to count! Some real food… I’m
particularly spoiled by the
for example – fleshing out the story and respond to is the art style. If we like the art
important great vegetarian
hinting that things may not be what they style, we’re more likely to investigate more. influences are: food in southern
seem. The best examples of this are when This is true not only with the public, but James Gurney California.
the writers and artists work together to also internally with the other developers – Dinotopia was a revelation Irrational fear
to me as a kid. Ilya Repin – Reanimated terror birds
make truly engaging stories. Separately, on your team. As artists, it’s our job to there’s just so much Best holiday destination
it never works as well. inspire our teams with how insanely cool feeling in every story. Anywhere with a good
“The second aspect is in enabling the the game we’re making together is going to Sebastian Krüger – nobody natural history museum and
paints a better craggy face. good local food.
gameplay. Art can have a real impact on be. Giving people the warm fuzzes and Favourite music Cake or pie
how fun a game is to play. It’s frustrating getting them to say, ‘Holy crap, that is Do podcasts count What kind of monster would
when icons aren’t large or clear enough, awesome!’ goes a long way.” as music? make someone choose!?
Brush or pencils Web address
or important objects blend into the And with Laurel’s art and the games Pencils [Link]
environment too much, or you just can’t which it drives, there are a heck of a lot

58 April 2016
 LaureL D austin

Smaug
SCulpTure
Laurel sees sculpture as an
excellent complement to 2D art
After stumbling on a Peter Konig tutorial
on an art forum a decade ago, Laurel
decided to try sculpting. “He made this
fantastic gliding monster and gave a
super helpful rundown of all the
materials and steps involved,” says
Laurel. “I tried it out and loved it.”
“It’s a nice break from the computer
without taking a break from art. There’s
something about having an object in
front of you that’s extra cool. Plus you
get a toy for your desk at the end of it.
You can’t lose!”
It’s not a main focus for Laurel.
She produces a couple of pieces a
year at most. “Working in 3D is a nice
complement to 2D,” she says. “It helps
me understand 2D forms a bit better –
composing a sculpture that looks great
from all angles is very challenging.”

Giving people
warm fuzzes and
them saying,
‘Holy crap, that is
awesome!’ goes a the Dragon’s in the DetaiL
Laurel’s sculptures are highly detailed, as the scales

long way on this work of Smaug shows. It was created for

Gallery Nucleus’s 2013 Out of the Shire show.

April 2016 59
 the League of expLorers
This is an advertising piece created
for Hearthstone, Heroes of
Warcraft – another area that
Laurel oversees at Blizzard.

© Blizzard Entertainment
The Buzz aT
BlIzzarD
Laurel on being the driving force
behind Blizzard’s concept art…
Blizzard Entertainment has been rocking the
world of gaming since 1991, producing hits
including The Lost Vikings, and the Diablo
and StarCraft series. So what’s the best thing
about being senior illustrator there?
“The great people I work with,” Lauren
says. “The entire creative development
department are exceptionally skilled artists
and storytellers, and working alongside them
has made me a better artist. I can’t emphasise
enough how important it is to get out of your
own head and spend time with other artists
you respect. Getting their feedback will help
you become a better artist.
“At Blizzard I get to work on all of the IPs,
a ton of interesting challenges and variety.
Most of my work is focused on making
supporting story art for the games and
learning more about visual storytelling has
been one of the biggest perks to being there.”

pLatybeLoDon
Laurel’s knowledge of
animal anatomy is
astounding and extends
to prehistoric beasts.

Dragon Demo
A piece that Laurel created for a talk at
Gnomon, to demonstrate different material
rendering possibilities for creatures.

60 April 2016
 knoW Thy muSCleS
“An interdisciplinary school helped me
improve my figure drawing skills, and
the absolutely stellar anatomy classes
meant I understood the underlying
structures in the human body.
I can still name obscure
muscle groups as a
party trick.”

anteLope riDer
A new concept piece
from Laurel. Even her
rougher painting style
captures the drama and
movement in the scene.

of “holy crap” moments. Take Hearthstone, frightened for them? Frightened by them?
for example, which on the face of it is an And every choice you make, make it in the
online turn-based card game from Blizzard. service of that goal.”
Where it differs from most online card Laurel’s creative process has a strong
games is its depth of characters and classes sense of empathy about it. “I tend to start
of hero. Each character is much more than with black and white, working out the basics
the traditional warlock or warrior, being of the composition. What’s the feeling, what
given fantastical names like Garrosh are the characters doing, what are their faces
Hellscream and Magni Bronzebeard doing, and only then go into colour,” she
complete with detailed backstories and reveals. “If I can get it working at the stage,
oddball character traits. These enable the rest of the process is just expanding
Laurel to draw upon each character’s traits upon the idea and making sure to preserve
and histories, and create players with far what was nice about the sketch, which
more depth of character than traditional doesn’t always happen. Sometimes it may
online games. take more than one attempt to capture in a
Ceretoesaurous I view illustration as communicating a story final piece what you liked about a sketch. It
What’s the point? A visit to the Royal Tyrrell
Museum in Alberta,
of some sort: a big one or a small one, or a can be frustrating when a piece just isn’t
In terms of artistic style and technique, it’s Canada, put Laurel in little piece that hints at something larger, working, but sometimes it takes a fresh start
these fictional personalities that Laurel a “dinosaur-type mood.” or the climactic moment of a great epic,” to nail what you liked about a sketch.”
begins with when working up a new piece. Laurel says. For illustration and concept art Laurel
“When I’m starting an illustration the right And story is key, she believes: “Whatever will usually use Photoshop with a Cintiq.
way – which, being by nature somewhat it is, you have to decide what your story But she uses physical media in her process
impatient, I don’t always do – I start by moment is, and then figure out what’s the too. “When I sculpt, I generally use Super
thinking what the point of the painting is. best way to communicate it. A lot of Sculpey firm and acrylic paint. I keep a
considerations go into this, like angle of sketchbook with me, too, to do pen

There is a ton of decisions

view, aspect ratio, character pose, lighting, drawing. Though it never seems like I have
and colour. There is always a ton of enough time to do that much these days

to make, but always think decisions to make, but always keep at the
front of your mind, what you want your
– usually just small drawings of animals or
dinosaurs I toss on my Instagram. But
about what you want your viewers to feel. Do they identify with the
characters? Which ones? Do they pity
overall, I much prefer to work digitally.
Ctrl-Z is the best thing to happen to art
viewers to feel them? Do they feel empathic? Are they since the brush was invented!”

April 2016 61
TRY A COPY OF THE WORLD’S
BEST PC GAMES MAGAZINE
Beautiful
cover artwork
from the biggest
new games

92 MONTHXUK 2015

AVA I L A B L E I N P R I N T, O N
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[Link]/gaming
 get your
resources
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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

64

This issue:
64 Draw and paint
epic game art
Sandra Duchiewicz of
Creative Assembly crafts a
dynamic composition for
upcoming strategy game
Total War: Warhammer.
70 Paint a heroine
from Fallout 4
Zezhou Chen introduces you
to a relaxed way of working,
as he paints a believable
character who would fit into
the Fallout game universe.
74 Create light,
romantic card art
70 74 84 Dong-Wook Shin shows
how to utilise light to create
a warm but dramatic
moment in a fairy tale.
76 Design engaging
video game maps
Trent Kaniuga breaks down
the process of updating
and enhancing League of
Legends maps, from a
concept artist’s perspective.
84 Get fresh art ideas
with 3D sculpting
Paul Canavan reveals how
he uses 3D sculpting tools
to relax and generate ideas
for a fantasy illustration.

April 2016 63
 Workshops

64 April 2016
 In depth Epic game art

Photoshop
draw and paint
epic game art
Sandra duchiewicz of Creative Assembly crafts a dynamic piece of
artwork for upcoming fantasy strategy game Total War: Warhammer

his workshop will show the movement, anatomy, values, colour and Warhammer’s fantasy-themed content,

Sandra
t process I and my colleagues
at Creative Assembly use to
create dynamic and thrilling
polish. Fortunately, we have a wealth of
source material to draw upon, and some
incredibly well-defined miniatures and
but also what a rich palette it gives us to
work with. Having such a deep well to
draw upon really gives you a lot of diverse
duchiewicz fantasy illustrations, while staying true concept art to work with. At Creative options and directions to go in.
Location: England to an established intellectual property. Assembly we’re doing our best to bring This composition has also been created
When working with such a renowned this fantasy world to life, and the bedrock with a destination in mind – that it will
Sandra is the
lead concept universe, such as the Total War series, you of this process is research. Understanding appear on the cover of ImagineFX – and
artist on have to be mindful of how characters, the lore and embracing the source as such it has to work with an extra level
Creative
creatures, items and locations should be material is one of the most important of editorial requirements. This naturally
Assembly’s
Total War art team, and portrayed. Exercise your creativity while things we do. brings another layer of depth and intrigue
is currently working on staying true to the spirit of the original. I hope that this artwork demonstrates to the task. This workshop showcases the
Total War: Warhammer. And that’s in addition to the classic our love for our job, and displays not approach I take and how the piece reaches
[Link]
artistic struggles of composition, sense of only the special care we take to depict its final destination.

get your
resources
See page 6 now!

Sketching and dramatic values

References and preparation 2
1 This is the research phase, when I gather references and materials to ensure the final
Next I explore different subjects. Battle scenes need
dynamic movement to be successful, and for each of my ideas
piece represents the original model design and the in-game assets as closely as possible. I try to convey a sense of action and motion. I also work
Fortunately, in this instance most of the game’s characters are already complete, so I can out ideas for the lighting scheme and test out the overall
use them as reference alongside the original concept art. Research is always important. I find composition, with other graphic elements in mind, such as
it keeps the work on track and saves me time in the process. the magazine’s logo and any cover text.

April 2016 65
 Workshops

Use vibrance
not saturation
We all love juicy colours,
but working with
saturation makes
everything… well,
oversaturated. I suggest
that you start working
with adjusting vibrance
instead. It can so much
more subtle.

