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ImagineFX Presents The Digital Artist S Survival Guide

Survival Guide

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Ankh07
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641 views116 pages

ImagineFX Presents The Digital Artist S Survival Guide

Survival Guide

Uploaded by

Ankh07
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
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“hair can have almost any shape, so when it comes to painting it, think of it as anace up your sleeve." a Editor's Letter ] Whe 13,4 Ifyoutre new to digital art or ust want a resource close to hand when you‘te in need of some advice, then The Digital Artists Survival Guide will become your new best friend. Its packed with, informed and unique advice, and our team of artists from video games, comics, the film industry and book publishing have an answer for everything, almost. Want to learn how to paint feathers on a dragon? Done. Want to understand how to use perspective? It’s all in here ‘More so, we've looked at some of the most popular software used by digital artists and compiled our starter guides to using the apps. Whether you're using Photoshop, Painter, ArtRage or even budget software like PaintTool Sai, there are bite-sized tutorials to walk you through the software's tools Inside you'l learn to use layers, create custom brushes and navigate the apps. In total there are 117 chunks of easy-to-follow The Digital Artist's Survival Guide is 4 special edition of ImagineFX, the only magazine dedicated to tutorials that will aid you in improving your digital art or help you get to grips with the core skills needed to enjoy this art form! fantasy and sci-fi art. Our aim is to help artists to improve both their traditional and digital z art skills, a! © Tan Dean, Editor i — Visit wunw.imaginefx.com to find out more! OFfet anton yu can BASIC TEXTURES ‘Above are some of myidess forthe typeof texture brushes that you might want to et up nyour pete Metal organic pant. bricks, eating an stone re ll good, al-purpose textes, vill need to know what material fel yout ying getacioss ‘Seaingup afew basic textures meansyou wont hate toseac for texte photos eel so the Hoang Brush tool or the lene ‘Toaltaeovertheseams. RESOURCES Use yourown photos rater tan a stock ovary to ensure your workis your own SHARPENING Cresta cower bru texture by sharpening ~<0- ‘imeyou need o paint pce Hete Fl show you how 1 set upavexture cree ‘usm brish an then ett apy texture to your artwork, CLASHING EDGES se previous texture brush to maskthe deer ofanew one This breakup the cde nicely. RESOURCE LIGHTING When you are photographing attire try tensive thatthe ightngisas fata ori. The wilavond ging toomuch formtothe texture. Photoshop | Document settings and texture brushes isoSs ton ioc =o 2 === a a SB su Rulers and Guides RGB and CMYK hese ate vial for cortectly hese ae he snc ‘docutrent fr pik ‘clout fermats in Pho Capture your texture Create the brush Apply some texture ther phelegrapha rea Teeredtethetnah use he New ve can experment vith the releencecrgetoumuucgretussccin Leto ‘00 tosaect anarea nthe teveh Clk th ecture anon new forisischheetetwes Thenceseteot exe anc copy tienen lver.ona layer Thestames detects orm your thestciobygang olmagesMode>—idebackgrewrd Thebxahmat prec Diller kyer Bendy modes reyecale Ths ony works with Rawuhesuroundngiasvnte ll scvewevanouselfects, Overy ‘teyscale rages orcustom brushes. vl evertualy ened uc becoming Usualy gives good ress YOucan Frereaceihe canirestcfthevalies” tarsparent Tye make he edges cfs he tis by changing the rrogesad stent thebrshcoherencwthchetedure. brat settings suchas Anse and CenrestFeraieaueseme bush ek Sec Allon then eres Opoety Jer you con rncemise your male sure i'shigh reschiicn ile: Edi>Defne Brush Preset Youncw have brush erable yeu top: across the 2000 phels vice ‘custom brush mshola cana for uneve ecu ~o UNDERSTAND CLIPPING MASKS |~ Clipping asks are mass based on the Clipping Masks ae one of hema ‘eanapatens dot from lagers. They ‘ways maskin Photoshop. and while they commonly used for gapic design sks, may potbe the most staighiforwardto use, Jorerample adding peturetotextor they ae interesting bei, Here. 1 ecto but