Setting on an idea
clipping
3 After some initial exploration and ideas from the ImagineFX team, we decide to feature a key character from the game. These
mask characters are the cornerstones of Warhammer, famous heroes with distinctive, archetypal looks and they ride into battle on exotic
c)
ctrl+alt+g (p creatures. It’s between the Orc, Azhag the Slaughterer, and his wyvern Skullmuncha; and Karl Franz on his griffon, Deathclaw. After
(mac)
cmd+alt+g
rs and some consideration the forces of Order win, and I go with Karl Franz and Deathclaw.
Block in colou
add dramatic
y.
shadows easil

28
cUStom
BrUSheS!
INCLUDING
Refining the composition
4 I take the general idea of Karl Franz atop his trusty griffon steed and work through more variations of the composition. In this
stage, the changes are smaller yet just as important. I focus on how the image works with the cover layout and logo, where the focus
resources of the composition is, and make positioning decisions to create the best visual flow. I chose a right-facing Karl Franz and Deathclaw,
with both characters’ faces in clear view for stronger impact.

photoShop

Graphic brushes, such

as standard hard Round
brushes, are clean,
precise, allow quick
and accurate colour
application, and are
Jumping into colour Acknowledging a milestone
good for blending.
Adding texture helps 5 Once the figures are spatially arranged, I add colour. An 6 I’ve set up the composition, values and colours, but the
create surface quality.
I use a lot of soft brushes, overall neutral warm palette and bright value gives a generally hard work has only just begun. The core image is basically done,
some smooth for optimistic tone to the image, and details of the characters’ yet the final is really only halfway finished. This is the moment
gradations, others have armour and weapons add different colour hits to create points where most beginners like to stop painting. It’s easy to lose focus
texture and shape – for
smoke and atmosphere.
of interest. While adding colour, I maintain some value structure and interest in the image, because what’s left is a lot of
and keep the focal points around Deathclaw and Karl Franz. monotonous and systematic hard work.

66 April 2016
In depth Epic game art

Going with the flow

7 I move over the image, refining areas, cleaning up edges,
adding depth and interest by adjusting values and hues. It turns
out to be quite freeform and I experiment with some lighting
effects. This can be a useful stage because, with the base
composition fixed, you’re free to experiment in a number of
small ways that can make a big impact on the final image. It
also gives you a clearer idea of where you’re heading.

April 2016 67
 Workshops

create layer
group
ctrl+g (pc)
)
cmd+g (mac
cuments
Organise do
ers
and keep lay
l.
under contro

Layer count explosion

8 With a big painting like this, especially
with some flow and experimentation in the
process, it’s easy to build a huge number of layers
in your document. Working with layers is
personal preference. They definitely offer
benefits when used correctly, but can also
become a nuisance if they get out of hand. So
I find it’s a good idea to exercise a little discipline
and try to keep the numbers down.

68 April 2016
 In depth Epic game art

Use shortcut
combos
My favourite sequential
shortcut combo is as
follows. First, Ctrl+click
the layer to select it.
Then Ctrl+Shift+C and
Ctrl+Shift+V to copy and
paste it. The press Ctrl+U
to change the colour
balance, brightness and
hue. Finally, press
Ctrl+Shift+G to create a
clipping mask. This will

Organising the chaos

10 Paint, flatten, repeat be visible only on pixels
9 I organise the document and group related layers together. Next, I sequentially refine and overpaint the picture.
on the layer underneath.

This ensures I get the best performance out of Photoshop, but I flatten the updated parts as I go, to keep the layers in check and
maintain some flexibility. Layer groups in Photoshop are gradually improve the image. Now is a great time to do a sanity
especially handy. Once organised, I do a pass of line art on the check and refer back to the guiding light of your source material,
painting. This helps me to clarify and refine the image later, and so you know you’re not going too far off-piste regarding minor
tightens up the detail level consistently across the whole picture. but important details.

Adding background and foreground

11 To create depth, I place something both in front and 12 Adding visual effects
I attempt to add more drama, by using particle effects, dust, sun beams, flares, motion
behind the main characters. Overlaps help as well. In the blur and the additional shadows cast by the strong light originating from the Warhammer
background I add a dramatic sky, clouds and light shafts. To itself, Ghal Maraz. Even if I place some visual effects at the beginning of the process, I always
suggest a battle, I add giants and wyverns in the air, goblin and take extra time to try and fit some more of them in at the end. It helps create the impression
orc spears in the foreground. These details can come and go that the image is richer in detail and more dynamic. Believe me, there’s always space for some
depending on how focused or busy I want the final image to be. additional effects, and in most cases they make the image stronger.

painting with
Luminosity
Set a new layer’s mode
to Luminosity and then
paint on it. This enables

13 Adjusting colour and contrast

Now I begin applying the final touches. I adjust the 14 Calling it done
The secret to a successful image is knowing when to stop.
you to change values,
without affecting the
colours beneath it. It‘s
colours, make sure the balance of the palette is both pleasing Look at your picture. Does something annoy you? Correct it. very useful when you’re
and fitting for the subject, and ensure the entire image hangs Look again. Is there something you think isn’t right, but no one happy with the palette
together in a coherent way. I find that during the rendering will probably notice? Correct it. Something else that you can’t but you need to adjust
shapes or shadows and
process you can lose a bit of contrast, so it’s good to check that quite put your finger on? That’s the artist’s curse. You’ll never be
lights in the image.
the value structure is intact and the contrast is as intended. 100 per cent happy. Believe me, 99 per cent is enough.

April 2016 69
 Workshops

70 April 2016
 In depth Fallout 4 heroine

paint a heroine
from falloUt 4
Zezhou Chen introduces a relaxed way of working, as he paints a
believable character who would fit into the Fallout game universe

he Fallout series of games has too many references from the game. character’s laser pistol, which is actually

Zezhou Chen
t long been a favourite of
mine. So when Fallout 4
came out at the end of last
Granted, I’ll get ideas for concepts from
what I’ve seen in the game, but then I’ll
recombine and twist them in my mind.
the same one I’m using in the game!
If you’re unfamiliar with the Fallout
premise, you only need to know that it’s
loCation: China year I spent a lot of time playing it, When I think about my Fallout set in a world where life struggles to
immersing myself in its fascinating, character, I actually have a image that continue after a global nuclear war.
Zezhou is a
freelance nightmarish world. And it didn’t take basically conveys the same style and Everything is broken and ruined. The
illustrator and long for me to start imagining designs for feeling of the game, but the details are basic idea of my painting is quite simple:
concept artist my own Fallout characters. quite different. For example, the I want to depict a female hero in the
who also
teaches digital art
I suppose you could say that this makes character’s armour is a variant of Fallout’s wasteland. I think it’s interesting to put
techniques to students. my workshop a simple piece of fan art, metal armour. However, I still took a a beautiful female hero in such a brutal,
[Link] but there’s a twist. I don’t want to adapt direct reference from the game. It’s the desperate environment.

get your
resources
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Unify your
shadows
Shadows are crucial for
making objects in an
image look consistent,
especially when there’s a
strong lighting scheme is
in place. Unifying the
direction of the shadows
can build up the space in
the scene. And making
Start with a loose idea Pose and composition
the shadow’s tone
consistent can enhance 1 An important benefit of painting digitally is that it’s so 2 I’ll put some clothes on the character and paint her face
the presence of your
easy to make changes. So I don’t need a clear-cut plan to start an later. But for now I’m only looking at the big picture, considering
light source. Treating
your shadows equally image. For example, in this workshop I just have a very loose the composition and her pose. It can be a rough and ready stage
will also help to make concept, and that’s enough for me to start. I’ll figure out all the that usually doesn’t look right at first. That’s absolutely normal.
the image clearer and
specific design and details during the creative process. So it’s I try several poses and different angles, before finally deciding
more effective.
actually a very relaxed, almost random way to begin a painting. on this one, where she’s just about to turn around.

April 2016 71
 Workshops

Key lighting
There are some basic
composition approaches
you can take that are
especially useful for
character illustration. If
you have bright light
shining on the character,
make the background
dark. If you have light
shining on the
background and it’s
bright, make the
character dark. It’s the
easiest way to set the
Correcting the pose On to the face
character off.
3 Now I work further on the pose, ensuring that the form, 4 It’s time to depict the character and details. I prefer to start
anatomy and lighting are correct. I try to find the edge of the from the face, because it’s a key part of the image. Painting a
body. This is the basis of the follow-up work. I examine the pose ‘good’ face is worth almost any cost. Of course, sometimes ‘good’
and ensure it’s realistic. I often use the Flip Horizontal option doesn’t mean ‘beautiful’. In this case I’d like to give her a pretty
when I’m trying to see what’s wrong with an image. This face. At the moment I’m not happy with her facial features and
function provides me with a fresh view of the work in progress. expression, so I continue to work on them.

Setting up the lighting Designing her outfit

5I decide to use a strong spotlight on the character, which I had in mind when I was 6 An outfit is part of a character’s design. It’s visual
painting the face. This kind of light is also similar to the sun’s light when the sky is clear. It’s shorthand for showing the role they play in their world. It can be
characteristics are that the edge between light and shadow is very clear, and the contrast easier to paint than a facial expression because there’s little
between them is strong. This is perfect for bringing the character to the front of the scene. emotional element to it. I don’t take reference directly from the
game, but rather from memory. I use a dark tone for her clothing,
ensuring there’s strong contrast with her bright skin colour.

m
free transfor
)
Cmd+t (mac
Ctrl+t (pC)
oshop’s
Use with Phot
to quickly
selection tools
part of
adjust a small
the image.

resources

photoshop
Specific visual elements Adjusting the character
CUstom brUsh:
oil brUsh 7 Now I paint specific details, and describe their form and 8 I’m happy with how the character is looking, so I plan to
the material they’re composed of. I ask myself questions as I only make minor tweaks to her design. I adjust the figure as a
paint: what does this bracer look like? How many metal plates whole object, starting with the lightning. I adjust the brightness
Simulates a traditional oil are there on the shoulder? How they are mounted? This figure all over the body to make sure all the small details are unified.
brush. Adds particles and
texture to the image.
survives in a wasteland, so her outfit has a crude appearance. I also check the pose again, and decide to adjust the position of
And this means I don’t need to make the elements look tidy. her back leg. This make the perspective look more natural.

72 April 2016
 In depth Fallout 4 heroine

Developing the surroundings

9 I start on the background by treating it as concept art, 10 Exploring the setting
There are many objects that I could put into this scene: an abandoned gas station,
which means I can keep my brush strokes loose. I follow the wrecked cars, rubble, weeds and so on. The scene could be in suburbia or on a highway. It’s an
logic of composition during this step. I consider how to arrange interesting task to choose what should be included, because there are so many combinations.
the tone, the plane and the line. The job of the background is to I do some visual exploring and create several different variations. Then I save them, compare
contrast with the foreground subject – to make the edges of the them against each other and pick out the best elements that will enhance the painting.
character clear and to set off the figure.

Copy merge
all layers
Cmd+opt+sh
ift+e (mac)
Ctr+ alt+shift
+e (pC)
Merge all lay
ers into a
new one, bu
t keep
the originals.

Making the lighting more dynamic

11 The environment’s lighting should be generally the same 12 Introducing specific details
I bear in mind that it’s a character-led painting, rather
as that on the character. But to make the image more interesting, than one depicting a grand environment, so I’m careful not to
I adjust the tone for the sky and make it even darker, to improve over-render the background. To enhance the scene’s spatial
the contrast against the character’s face. I also narrow the range aspect, I make the shadow darker at the front and on the figure.
of the light, which splits the foreground and the background. It Doing this makes her more solid. Conversely, for the objects in
now looks like a searchlight in the dark night – very dramatic! the background, I weaken their shadow and the contrast.

archive your
art process
Save your painting at
regular intervals,
especially when you feel
that you’ve turned a
corner in your creative
process. This means that
you can go back and see
exactly what you did.
This will help you to
understand how you
achieved a certain look

13 Time for some polishing

The image is close to being finished. Time to relax and 14 Adding the final touches
I use mostly filters and adjustment layers to do the work,
to your art. Perhaps
more importantly, when
you paint something you
start polishing the details. There’s nothing too serious or difficult including the Curves tool, Color Balance, blending layers and
don’t like, also save a
in this stage, really. I just clean any rough strokes, make them the Camera Raw filter that you can find in Photoshop CC. copy. After a few days,
more refined and improve the render around the character’s face. You could even put the finished work in your phone and try seeing it with fresh eyes
might reveal something
I also repaint the hair and changed the colour of her shoes to common filter apps such as VSCO. I just experiment and see
of value.
make them more in keeping with the Fallout environment. what digital magic happens!

April 2016 73
 Workshops

give your card

art a sense of
light & romance
dong-Wook shin shows how he utilises light to develop an emotional
moment between the king of the jungle and an unsuspecting princess…

his image was designed for at a banquet. The animal guests are with a bright feel. This was kind of

dong-Wook
t the card game Legend of the
Cryptids. I’d recently read the
story of Henry VIII and an
surprised when he reveals that he plans
to marry a princess from the human
kingdom – and the princess had no idea of
an adventure for me.
Overall, I tried to create a fairy tale
atmosphere, as well as a light touch to
shin idea came to me from that. What about his intentions, either. The animal guests help generate a realistic portrayal. The
location: South Korea
painting a tyrannical Lion King who, for respond with surprise, while the princess work was very highly saturated, to give
Dong-Wook emotional contrast, is pictured next to a isn’t particularly keen on the idea. a refreshing feel, with the warm colours.
Shin, aka
Bluezima, has
young girl? The story developed further… When I pass my initial sketch on to I was told that sales of the image were
been creating Nobles from neighbouring kingdoms show the art director, he says that while quite good, as was the reaction from the
video game have gathered to see the Lion King, at his the Cryptids’ current cards are generally card users. It was encouraging to receive
art and illustrations for
request, who will announce his new bride dark, he suggests aiming to create a card such positive feedback.
more than 10 years.
[Link]

how i develop…
get your
resources
See page 6 now!
an emotive fairy tale scene

resources

PhotoshoP
custom brushes:
ink brush

I use this brush for

sketching – the larger
its size, the more
transparent ink effect
it produces.

 Monochrome sketch  Colour and light  Describing details

fan brush

1 I picture the Lion King when he 2 I want the Lion King’s colours 2 I modify and supplement the more
All images © Applibot, Inc.

proposes the idea of marriage to the princess to be authoritative, while in contrast the detailed parts of the painting, adding
– as he pulls out the ring – and this determines princess symbolises purity, with the help description to some other parts as I work
I painted most of the
the positions of the characters in the of a white dress. I allow incoming sunlight my way around it. I also adjust the position
picture with this, my
composition. I also concentrate on drawing a through the window to warm the scene, of the hand holding the ring, so there’s a
favourite. It has a texture
suitable loving expression for the Lion King and I take further advantage of the blue sky good balance of colour. I also tweak the
effect that’s smooth,
and the princess’s look of surprise. by using it as the reflected light. design of the characters’ clothing in places.
with Pressure Control.

74 April 2016
 Artist insight Light & romance

Reflected light
The blue sky reflects light back on to
the characters. This type of reflected
light atmospheric helps figure in a
composition to look more vibrant.

Highlights
This is the point on the
princess that’s the most
saturated. Here, the
clothes are wrinkled
and folded, and where
the shadows and
highlights cross it
creates a violet colour
where the warmth of
sunlight and the cold of
Transmitted light the reflected light meet.
The transmitted light passes through the
transparent or semi-transparent material and
affects the object underneath. This is mainly
determined according to the colour of the light
passing through the medium, but can be
brighter because of refraction.

Chromatic aberration
I work on the chromatic aberration – a
phenomenon often associated with a
camera lens and distorted light – by
modifying the red channel and making it
slightly larger. This helps to bring the
viewer’s eye into the centre of the screen.

April 2016 75
 Workshops

Artist insight
Design engaging
viDeo game maps
Trent Kaniuga breaks down the process of updating, enhancing and
re-envisioning Summoner’s Rift from a concept artist’s perspective

f the many video games I’ve had players. Their expectations for an updated tournaments, so everything had to be

Trent Kaniuga
o the pleasure of working on
over the past decade, few
assignments have been as
version of Summoner’s Rift were high,
and I soon discovered that the map itself
had its own unique challenges.
precise in its measurements.
To reach this goal, we had to throw out
a lot of our work, and spent two years in a
LoCaTion: US intimidating as being a part of the redesign Because it’s thought of more as an constant state of critical refinement. We
for the new Summoner’s Rift map in arena than a setting for an adventure, the had to rely on experience, teamwork,
Trent has
worked on League of Legends. This is the most viewed world had to feel as organic as a natural communication and patience to meet
World of game map of all time, with roughly fantasy environment, but it also needed player expectations, and give them
Warcraft, 120 million active accounts worldwide. to be as constrained as a sports arena, environments that told a story they
Diablo 3,
League of Legends and
A small percentage of the entire use of with clearly defined markers and barriers. weren’t expecting, while still pressing
Final Fight. He’s also the the internet is used by League of Legends This is a game that’s played in those nostalgia buttons from the original.
creator of the indie
comic book CreeD and
the Twilight Monk series
of graphic novels. 1 Blue sky
[Link] exploration
The goal is to create artwork for the
get your other artists and designers on your
resources
See page 6 now!
team that will get them excited
about a fresh coat of paint on their
classic map. Usually it’s best to
work from the in-game camera
perspective for an accurate view of
what you’re proposing players
would see. If you have it, paint over
the in-game geometry showing the
gameplay space. We were mostly
looking for a vibe, a feeling through
colour and shape as well as
overarching, identifying elements
that would make the location feel
unique while still capturing what
people loved about the original
map. All of these elements would
be refined later on.
All images © Riot Games

76 April 2016
 Artist insight Game maps

2 Create an arChiteCtural style

To develop an architectural style, I start out with small sketches of
archways, doorways and pillars, pulling from real-world influences. I build
up shape language and methods of construction that support the time
period and setting. Even if most players never read the history of 3 pLanT breaD Crumbs
Summoner’s Rift, their subconscious will relate to our world from their The team wants more specific elements, so
experience. This is a great opportunity to imply religious or faction I start doing a number of black and white
alignments with deity statues integrated into the architecture, or simply a sketches. I usually work with small cutaways, or
cultural fascination with star charts, for instance. Every pillar, brazier and vignettes to create focus. Also note that more
brick is an opportunity to imply greater depth to the history of your world. rounded shapes tend to be more welcoming
to the viewer, while sharper, pointed shapes
More rounded shapes tend to create a sense of danger. If I create enough
story elements to show that the location is
be more welcoming, while pointed ‘lived in’, it’ll make the player want to explore
the rest of the world, and give the writing team
shapes create a sense of danger plenty of breadcrumbs to write into the lore.

April 2016 77
 Workshops

4 breaK up your shapes inTo

smaLL, meDium anD Large
Avoid flat, straight edges wherever possible
(the first pillar), and split up your shapes into a
balanced hierarchy of small, medium and large.
If all of your decorative elements are the same
size, your designs will look too busy (the middle
pillar), and will lack a focal point. If you’ve got a
pile of rocks, mix their sizes! If they’re all the
same, it becomes boring to look at. In addition,
try to avoid too much symmetry in your
designs. There are exceptions to this, such as
futuristic designs, but I’d still try to interrupt
plain edges with a break of some kind.