they cane very effective in show yeu one meted fusing Chipping tii work 0. Masksto create character thumboail TIPS FOR BE SELECTIVE the wansparent ta Toeheek what's By sing Clipping Mask. youonly dust transparent inyour image simply hie the MASKING thelwerthateorrespondsto,wihout lowest iyerin the stack 2 fleeting the res ofthe pees. ALTERNATIVES derstanding ow Clipping NON-DESTRUCTIVE Youcanuie Adstment Layers as loping Macs works key togetng While youcouldusethe Lock Transparent Masks bat those illo affect he layer ‘themes rem them. Pirolefeature, Cipping Marks omableyouto that thee attached tts ako possibloto wworknon-dectuetvey Your Clipping Mask uo Clipping Masks arn alerative tothe Wilrecosniseresuarmasksthat youve Quick Mask Feature, f Used on otho ves. TEXTURES \ ‘TRANSPARENCY ‘Tryusing a Clipping Maskabove a vecton, Cipeng Maser don wore onic nichenaolesyouto gota great eect \ and white dataiketypiclmasks,buten _youuse texture, ON THE STRAIGHT AND NARROW oe — Grids andrules comeintotheirowa wheat poston anid show you thesiein youu startseting out compenitionl guides diferent units mensrereat. The gos Dr prcparingashoweaseofyourworkforaasquare rer, which you can specify the tllent gnor them at your perl he rulers size and comesin handy for erence ‘aloe side ad tp of ou ‘work ae propestions. PRECISION TIPS LAUNCH THE LINE TOOL BACK TO THE START UsetheLinetooltockawthe gran Doubieclek the top area se the rewlayerYoueanalio ethene riers te reset hearin pont back othe fecton guises fige ot your picture OVERALL MEASUREMENTS SWITCH MEASUREMENTS When sing the Ruler tok ts ‘Tosh change te rulers unit asurementvaluescorespondto measurements rightcckin their ae thetypos of unit mossurementthat_forothereptons. yourraors have. ‘SEE YOUR RULERS ALTERING PREFERENCES Display rulorsbyccking ViewoRulrs, You S comic into Heir own when you prepare Changing te rd preferences wil affect can pulldown guides rom the ruler area lof your open fesse beamareof this. onto your blece mth View>srap. for a client Ignore them at your peri @ CHANNEL HELP SEE CHANNELS IN COLOUR GOING FROM RGB TO CMYK Teviow channalsinthek respective _ifyoupaintanimage n RGB that wll coleurall ounoed te do isa0to bbe ptntalin CMYK, the values may change Photosnop/Fi> Preterencs>interface when you convert resulting washed andtick'Show Channels n Colour: A outcolous. Conect tne with Smplestito earn. lovelacstment. BLENDING USING CHANNELS CMYK FILESIZES Double-cleking anew layer clsplysthe CHK ls wi bea ager este because benaing optons Hereyou can achust more channels are used the lendng using the channels whieh (Colour channels and image modes later pantingandereating sold ORE CHANNEL ADJUSTMENTS: evermine ow colo iscombined in your col grape nf pleco, Sometningtoremember it Austment rook Understanding these features modes such as Levene Cures vill enable you to ahiewe better printing PRINTING GREYSCALE ART _enebleyou toadhst charm Zasand make key colour aunts, Printing Greyscae artwork with 3 fu Thelmage Medes ase under calourrange adds moro subtietyto the THINKING ANEAD. Image>Mode and changing them enables final printed pec. ausetltechriave Check wth you elent oid out how your yo display the alo nvrration tokeepinmindwhenpalningwniguo image willbowsed and how it should bo Affero ueng chants Theclour fanaey art channels display the okt information of ourpiee as separate ayes Aredineton isa key process when oi feedback fr artassets, atts also a ercial method of explaining your ‘oun artwetoaclen, Ale of atts ne now working as Felance a are used offsite, 0 cary vial inthe FEEDBACK TIPS USE coLouRS = WRITE SOME Colouryourlayerstoincestes changed |), NoTes lyr Yoo Uo itch Cec te Notesareagreat leyeryounentiocatourandaciect ayer | mall non-dexrove Propertis Then choose sealout ‘way totals cont ‘exacty wien MAKE YOUR CHANGES CLEAR lemontr you have changed Inthe Tools Ityoute overpainenga piece,useanen Palette youllMndthe Notes Teck. simply layer and use ear solid rushes nd _cek your artwork where you need oad caloustomakeallthechangescbvious. — thenoteandthen start wring. ORGANISE YOUR LAYERS GET TYPING akeuseofth layer palettes tunctons, The Toxttoelcan be used to addnotesto suchas using Grows layer colouring your artwork you peter. Clckend des to