5 add depth to your world 6 Create a handful of variants

If you’re working with an isometric game such as League of I’ve found that three versions of a concept is a good number of iterations.
Legends, every opportunity to play with depth gives you a Although Riot tends to explore far more: for instance, between two
new area to tell more of your story. Here, I wanted to give concept artists, we created almost 100 tower designs. This is why it’s
the player a relaxed feeling, since the player spawns here important to rough out ideas in sketch form, and not commit to painting
and can’t be attacked. The water looked almost like thick oil, anything until you’ve got a direction that your team is willing to invest in.
but we agreed that it gave the setting a unique feel, so we This rule is up for debate, though. Most studios won’t let you spend a week
tried to match that effect in game. With every game that painting one idea. A concept artist’s role is to serve your team. If you want
I work on, I try to give it a unique identity. to do your own designs, go and start your own game studio!

esTabLish baron’s isLanD

Trent reveals how deciding on the look and feel of a setting for
a big boss fight in Summoner’s Rift was a collaborative effort

rough sketches. plan out how

1 In these early stages, I merely 2 everything works
paint over the geometry
3
intended to define the space, hint at locations In this case, we needed to be sure that when
of architecture and materials, and set the Baron did his spawn loop, he didn’t pass Once we know that everything works, we just need to paint it up. I try
theme for the story in the location. There were through geometry, because the animation not to be too limited by lighting constraints or effects. Ideally, good final
very few constraints, and this could have been had to be the same every time. I used some concept paintings should inspire the team to ask themselves “how can we do
anything really. It’s blue sky stuff, except that geometry as a guide, since we already knew this thing/effect/animation that we’ve not done before?”. Good concept art
we knew that players expected to fight Baron, where the player couldn’t walk, and where challenges the team, and the reward is found in delivering an exciting
who is a large alien-looking serpent. Baron needed to spawn. experience for the player.

78 April 2016
Artist insight Game maps

7 your worLD TeLLs The

sTory – geT weirD wiTh iT!
Summoner’s Rift is on a mountain, miles away
from any large bodies of water. But that didn’t
stop me from presenting sketches of magical
fish vendors! Being a concept artist is all about
going to places that few others would even
consider, and then making it all come to life in
a fantastical world. When your team “gets it”
and they all start vibing off of what you’re
doing, that’s the reward. So don’t be afraid to
get weird with it, and throw in quick sketches
of strange ideas. It’s always easier to trim down
a crazy idea than it is to take a boring, bland
idea and make it interesting.

Being a concept
artist is all about
going to places that
few others would
even consider
April 2016 79
 Workshops

8 injeCt life into

your environments
Here you can see subtle
implications of story. Red
buff scratches at the earth
and digs up a bed-shaped
hole for him to rest in. Red
glows imply a magical
energy residing nearby. In
the Baron Isle, ancient
statues form a ring around
a central crater. I wanted to
imply that a ritual had taken
place here a long time ago.
The lightning rods
surrounding the epicentre
glow with infused magical
energy that never quite
settled. Try to tell a story
about your world without
using words, and imply a
history off camera, an
interaction between NPCs,
or creatures of the world
and how they live in it.

Try to tell a
story about your
world without
using words

9 Give eaCh area

its own flavour
We wanted the players to know
which section of the map they were
in without looking at the minimap.
To do this, we gave a unique colour
scheme and/or weather treatment
to each quadrant. This way, a player
can see where they are without
confusion. It also gave us an
opportunity to make the
environment feel more vast. Even
though Summoner’s rift is a single
map, we put about as much time
into developing it as we would for a
continent in World of Warcraft.

80 April 2016
Artist insight Game maps

10 CreaTe props ThaT maKe

your worLD more beLievabLe
The key to designing props is to make the
world feel “lived in”. This is your chance to tell
the player about your world using visual cues.
Imagine the needs of the people living in that
setting that you’ve created. What kind of
creatures would they hunt? What level of
technology do they possess? What is unique
about your setting, and how does that impact
the people living there? What era are they in,
in terms of technology? Most of your world’s
story can be told through the visual cues
represented in your props.

April 2016 81
 Ortiz will
Artist Karla
er own b rand of dramatic
bring h cover
beauty to the

82 April 2016
Add value to
your art Follow Karla Ortiz as she explores
light & dark in a stunning portrait

Issue 134
uK On sale
Tuesday
29 March

Inspiration and advice

Get productive Look in at ILM Lois van Baarle Impressionistic
Warner Games lead We explore Industrial The Netherlands- Freelance concept
artist Donglu Yu Light and Magic’s based artist recounts artist Wangjie Li
reveals the secrets to expanded art her art journey and unveils his own take
effective art processes department, and breaks down her on impressionism and
in a new workshop. uncover future plans. unique painting style. paints a digital portrait.

April 2016 83
 Workshops

3D-Coat,OctaneRender, Daz 3D, Photoshop

get fresh art ideas
with 3d sculpting
paul canavan shows you how to
use 3D sculpting tools to relax and
generate ideas for an illustration

84 April 2016
 In depth Beat art block

very artist has experienced art block. Stress is a major

e factor that contributes to this condition: being

unable to think of anything to draw, struggling with
an existing painting or feeling inadequate when you
paul canavan compare your work to others leads to frustration and can
location: Scotland
ultimately stop you wanting to create at all. This is bad.
Paul is the Developing a process that would remove the stress of painting
lead artist at
Scottish indie
illustrations became a major goal of mine.
game studio Pareidolia is a fancy word to describe the phenomenon
Blazing whereby we see shapes such as human faces or animals in clouds
Griffin, a freelance
or other places you wouldn’t expect them. This has been used by
illustrator and father to
two handsome ferrets. artists for years, doodling in sketchbooks until an idea pops out,
[Link] but for my art block-beating process I wanted to remove myself
from drawing in the early stages altogether. Sculpting, whether
using traditional materials like clay or with 3D software was the
answer: it’s tactile, relaxing – and fun! Spending an hour or so
playing around in 3D led to interesting shapes and compositions
every time and consistently gave me ideas for new illustrations.
I’ll be using 3D-Coat for the sculpting phase (alternatives
include ZBrush and Sculptris), OctaneRender for rendering (lots
of options here including Blender, MODO or KeyShot), DAZ 3D
and Photoshop. No real 3D knowledge is required for this
workshop – experimentation is the key here!

Start playing in 3D
1 I load up 3D-Coat and create a cube. This is what I’ll be
sculpting, grabbing different tools and pushing or pulling shapes
out of it. At this stage I have no idea what I’ll be creating, I’m just
having fun and playing with the software. 3D-Coat works a lot
like Photoshop and so it’s easy to pick up.

Latch on to an idea
2 As I’m experimenting I start to see a dragon-like shape
get your emerging from a rock. It’s incredibly crude, but I decide to work

resources
See page 6 now!
into it, using the Clay and Extrude tools to sculpt out the body.
I like how it connects with the environment; perhaps this dragon
is made of rock? A composition is forming…

April 2016 85
 Workshops

Expand on the concept Light the scene

3 I like this rock dragon concept. He feels big and slow and heavy – perhaps he’s been 4 At this stage I’m happy with the overall composition. So
roused by smaller dragons? Already I’ve gone from a blank slate to something with now I export the model as an OBJ file and bring it into
storytelling potential. I continue to sculpt into the environment, keeping it loose which OctaneRender, my renderer of choice. Here I can easily
ensures it’ll be easier to manipulate and paint in Photoshop. experiment with lighting to get a feel for the mood of the piece,
by playing with sliders relating to time of day and location.

d
copy merge
(mac)
cmd+shift+c
(pc)
ctrl+shift+c
is co pies everything on
Th
once.
the canvas at

resources

Bring it into Photoshop Correcting the composition

5 I render out the scene and load it up in Photoshop. The 6 The goal of any illustration is for the viewer’s eye to travel
photoshop first step is to sketch ideas straight on top of this render. around the image and fall on the areas you want them to look at.
custom brushes: Everything here may change, so this is a chance to expand on the I adjust the dragon’s head and start adding depth to the scene by
background Juicer
rock dragon concept and see if it’ll stick. But first I need to fix the darkening areas that are close to the camera, splitting the image
composition and make it flow nicely. into sections using atmosphere painted with a soft brush.

This is my default brush

for laying down large
chunks of colour.

hard eliptical

An interesting flat brush

with some randomisation
for carving out forms.

chalk

A great, expressive
natural media brush.
I use this for drawing
or adding texture.

Exploring the concept Rethinking the composition

paintbrush 1
7 I push the sketch further, adding dark foreground rocks 8 The story is now solidified in my mind: the rock dragon
and playing with the idea of painting smaller dragons into the is being attacked by smaller dragons, perhaps of another species,
This works similarly to scene. This would give some much-needed movement to the and is in the process of incinerating one with his powerful
the Chalk brush, but is illustration, but the composition will need to change. Right now flaming breath. This requires a more dynamic composition, so
excellent when used with
the rock dragon feels too static. That’s okay: the process is to I sketch a new idea and track down some good lizard references
the Mixer brush.
generate ideas, not finished 3D art! to help with the anatomy.

86 April 2016
 In depth Beat art block

smudge
everything
The Smudge tool is useful
for concept design,
making it possible to
stretch shapes and play
with silhouettes, but it
really shines when you
start experimenting with
custom brushes. Try
textured brushes and
mess around with the
strength to produce
interesting effects. John

Posing little dragons

10 Design work Silva has released a
9 I want the smaller dragons to feel dynamic in the air, and With all the elements in place and a much more exciting
fantastic brush set for
the Smudge tool, and I
decide to pose them in 3D rather than spending time sketching composition laid out, I’m ready to start playing with the design can’t recommend it
enough. You can get it at
anatomy. DAZ 3D is a great free piece of software that comes of my main dragon. I spend some time browsing references of
[Link]
with a dragon model, so I load it up and position the body by birds, snakes, lizards and dinosaurs, and experiment with
dragging limbs into position. Once I’m finished I simply take a different approaches to the beak and body shape.
screengrab and paste it into Photoshop, ready to be positioned.

hue/saturat
ion
cmd+u (mac
)
ctrl+u (pc)
Great for qu
ickly checkin
values or ex g
perimenting
with colour.

Exploring the background

11 Despite having a solid lighting reference from my 3D 12 Remember to take a break!
It’s always good to step away from your work as often as
render, I’m still unsure of the location of this image and how that you feel you need to; returning to a painting after a night usually
will look in the background. Mountainous terrain seems to yields useful discoveries, as you see it again with fresh eyes. In
make sense for the dragon’s home. so I search through my photo this case I took a few days off and upon continuing noticed some
reference folders to see what might fit, focusing on locations like wonky anatomy. The dragon’s neck felt too long and the body
New Zealand and The Alps. too insubstantial.

use masks,
not erasers
Layer masks give you
great control over a layer
in Photoshop, enabling
you to add or erase
content by painting in
white or black. You can
apply a mask to any layer

13 Rendering the scene

With most of the painting worked out I can now relax and 14 Adding the final touches
I introduce more small dragons to add to the overall sense
by pressing the button at
the bottom of the layer
tab or by going to
render out some details. I’m referencing continuously during this of movement in the scene and spend some time adding small
Layer>Layer Mask>From
stage, looking photos of bat wings, flamethrowers, mountains details, such as the rendering of the fire and atmospherics. The Transparency, then
and frilled lizards as I move around the canvas. There’s no real spiky rocks were a quick experiment at the end, and I think they click the white box that
appears next to your
order to rendering: I’ll do some work on the face and then move added a lot to the environment. Another happy accident!
layer thumbnail.
somewhere else when I get bored.

April 2016 87
 Artist’s
Choice Award
Art resources with a five-star
rating receives the ImagineFX
Artist’s Choice award!

The latest digital art resources are put

to the test by the ImagineFX team…

producT
7
on TesT s

softwaRe tRaining
90 Affinity Photo 1.4 95 Fantasy
This subscription-free image In The Wild
editor is being heralded as Artist and illustrator James
a Photoshop killer. But are Gurney shows how the
the bold claims true? outside world can take your
fantasy art in some
93 SuperPhoto Free unexpected directions.
Tweak your snaps with this
free app’s fun to use and Books
practical Painting Filter. 96 Further reading
The Art of Star Wars: The
93 MobileMonet Force Awakens; Rise of the
This photo-to-painting Tomb Raider: the Official
conversion app has a neat Art Book; Beginner’s Guide
productivity trick up its sleeve. to Sketching: Characters,
Plus it’s just become free. Creatures and Concepts.

Ratings explained Magnificent Great Good Poor Atrocious

April 2016 89
 Reviews

The Affinity Photo

Affinity Photo 1.4

interface is similar to
that of Photoshop, so
it’s easy to pick up.

Adobe AdversAry This subscription-free image editor is being

heralded as a Photoshop killer. We find out if such claims are true…
Price £40 Company Serif Web [Link]

erif has recently mounted a

s major challenge to
Adobe’s dominance of
creative software. Its first
release, vector tool Affinity Designer,
was aimed squarely at pro users of
Illustrator. Now its second, raster tool
Affinity Photo, is aiming to take on
the might of Photoshop.
So what does it have to offer digital
artists? Well, if you’re a Mac user and
Photoshop is part of your workflow,
the answer may be: quite a lot. That’s
because Affinity Photo doesn’t just
ape Photoshop’s interface and features
in a way that makes it easy to pick up
and run with. In many ways, it offers a
better performance.
Named by Apple as the number two
Mac app of 2015, the most striking
Adjustment Layers include Hue/Saturation,
Black and White, Posterize, Channel Mixer,
difference it offers is speed. In
Exposure, Curves, Gradient Maps and more. Photoshop, you often have to wait a few

90 April 2016
 Art tools Software
You can work in a range
of colour spaces, Artist interview
including RGB, CMYK,
LAB and Greyscale. Paolo
limoncelli
The artist and brush designer on
his time with Affinity Photo so far

What’s Affinity Photo appeal?

Affinity Photo is solid enough for
professional work, so I gradually
started moving some projects there.
I still need Photoshop because it’s
Daub Brushes has the standard. But honestly, licence
created 12 free blender
brushes to download costs are becoming barely tolerable.
for the software. See
[Link] How does the software fit into
your workflow?
I use Adobe, Affinity and Celsys
apps. Learning new tools and
seeking new design strategies help
you to stay ahead of the game.
What do you like best about
Affinity Photo?
Flexibility. No matter whether your
project is for digital media or print,
vector or pixels, you can work
directly in 16-bit per channel or
CMYK flawlessly, even exporting
vectors natively if needed.
And what do you like least?
Not all of its tools are top-notch yet.
Some of them are still young in
terms of options. Right now, Affinity
Photo is rough and rugged.
What’s exciting in version 1.4?
Custom ramps for brush dynamics:
a very specific feature, but one that’s
useful for illustrators. The response
It’s a young product, of course, but of jitters available in dynamics is
driven by a customisable curve and
new features are being added all the this helps to produce more usable
and expressive brush strokes. You
time and for now, updates are free can shape your brush behaviour,
cut-off pressure levels, invert or
seconds for a changed setting to take – lacking the latter’s animation and 3D linearise. A great control over
effect. But using Affinity Photo on an printing smarts, for instance. But new pressure/dynamics sensitive devices
iMac, every time we made tweaks they features are being added all the time that Photoshop doesn’t offer yet.
appeared instantly. In practice, that and for now, updates are free. Features
n Clone tool Would you recommend artists
means you’re likely to get more ‘in the Panorama stitching, for example, was n Dodge and Burn
brushes
buy Affinity Photo and Affinity
zone’ as an artist, without having your absent from the first release but has n Sponge and Smudge Designer, or just one of them?
creative buzz interrupted by spinning arrived in version 1.4. brushes
n Blur and Sharpen
It depends on your working habits.
wheels, frozen screens and the like. Affinity Photo uses its own file
brushes If you’re doing vector illustration,
We also love Affinity Photo’s non- format, but you can also import and n Colour Replacement
brush
Affinity Designer is the best choice.
destructive scaling, something absent export a range of file formats, such as
n Healing brush But the raster tools in Affinity
in both Photoshop and cheaper rivals PSD, PNG, JPG, TIFF, GIF, PDF and so n Blemish removal
n Inpainting (similar to
Photo are far more complete. I’d say
such as Pixelmator. Even if you on. As such, it’s more sensible to think
Content Aware Fill) get both: no subscription, shared
downsize an image layer, Affinity Photo of Affinity Photo as a companion to n Frequency
Separation editing
file format and seamless user
still stores its full resolution, so you can Photoshop than an alternative to it.
n Liquify toolset experience. And Serif’s developers
increase its size later if you’ve made a With a low price and no subscription,
system listen to their customers.
mistake. This is handy, for example, it isn’t a big financial burden, and its
requirements
when adding objects to images in speed and unique features will save Mac: OS X 10.7 or later,
illustrations. There’s also the much- you time and effort with some tasks. Core 2 Duo CPU, Paolo is an Italian artist,
2GB RAM, 630MB free illustrator and brush designer.
vaunted million per cent zoom, which is A few clients might get nervous about disk space He’s probably used every art
breathtaking to see in practice. you not using the industry standard, software ever produced.
rating
It’s a young product, of course, and but as long as you choose the right
[Link]
not quite as feature-rich as Photoshop export options, who’s to know?

April 2016 91
 BREAK INTO
THE GAMES INDUSTRY
Art directors from the world’s leading game studios reveal
what it takes to make it in the games industry

GET
YOUR NEXT ISSUE

FREE!
Download our
no obligation digital
trial offer now!

FREE!
Video training
Game-ready textures
Maya project files
Game props
Models

Newsstand for iOS: [Link]/3dworld-app

Print: [Link]/3dwsubs
Issue 206 on sale now!
 Art tools Software
Transforming your photographs into kitsch,

MobileMonet
70s-style oil paintings is strangely addictive.

iPad
Monet sPinner This photo-to-painting conversion
app has a neat productivity trick up its sleeve
Price Free Company East Coast Pixels Web [Link]

here are numerous iPhone The ability to apply

t
effects to specific
apps that turn your photos sections of an image
into something resembling is the killer feature
of MobileMonet.
a painting – SuperPhoto
Free is just one of them. So what’s so
special about MobileMonet?
Well for a start, the app, which has
been around since 2010, has now gone
free. But more importantly, rather than
just applying a filter over the whole
photo, it enables you to apply paint-like
colour across specific sections of it.
In practice, this means it’s easy to
superPhoto Free create original and eye-catching (albeit too much time on that.) As you’re Features
n Live controls
unrefined) visuals with just a few editing, your creations are saved in a
KitsCh in-synC Tweak minutes of effort. You start by taking a recent edit list. Then once you’re happy
n Multiple undo
n High-speed brushing
your snaps with this free photo with your iPhone, or importing with your visual, you can print a high- n Pan and zoom
n Device orientation
app’s Painting Filter one from your phone’s library. resolution version from the app, or n Continuous saves
n High-resolution
MobileMonet then renders it as a black share it on Instagram. printing
Price Free and white line drawing, and you can A nice app, then, that does one n Social media
integration
Company Moonlighting use a spray-can tool to add paint-like simple task well. But what use is it to a n iCloud photo library
Web [Link] effects to the image. digital artist? Well, if you like to take support
n Pressure-sensitive
You can choose from preset settings photos for reference – and they spark
rating brushing on 6s devices
or adjust the controls for factors such new ideas for art as you take them –
as Brush Size, Grain, Colour range and this might help you get those ideas system
requirements
SuperPhoto is available for iOS, Line Intensity. There’s also a Sponge down in memorable form while you’re Mac: Requires iOS 8.0
Android and Windows, and tool, and you can play around with still in the moment. Alternatively, if you or later, compatible
with iPhone, iPad or
provides 208 free effects for your Vibrancy, Brightness and Contrast. wanted to convey an idea to a client, iPod touch
photos, and 1,300-plus others you (Although given this app is all about this could be a quick way to create a
rating
have to pay for. It’s the free doing something quick and easy, visual that’s a bit more relatable than a
Painting filter, though, that’s been you’re probably won’t want to spend notebook sketch.
getting all the attention. Just The app enables you fine-tweak settings
search Instagram for #SuperPhoto such as line width, colour and line intensity.
and you’ll see what we mean.
Reminiscent of the Pixel Bender
plugin for Photoshop, the Painting
filter instantly makes your images
look like abstract oil paintings – an
effect that’s surprisingly dramatic, in
a hilariously kitsch kind of way.
It couldn’t be simpler to use. Just
open the app, choose your filter,
then upload your photo (yes, it is
that way around, weirdly).
You then have to wait about 30
seconds until the new image
appears and you’re done, ready to
save it to social media, email, and so
on. If you want a high-resolution
version, though, you’ll need to
upgrade to the paid version of the
app (SuperPhoto Full, priced £3.99).
This is bucketloads of fun. And
while we can’t see a lot of practical
application for the serious artist,
who knows, maybe the right
creative mind could create
something amazing with it?