are naming the layers ‘raw a bor for you tot, <@- ACTING ON AR! Supplied a final format T FEEDBACK } presentation ofyour work and s0t00 is understanding feedback hen you ae nat sitingina suo 15 good tolinow what tols tous, $0 ete re thre methods or annotating ard dhning your aver, MAKE YOURSELF CLEAR Winer youre annotating your work Be at clear aepossise wo that anyone can Understand yourintentons. NAME FILES LOGICALLY non saving artwork seth changes made, You should update the flename by acing umber increments Ensure be 25/0 foo hough the various erations MAKE ROOM FOR FEEDBACK Enlroing the canias (Mac: CmévAl=C, PC: Altus) wil hve you mere space te ade eodbackreorences and pan-overs. Photoshop | Colour channels and acting on feedback Sharpening with Lib Color’ Making use Smart Object Nyeuneedtt Tueendersed so and ARTISTS PANEL Cynthia Sheppard Nice tae are wth Sioceunain vations Banting. Gates ta beng Ebel teehrigucs to her ‘raise Nick Harris Years warking with radon ) 3 ek Tuna Bora att basen t cent ee Ta ae Remko Troost a Oban incanads Jonathan Standi vlna Strang 2 Danone tors Paco Rico Torres Pacoleatreslncellutrtar fra n Span rtersoteral coe games coneeplorust airman Kev Crossley ang ondng comic ant monacha come tes sani Judge Dred se che rena ‘Mélanie Delon Frnchrtt arctitrator Coversand gmes Shas DIGITAL HOW TO PAINT CHARACTERS ‘Master the simple technicuues and skills needed to create and paint character art, including advice on painting clothes, anatomy and poses. | Characters DOWNLOAD YOUR FILES DIGITAL ARTIST'S. The best way to... draw a snarling facial expression Artist's advice Cynthia says ZA Tse snatingexpresion is made by exaggerating certain features bf thetice and nding inks fr reases here theresa smoothskin, Theminfstare affcted by 2 snarl orsnceristhe mouth, which opens ‘wider and epeses he eth, sometsnes at mange. Thelips pl backto reat big ‘ceases fom thesidesof the noe den toward the chin. The muscle round the ce alo contact causing theses elves to become narower, depending ‘on theives of the expression Howser sartng does ust top atthe changes the mouth andthe eyes. a cexteme spar or scream, the muscular ‘hangs beneath theskin take sapein some ofthe fllowing wavs Bigeresses form fom thesde ofthe nose and aval dwn eet to the auth Sal crnses emanate frm te inside corner of hee, curving upiard past thebrow and omtothe Tridge ofthe nose, Corrgaton ec in the forehead above the eyebrows, Si ‘reas emanat from the ouside commer of theeje giving appearance afer even injoungchaacter). Bunchingof the ‘Sin occurson the chin blow the moth very fail mace affect other are surrounding ic Whe a muscle eases ia theforhes for example yo can sea thange inthe checks and epee tn. Take nto account shat happens to every aro he face to ell sll the expression, Painta contorted expression Draw 8 face. Imagine she features are made of clay any direction, but wher come closer together, make & line ta incieste a craase That's what the muscles do when we Ina bight snarl or sneer, most ofthe wrinkling happens on one side ofthe Face, ‘with the exception of alight parting af tha mauth. Think bout the places where tne creases are strongest and drew them n as light lines. Shade the face, Don't make the crenses t20 dark andl remembe' ounded folds of skin, not just lines, Save the darkest wrinkles for around the nase, and paint the ones by the eyes; lips and brows with valve signs arr then the Sk | Characters paint a character who looks paint someone half- soaking wet submerged in water Cynthia says strighe, Like bic hai also becomes hharacteravwetorshinyglook — darker when wet, so your characters blonde istouse smal bright hair might appear brown, oben might Iighlights Normally when Jookelenetoblack "Water droplet and environmental cues hep fnih of the lok. Add steaks of water running downa charactesskin. Using ‘ol thrust it lige tha dhe kin fBeesa great eft Ifgour characteris ‘renched he or dhe might have drops of ‘rae fling fom her ose, chi oF a wwe seea face in song igh, ke my example ere we expect the light to be Aistrbuted ty evenly ove theside facie ligt stead you ean sce bright white highlights on the forehead rae and aboue thei, My second suggestion would be1> Hyeaif Adding hatch mart of anor using sot