April 2016 93
 Inspiration Training
Everyday excavators
provide James with
inspiration as he works
out how his robot figure
should be constructed.

In Fantasy In The Wild, James Gurney

shows how real-world observation helps
him paint fantasy images you can believe in.

Fantasy In The Wild

LIVING THE DREAM Artist and illustrator James Gurney shows how
Understanding how ambient
light affects hue means that
James is able to make the car
feel like it belongs in the sky.
the outside world can take your fantasy art in unexpected directions
Publisher James Gurney Price $25 (DVD); $15 (download) Web [Link]

ow do you follow You’ll see how James’s knowledge of

H Watercolor In The Wild

and Gouache In The Wild,
James Gurney’s previous
perspective enables him to make the
floating car looks natural in the scene.
In the second, more expansive,
Artist profile
James
two titles in this series? Coloured
Pencils In The Wild, perhaps? James
project, an excavator becomes a
robotic digger. There are a few changes
Gurney
has other ideas: with Fantasy In The of tack along the way, and it’s these
Wild, he both stays true to the series changes that are the heart of the video. James specialises in painting
concept of creating art outdoors and Imagination mixes with observed reality realistic images of scenes that can’t
greatly expands the territory he to send James down unexpected be photographed, from dinosaurs
could cover in future instalments. paths, and what started as a small-scale to ancient civilisations. He’s also a
James presents two projects in study becomes an epic tableau in plein air painter and sketcher,
which he uses his surroundings as both which a giant robot inadvertently believing that making studies from
inspiration and reference, adding causes chaos in a small town. observation fuels his imagination.
fantastic elements to otherwise Topics covered The real world has another role to James taught himself to draw by
n Generating ideas
ordinary scenes. As an exercise, it’s a and back stories
play, too. Being outside gives James reading books about Norman
test of your painting skills, because you n Making a visual grid the chance to meet people with their Rockwell and Howard Pyle. He
n Painting from
have to interpret the light and colours reference
own areas of expertise to contribute, received a degree in anthropology
you see and apply them to forms that n Using toys and lending the scene extra authenticity. at the University of California, but
maquettes
exist only on your canvas. It’s also a n Merging fantasy and
Fantasy In The Wild doesn’t offer the chose a career in art.
great way to generate new ideas you reality depth of technical detail that you might James has written the
probably wouldn’t have devised Length
expect if you’ve seen any of James’s instruction books
otherwise. And, above all, James 71 minutes previous videos, but it’s full of both Imaginative Realism
makes it look like a lot of fun. Rating
practical guidelines and creative and Color and Light.
The first project sees James adding inspiration that could see your daily
[Link]
a flying vehicle to a suburban street. commute firing up your imagination.

April 2016 95
 Reviews

The Art of Star Wars:

The Force Awakens
Force Witness Not just for Star Wars fans, this stunning tome
offers unparalleled insight into Episode VII’s art direction
Author Phil Szostak Publisher Abrams Price £25 Web [Link] Available Now

or those of you who’ve seen Phil recounts how producer Kathleen

F the latest Star Wars and

want to know how they
made it all look so damn
Kennedy gathered together an array of
art talent, led by Rick Carter (who
provides the book’s introduction),
beautiful, this book will likely never Darren Gilford, and Doug Chiang to
be bettered. But even if you’re not a reimagine George Lucas’s franchise for
fan, any artist will find a lot to be the Disney era. Exclusive interviews
fascinated by in this colourful with these and other artists provide An older Han Solo was inspired by the posters for the
account of how concept artists drove unique insights into how they brought films of Sergio Leone, and Jeff Bridges in True Grit.
this blockbuster movie. director JJ Abrams’ vision to life.
The author, Phil Szostak, was In fact, we’d probably have bought which precisely mirrors the start of A
embedded with The Force Awakens this for the text alone. But the real joy New Hope. We see initial designs for
art department as a conceptual of this beautifully produced book lies in Jakku inspired by the shipbreaking
researcher and archivist from the 600 colour illustrations, including yards of modern India - a far cry from
December 2012 right to the end of production paintings, concept art and the Wild West-inspired desert towns
production, so he knows his stuff. And sketches, storyboards, blueprints and they later became. We experience the
his explanation of how the team went The author reveals that
matte paintings. There’s no attempt to lengthy evolution of what eventually
from initial sketches and concepts to early drafts of the story pad things out with movie stills; every became Kylo Ren’s mask, yet initially
featured a Jedi Killer,
finished models, costumes and visual seen here with a motley
spare inch of the 258 pages is began as more of a twist on the
effects is in-depth and detailed. group of accomplices. crammed with breathtakingly original Dark Vader helmet.
imaginative art. More intriguing still are the concepts
And you don’t just see, as with similar that didn’t make it at all: the Emperor’s
books, rough versions of what Tower, crash-landed underwater after
eventually ended up in the finished film. the second Death Star explosion; a
The artists, known at Disney/Lucasfilm four-person TIE fighter, called the
as the Visualists, went through a pretty Quad fighter; Luke tormented by
wild brainstorming process to get there, Anakin’s Ghost… How much of this,
and much of the art they left by the we wonder, will turn up in the Star
wayside is reproduced in all its glory. Wars films yet to come?
We see the original storyboard for
the opening sequence, for example, rAting

96 April 2016
 Inspiration Books

Rise of the Tomb Raider:

the Official Art Book
gAme FAce From frozen battles to underground
adventures, enter the modern world of Lara Croft
Authors Andy McVittie and Paul Davies Publisher Titan Books Price £30 Web [Link] Available Now

his large-format book is

t packed full of concept art

for the characters,
settings, weapons and
props in the latest Lara Croft game.
The artwork gets room to breathe,
often across entire pages or spreads.
Mostly painterly, but with some
stunning examples of photorealism,
there’s inspiration here for any artist,
whether or not you’re familiar with the
game. From Mark Castanon’s opening

portrait of a desperate, hunted Lara, director, game director and franchise

right through to the final, epic cave director, respectively).
scene by Brenoch Adams, the levels of Given that the similar Tomb Raider:
expertise and imagination on show will The Art of Survival is now out of print
take your breath away. It’s and changing hands for large sums
accompanied by a commentary online, you might not want to wait too
Lara surveys the detailing the design process, and long to get your copy of this one.
entrance of an
icy cavern in the
there’s a foreword by Brenoch Adams,
Siberian wilderness.. Brian Horton and Noah Hughes (the art rAting

Beginner’s Guide to Sketching:

Characters, Creatures and Concepts
core skills You don’t have to be a beginner to learn
much from this guide to the fundamentals of drawing
editor Jess Serjent-Tipping Publisher 3D Total Price £24 Web [Link] Available Now

ans of 3DTotal’s CG training

F books have long been

asking for one focusing on
old-school graphite. Well,
now that call has been answered.
In this 206-page book, 10 pro artists
including Rovina Cai, Justin Gerard,
Nick Harris and Rebeca Puebla, take
you through the fundamentals, from
gesture drawing and finding simple
shapes to mastering line quality and
shading. The cover doesn’t make it obvious, but the book’s mainly geared poses, designs and costume elements,
towards the creation of concept/ to a completed scene.
fantasy art – and that’s fine by us! Despite the title, novices might find
The artists explain how and when to much of this too challenging. Yet artists
use different sketching materials; share ranging from students right up to
top tips; show you how to draw advanced level should find much of
everything from hands to an alien value here, both in terms of refreshing
slave; and set practical exercises. There your core art skills and raising your
Rovina Cai 14-page are also master projects that show how fantasy concept art to the next level.
article covers how to
depict a winged fantasy
it all gets put together - how to
creature using pencils. progress from early concepts, through rAting

April 2016 97
 The number one
destination for digital art
news, views and how-tos.
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inspiRATion And AdviCE fRom ThE WoRld’s bEsT TRAdiTionAl ARTisTs

This issue:

100 FXPosé Traditional

The best traditional art revealed.

106 Sculpting a concept

Eric Wilkerson gets creative.

112 Painting from life

hoW To pAinT... Anand Radhakrishnan on light.

fanTasy
ChiarosCuro
Patrick J Jones paints The Sentinel, 114 First Impressions
Chris Achilléos talks glamour.
using timeless oil techniques Page 104
April 2016 99
 FXPosé showcasIng the FInest tradItIonal Fantasy artIsts

Katrina Sesum
Location: England 1
Web: [Link]
emaiL: mail@[Link]
media: Oils, ink and watercolour

Katrina’s childhood was

filled with fairy tales and
mythology, and so a lot of
her earlier art comprised
reinterpretations of her
favourite stories or characters, along
with wildlife studies.
“Gradually, I became more interested
in my personal mythology and my own
stories, which is the focus of my work
now,” she reveals, “though it is, of
course, heavily shaped and informed by
the stories which came before.”
Among Katrina’s influences are the
Pre-Raphaelites, artists from the Golden
Age of Illustration and Renaissance art.
“I enjoy experimenting with a variety of
mediums and techniques, but feel most
at home with oils,” she says.

ImagIneFX crIt
“Nature comes
to the fore in
Katrina’s art,
along with graceful
compositions and earthy
colours. While the white
sparrow gives the second
piece its name, I think
the star is the snail on
the woman’s shoulder.”
Alice Pattillo,
Staff Writer

1 JeWeLLed SWan
Watercolour on paper, 9x13in
“Here’s one of the illustrations from a
series of fairy tales I’m writing, which I’d
like to put together as a book. It’s slow
work, the writing more than anything,
and likely a way off yet.”

2 White SparroW
Oil on paper, 10x12in
“Some images take a long time to
develop, and others pop right out
fully formed and practically paint
themselves. This little leucistic sparrow
showed up in my garden one day, and
brought with it a complete vision for
this painting.”