uy. Roane brush ett low opacity to suggest dense mia increases the beleabiliy eat yourcharacerisina wet place sive your charcersingy the water tha soaked ino would give icesta weight and make chang HB ay Aste tcenaosoachosest oon the water wil lok. Achopy sea hava wey eifferent Pad sem acd ong Inter here ors tar choos» reson my fee ofa colourthat conte with the daonesof the wer Thoin a darth rade ough with the i rash ARageon a laerbaneth tone paint the guteon Awe the, arabe ayerat the top othe ‘composition, Ilocen a grssy bane Refer to details added on this or mark making the water layer but dni wory too muh about set aecatay Why Hecause ext lus the Stud plete to drag the ayer pics tan ight to create gag pect. Yu can thesame ding for eects ofthe gure, tein nnd cat ite rfc depron dhe anil os end were fice. Hing atshapestelon the surfce where the figures submerged /SKIN.AS A REFLECTOR © = As weil as having brighter, sme: L ‘ghlihas, we sin abo picks sp mere eee re ang jeune aad A eee characters chin and on the side of her face. Learn how to. draw convincing eyes for portraits The best way to... draw a hand holding an object Sancutitincaes ncenmettonere temas Artist's advice Tuna says start witha reference, The eyesae the focus of ‘heen potas bate tl have to ener them ‘ulably oF the occasion, In mos porri,they ane thesharpest most rendered part. Butinapaising, out action ora objec they could be tee fizzy brush ‘rok Thi ell the vain rc aloog wth beeping othe simple painting rules of clous, temperature, form aid vale (fr isionce, derstanding the white of the eye doesnt have to bewhte).Agreat way io study this to look tthe wore of Aifren srtmasters, Understanding the forms slp to. remind myself se ees aspere thar bigger than seems contac ens ike shapeesiaes cut of thssphere ight sere we look. Thats why there ear highlight around thei. The ight sualy ‘her don and ie a concave srface (hat aligns ith he ghia height source) in thes Teo loose line eh, Hen make it warmer because want to change this ented, white las ight io directional warm Tight. ee seme hase form and lel tonecolour: The i’ Justa mane ofeowing the rales explained reminding self ofthe light source and being consistent ith i cep any sharp edges oa minimum, and add some texture ‘othe shin and irs These hep atin making things ook eal. although you lock cosy id very ine work there noe Artist's advice Remko says Hands aecomplexobjects. ifthe fur finger ld inside to Use has ‘Theyenoceasyto daw and palm, heli ger comes loses your ‘uiakesalatof observation writ thanyourindes inge ‘Asam example if you daw hand holdings gun, agneatexeiseto se ifyour hand scores to ako draw the pat Iho the gua om anew lye) Dr the part you doatscew checkifinworks. Dot worry aboutthe qualiy ofyour Another cool exercises drawing the sings juterytoundertand why hand holding agua, without the gun. These thehand actsasit does. You soon spot kind of exercises from sever] points of some unusual its Pings are ined view wil slowly get you ued to craving [Upstnghton thehandandthis sy, handsand understanding thet comply. tounderstand hem, Draw sketches of your on hain several positions and observe how thehane fd ing fold and move al the way thebaad is otached to the writ. An easy way to, aint an image with realisticlooking P shadows and lighting Artist's advice Jonathan says TRememerthatshadews _ whileyourprimary light source may notbe arent physical cbc but__fllinginan area of shadow, perhaps a shapesanedcolouscreated secondary one or bu light Try bythecbuructionoflight retain ransparency i yourshadon. ks falling ono asurface So, when thinking, east the onal vale fa shadow about shadowsinyourimage the most become so darkthatiends up opague Important ficorishowisvourscene Then theimageusuallyakeson duller Considerthecolourofthelighy ts leaden qualioy unless wey graphic ‘neon effusion, and ditancefrom Provided youre cael wth your ur of thelighn source w surface very daktonesoreven back (Pal wy 10 Uniessyou havea mono lighting _avodtif possible), why notadasome scheme most ofyourshadowswon'tbe occlusion shadows’ These occur where black soavoid the uigeto sei! Light surfaces mee efetively backing ight ‘bounces around ual of he tine and ~

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