100 April 2016 Email your submissions to fxpose@[Link]

 FXPosé Traditional art
2

Email your submissions to fxpose@[Link] April 2016 101

 FXPosé
collette June ellis
Location: Wales 1
Web: [Link]
emaiL: collettejellis@[Link]
media: Watercolour, ink, Photoshop,
Illustrator

Collette, better known as

Flying Viper Illustration, is
a full-time freelance
fantasy illustrator with a
love for dragons and a
fascination for all things mythological.
“I grew up surrounded by the
dramatic landscape of north Wales, and
always felt most content when
expressing myself through drawing
monsters and dragons,” she says. “This
early interest in all things fantasy
sparked a passion that would lead me to
pursue an artistic career.”
The artist mixes both traditional and
digital techniques, working primarily in
watercolour, ink and Photoshop: “I often
start my artworks traditionally and go
back and forth between traditional
media and the computer.”

1 pearL river dragon

Watercolour and ink on cartridge
paper, 12x17in
“The Zhu Jiang or Pearl River is a large
river system in China, so named
because of the pearl-coloured shells
that lie at the bottom of the river
section that flows through the city of
Guangzhou. It’s China’s third longest
river and its estuary is regularly
dredged to keep it open to ocean
vessels. Sadly, it’s also one of the most
polluted waterways in the world.”

2 Lovecraft Stag
Ink on hot-pressed smooth
watercolour paper, 12x17in
“My friend suggested the idea, and
I just had to draw it. The original was
drawn in ink and then coloured digitally
in Photoshop.”

submit your
art to fxposé
Send up to five pieces of your ImagIneFX crIt
work, along with their titles, an “Collette’s Pearl
explanation of your techniques,
a photo of yourself and contact River Dragon is
details. Images should be sent as like one of those
300DPI JPEG files.
magic eye paintings
email: fxpose@[Link] that you look at for
(maximum 1MB per image)
ages, until it suddenly
post: (CD or DVD): jumps into focus. Here,
FXPosé
ImagineFX it was quite a revelation
Quay House when the green beast
The Ambury
Bath, BA1 2BW, UK suddenly appeared.”
Cliff Hope,
All artwork is submitted on the
basis of a non-exclusive Operations Editor
worldwide licence to publish,
both in print and electronically.

102 April 2016 Email your submissions to fxpose@[Link]

 FXPosé Traditional art
2

Email your submissions to fxpose@[Link] April 2016 103

 Workshops

Oils Acrylics

master the drama

of ChiarosCuro
PATRICK J JONES paints The Sentinel using timeless oil painting
techniques and methods, with an emphasis on dramatic lighting

C
hiaroscuro is an Italian light must also contain a captivating connection with another enquiring mind
MATERIAlS
word meaning light and image. When painting The Sentinel I is what makes art special. With a single
dark. As a kid I was imagined the sound of the dragon’s tail Brushes image we’re able to start an imaginative
n Winsor & Newton
enthralled by Disney’s dragging slowly along the arid floor. To conversation that can go in any direction,
(W&N) Cotman
masterpiece, Pinocchio, dig a little deeper I used allegory and opening up a world of possibilities. By
synthetic and sable
and the beautiful chiaroscuro invisibly symbolism. I chose the ageless allure of pulling the viewer in they will ask
woven into the art. The Disney artists Beauty and Beast to engage the viewer’s Paints questions, and dream the answers.
understood the power and magic imagination. The princess’s martyr pose n W&N oils Patrick’s new figure drawing
conjured by a pool of light. It was my first may symbolise sacrifice, or any fantasy MediuM book, The Anatomy of Style, is
sense of light as composition and even you dare to dream. n W&N Linseed oil released worldwide this month.
though I didn’t understand it yet, it left One art lover made my chiaroscuro n W&N Liquin He is also the best-selling
an incredible impression. composition and subliminal prompts n Art Spectrum author of Sci-Fi & Fantasy: Oil Painting
The fact that our eye is drawn to worth the effort when he asked, “Which Artists’ turpentine Techniques. For more on Patrick and his art,
dramatic light is a powerful hook, but the one is The Sentinel?” This kind of visit [Link].

step by step: transfer from pencil sketch to oil painting

1 Pencil studies
Nothing beats drawing from a live model.
With no time for detail, a short life-drawing pose
2 colour rough
The colour rough is a vague, miniature
version of the painting. This is my most valuable
3 underPainting
As final preparation for painting I transfer
a detailed pencil drawing on to my canvas. Here
forces me to draw the essential forms quickly. preliminary stage because it has everything is the block-in stage, with some of the pencil still
This not only sharpens my drawing skills, it I need regarding value and colour strength. With visible. I use mostly flat-edged, synthetic brushes
stamps a better understanding of the figure the colour rough in the bag I know the painting to block-in the masses. This is the stuff that goes
in my mind for the painting stage. will take care of itself. under the final painting layer.

104 April 2016

 Artist insight Chiaroscuro
Edging it
Soft and hard edges are
important for creating
depth and atmosphere.
Softening some edges such
as the outer cloak adds
to the glowing effect and
creates a magical mood.
Fading some of the tendrils
on the dragon’s head into
mist suggests great scale.

MyStEriouS lady
When painting, i consider
what’s important and
usually make that area
highest in contrast. But as
i already have the princess
basking in light i can
afford to be subtle. Keeping
the face of the princess
subdued here adds the spice
of mystery and romance.

lEttEr oF thE day

light it up notice how the S-curve running
Creating the pool of light was from the tail to the dragon’s
the trickiest part. By deeming head creates a coiled tension,
the peak of the bust ornaments making the serene pose of the
as the highest light i created a princess more captivating
reference point from which every and still. if composition is
other highlight was less bright as hard to grasp you can use
they radiated from the centre. the alphabet to get started.
this forged the illusion of a look at the t-shape of the
glowing figure. princess for instance. letters
are surprisingly effective
compositional tools.

April 2016 105

 Workshops

get your
resources
see page 6 now!

Acrylics Clay
Sculpt a dynamic
alien concept
eric wilkerson develops a sculpture beyond a simple reference maquette,
and demonstrates why sculpting is so useful for painting an imaginary creature

S
cience fiction at its best has myself with this project by deciding to the final painting I can work quickly,
always been a form of social have the scene take place at night, knowing that all my light, shadow and
commentary. Precautionary surrounded by the multicoloured neon texture questions have been answered.
tales and imagery that cover lights of the city. For this painting to be My approach to this workshop is to
issues such as politics, race, successful I need to design and sculpt a create a sculpt that’s built from a loose
prejudice and inequality. reference maquette of the alien, which sketch. I’ll let the clay speak to me and
‘Alien Lives Matter’ is a painting artist insight will be the focal point of the painting. develop the design as I go, instead of
directly inspired by the demand for justice Starting out Not only do I need to stage multiple working from a refined 2D concept.
for victims of police violence and the It took a few tries to get figures into clusters that surround the Before we begin I want to share that this is
institutional racism that continues to the pose correct. I focal point, but the lighting that falls on part of a series of ongoing personal
plague the USA. As an illustrator of pushed, pulled and the alien needs to match the rest of the paintings. Therefore I spent extra time to
science fiction, I ask myself, what would it clipped the wire until I composition. I don’t believe in guess work push my sculpture to a higher level of
look like if we as humans treated an achieved the exact when it comes to painting something that finish for the sake of the future paintings.
extraterrestrial the way we treat ourselves? gesture I wanted. doesn’t exist. Therefore I typically create a Eric is a concept artist and
What might the outcry from a coalition of Gluing the right leg maquette so I know how light and illustrator for film, games and
young multiracial activists look like? down helped keep shadow affect the form. Once the publishing. He’s worked as a
I set out to create a composition that things stable while I maquette is complete, I have a resource to concept designer with Weta
depicts a peaceful protest march through worked the wires. refer back to or to photograph in any Workshop and lead costume designer for Blue
the streets of New York City. I challenge lighting set up I choose. When I move to Man Group. [Link]

106 April 2016

In depth Sculpt an alien

April 2016 107

 Workshops
artist insight
go the extra mile
Whether painting or
sculpting, enjoy taking
time to include subtle
details. Even if nobody
will ever notice or see
the extra effort, you’ll
know it’s there. That
additional work always
pays off in the end.

1 Concept sketching 2 Tools and supplies

I start sketching an anthropomorphic alien. Nothing Among the sculpting tools is my pasta maker. I use it
too grotesque or beastly – it needs to look gentle, friendly, to soften and flatten a block of Super Sculpey Firm into thin
almost frail in appearance. The design is inspired by a usable strips. I add a few drops of clay softener before
tropical flower called Bird of Paradise, and seadragons, the running it through. It takes a few passes through the roller
only species where the male can become pregnant. to achieve the consistency I like to work with.

Sticking
everything
together
armature advice
As you assemble the
armature you can also
use epoxy putty to
join pieces
together.

Materials
medium
n Super Sculpey Firm
materialS
n Armature wire
n Aluminium foil
toolS
n Masking tape
n Rotating table
n Pasta maker
n Clay softener
n Pliers
Paint
3 Building the armature 4 Coiling and bulking up
n Acrylic paint After measuring the height of the inside of my oven Next I begin wrapping a thin amount of wire
n Acrylic gloss varnish to gauge how tall the sculpt can be, I make a cutout of my around the armature, because this helps the clay have
n Grey-matt model kit rough sketch and then build my armature to scale with something to grip to. I find that bulking up a form with
spray-paint the cutout. I explore the gesture and glue wire legs into some aluminium foil is a quick way to build up the sculpt –
pre-drilled holes in the wood base. and it helps save on clay, too!

108 April 2016

 In depth Sculpt an alien

5 Blocking in the form 6 Developing the head

Next up, I add some thin strips of clay over the The design of the alien’s head is inspired by flower petals. I start trying to build it
armature, to try and quickly build up the torso and by bulking up with foil, before carefully blocking in the facial features based on my
extremities on my alien sculpture. I’m not all that worried rough sketch. I support all the head petals by inserting additional armatures.
about smoothing and making refinements to it at this point,
because that can be done more easily later on.

7 Sculpting the hands 8 Making it up as I go

For the next stage, I roll up and pinch little chunks of Initially, I couldn’t decide if the alien should wear a shirt or not. But when it came
clay, to form the alien’s hands and fingers. No armature is to it, I figured it best to leave it out. This means designing the front and back torso on
used for the individual fingers here, and this makes it easier the spot, since there’s no orthographic character sheet to consult.
to play with the hand gesture and finger positions later on
in the sculpting process.

April 2016 109

 Workshops
artist insight
lighting the
SculPture
Various lighting
schemes can be
achieved by taking
photos of the sculpt
outdoors or by using
coloured light bulbs.
I use a sheet of paper to
bounce reflected light
into the shadow side of
the sculpt.

9 Lower torso petals 10 Refining the details

Just like the head, I add a thin armature for the lower I take time to study human musculature and define
body petals. A very thin sheet of clay is wrapped over each the back and upper arm muscles into something
petal and pinched to form what I need. In hindsight recognisable. At this point I’m just having a blast and
however, I could have used a more translucent material pushing the sculpt as far as I can, even though for the
here, but this approach still works. purposes of my painting none of this work will be seen.

Baking
tip
Grey spray paint
After baking, spray with a
coat of grey primer. It
gives sculpt a uniform
finish and prepares it
for painting.

11 Exposing his Younglings 12 Painting the sculpture

The alien stands defenceless in a symbolic gesture This is the only stage I finish quickly. I need to block in
of peace, with his petal extremities spread out, exposing his base colours and establish values for the skin. I could have
delicate embryos to our world. I roll up 40-50 balls of clay left it grey, but the coloured lighting I plan to use will affect
and bake them. Then I carefully inset the eggs into the belly the grey base coat differently than it will blue skin, especially
in a tight grouping similar to a male seadragon. in warm-to-cool and light-to-dark transitional areas.

artist insight
that wet look
When photographing a
creature you want to
look wet, apply a coat
of acrylic gloss varnish
13 Costuming the alien 14 Theatrical lighting and photoshoot
or clear nail polish for a I have no experience of fabricating clothing, so I cut I set up lights to match the colour sketch that I did
slimy look. Brushing on out the shape of a shirt from a plastic bag. It was thinner earlier for the final painting. I use two Kuler Bulbs, which
cooking oil is great for than any real fabric and offered great detailed wrinkles for enables me to pick multiple colours and light intensities.
temporary results. It the scale of it all. I wet the alien torso and the T-shirt stuck to A coloured flashlight on my smartphone provides an
wipes off nicely, too.
the chest long enough to photograph. interesting rim light effect as well. I take dozens of
photographs to capture what I need.

110 April 2016

 In depth Sculpt an alien

15 The final painting

I complete the final image in oils on birch
plywood at 30x40in. In addition to my sculpture, an
evening trip to nearby Times Square, NYC, supplies the
perfect reference to complete my painting.

April 2016 111

 Workshops

Oils

Painting alla
Prima from life
Illustrator AnAnd RAdhAkRIShnAn reveals his process of painting a live model in
oil and also talks about his colour choices while depicting skin lit by sunlight

P
ainting or drawing from life important aspect of painting from life is particularly like, before repainting. It’s
MAteRIAlS
regularly is an important that the human eye is capable of seeing one of the few mediums that give you
practice because of the many more depth and colour on the live model n Canvas large variety of textures and colours.
benefits of having the model as opposed to a camera or monitor. n Oil paint I usually have a friend or acquaintance
n Brushes
present in front of you, instead The term ‘alla prima’ is simply the sit for me in my studio space, where I can
n Turpentine or any
of being a two-dimensional photograph. technique of oil painting where layers of use sunlight as my source and pose the
other solvent
Doing so trains the eye to see how the wet paint are applied on wet paint, model accordingly.
n Palette
form turns and how light affects the usually in a short space of time. Oil can Anand is a freelance illustrator
colours on the human skin. It also be a challenging medium to use, who works in Mumbai, India.
encourages the artist to work faster and especially when working fast from life,
get your He takes his inspiration from
make colour choices on the go, because in
most cases the model is available only for
but it’s also a flexible medium in the
sense that you can layer it endlessly and resources
See page 6 now!
masters such as Moebius,
Alphonse Mucha and Jeffrey Jones.
a limited amount of time. Another simply scrape off parts that you don’t [Link]/anandrk

I paint in the background

colour – a combination of
burnt sienna, burnt umber
and yellow ochre – in this step
to isolate the head.

1 Arranging paint on
the palette
I place paint on my palette from left to
right and going from light to dark, with
the cools on one edge and the warms
on the other. The rest of the space on
the palette can be used for mixing
paint. It also helps to use separate
brushes for cools and warms, to avoid
developing muddy colours.

From left to right…

Ultramarine blue
Cerulean blue
Viridian green
Titanium white 2 Blocking in large shapes
I start by observing the basic
Lemon yellow shapes of the head, and then block
Yellow ochre them in. I usually quickly draw in the
Cadmium red simple head shapes using burnt sienna Because the model is seated next to a window on his
Crimson lake and then fill in the simplest light and left, I have the left side of his face lit brightly by
dark pattern using mid-tone colours. sunlight. This means the rest of his face is in shadow,
Burnt sienna You can also add the darkest darks, which creates a clear light and dark pattern.
Burnt umber such as the hair shape, at this stage.

112 April 2016

 Artist insight Paint from life
I paint with
large strokes The hair shape is almost
of the brush, never a flat colour, but
keeping in Squint rather a variety of
mind the Simplify ShapeS
muted darks (depending
planes of the and colourS
on the lighting). In this
model’s face. Squint to judge the planes
case I can see accents of
of the head and see the
purple in the hair, which
I recreate with crimson
colours that appear on lake and cerulean blue.
the skin and hair
when light hits.

I add accents of colour

to the portrait, some
of which I’ll retain in
the final image.

These lights are cool,

compared with the
rest of the image.

3 Building up form
In this step I work on defining
the planes of the model’s head and
attempt to create the illusion of form.
I also add the lights that I had
previously left canvas-white, but these
are still not as light as I see them on
the model. However, I decide to leave
these for the final stages.

Here is a
soft edge on These areas usually have
the cheek. I more reds in them.
add a slight
gradient to
the background
colour to make The jaw and chin areas
the light side of have more greens in
the face glow. them, especially for men.
This technique of
Squinting reveals placing patches of paint
colour accents on of different values and
the hair where it colours next to each
catches the light. other to create turn in
I use a hard edge form is called tiling.
here, where the
forehead meets
the background.

ARtISt InSIght
4 Identifying edges and 5 Finishing and highlights Use a mirror
accents of colour The modelling stage of the painting continues Keep a mirror handy
As the picture nears its end, I think until I call it finished. Now I add the lightest lights, in this and check it constantly
about the various edges that make it case, the planes of the face lit directly by sunlight, the to see if your colours
interesting and use a variety of them eyes and so on. I work on flattening the background so and values work.
to bring attention to the focal point. the strokes don’t interfere with the portrait. I also work Looking at a mirror is
Adding accents of saturated colour in on the fabric of the model, although I keep the shapes like using a new set of
a few specific areas does the same job fairly simplified and loose. eyes to view the image.
of directing the eye through the piece.

April 2016 113

 First Impressions
Chris Achilléos
Frank Frazetta. He helped me by
We talk to the Greek showing me through his amazing work
that it was possible for me to work as a
artist who made his fantasy artist.
name painting How has your art style evolved over
fantasy glamour… the years?
In the early days upon leaving college
and starting to work, I would use
Where did you grow up, gouache for painting and inks for air
and when did you realise brushing. Later on I used watercolours
you had a talent for art? on paper and acrylics on illustration
I was born in Cyprus and board. Nowadays, I mostly use oils
lived with my mother, on board or canvas, unless the subject
grandmother and three sisters. My father or commission demands one of my
died when I was five. In 1960 my mother other techniques.
made the decision to bring us all to
London. I was 12 years old. What’s been the highlight of your career
Throughout my childhood, I was ELVEN WARRIOR imagination. That’s something that I so far? Any low points?
always aware that I was quite capable “This was the most detailed work seem to be blessed with. Early in my There have been a fair few highs: I guess
that I’ve ever done for a book
and inventive. I was very good at making cover. It was inspired by Michael career, I was using my talents to work when my first book, Beauty and the
things. Yet I only became conscious of Moorcock’s fantasy works of the and provide for my young family, taking Beast, was published in 1977.
elvish hero Elric and his world.”
my ability to draw when I found myself all commissions that came my way. At Furthermore, when F.P.G. (Friedlander
more or less housebound in an upstairs around the mid-1970s I made the brave Publishing Group) published my
flat in London. I escaped by losing decision to drop all other work and artwork as trading card sets and when
myself in comics like The Eagle, where I concentrate on only accepting I saw my paintings turned into figurines.
would spend hours copying the commissions of the fantasy genre. Low points include the early 1980s, and
wonderful illustrations within them. when I had to take legal action against
Did anyone help you in your art journey? my own publisher.
What was your big break? Certainly. The first was my school
I don’t know if I had a big break as such. teacher, Mr Hue Gordon. He made me To date, what’s been your most
I have stages in my working life where aware of my talent and enthusiasm for challenging commission?
opportunities helped to move things Next month drawing and painting, but more than I guess that has been when I was hired to
along. For instance, when I was XHeather Theurer that, he arranged for me to go to art work on films as a conceptual artist. I’m
commissioned for my first book cover; college. The other was the master, not talking about the actual work, but
when I had my work collected and rather when I had to deal with some of
published as a book; and when my work
appeared on sets of trading cards.
Frank Frazetta’s work the people in the industry. At times, this
presented quite a challenge.

How did fantasy get on your radar?

showed me it was possible for What advice would you give to your
Fantasy in Greek means imagining or me to work as a fantasy artist younger self?
Ha – I wouldn’t dare! Looking back
DRAGON ATTACK at him, I’m amazed at that young man
“My latest personal piece, which was and how he managed to do so much
realised from a sketch done in the 1970s.”
work, meeting deadline after deadline
and at the same time providing for his
young family. Gratitude and respect,
young Chris.

How would you sum up your work,

in under 10 words?
You know, I’m not sure how to answer
this! I’ll leave this one up to the
ImagineFX readers.
Over the past 40 years, Chris has created
some of the best-loved fantasy and glamour
art, and is acknowledged as one of the top
fantasy artists in the world. Find out more at
[Link].

114 April 2016

9000
9012