Documente Academic
Documente Profesional
Documente Cultură
Blaz Porenta
Articles
Sketchbook of
John Thacker
The Gallery
Bruno Hamzagic,
Evan Lee,
plus more!
Fire Truck
The Off World Vehicles series comes to a close, with Mike Hill showing
us how he created his vehicle, the Fire Truck.
Contents
Contents
Editorial
Keep practicing!
You can never be
too good.
006
Blaz Porenta
Gesture is so important
to making an appealing
drawing, so sometimes
I will just make things
for that sole purpose
016
Sketchbook
The Gallery
022
Its been a while since we last spoke to the Blaz Porenta and a lots changed in this talented concept artists life over the
last couple of years. He chats to us today about being part of the fantasy card game Legend of the Cryptids, leading a
3DTotal workshop and what he has to look forward to in the future.
034
but if you would rather stay inside and get some painting done,
044
The ability to sketch and render vehicles is an important asset in the field of concept design. In this tutorial series each artist has been given a brief description of
a possible vehicle, which they will approach like a games brief to demonstrate the techniques used when creating a vehicle concept.
February Issue 086 Speeder March Issue 087 Deforestation April Issue 088 Personnel Carrier This Issue Fire Truck
John Thacker, a concept artist in the game industry, shares his whimsical sketches of
Costume Design
052
Creature Anatomy
060
DESIGNING
NEW WORLDS
064
Games and films are made up of many different features such as characters, environments and vehicles, and it is important that all these elements work together
to demonstrate a consistent visual language and therefore create a believable environment and society to engage the audience. In this series our artists will take a
comprehensive look at creating a new world from a concept perspective, and investigate the processes and techniques that can be used to create all the major features of a
game or film.
Absinthe
Interview - 2D Artist
Westbound
072
This month we feature: Jennifer Healy | Evan Lee | Titus Lunter | Bruno Hamzagic | Sayja
Bastien Grivet | Aekkarat Sumutchaya | Markus Lovadina | Arthur Haas | Mohamed Elgalad
About Us
081
Costume design is an important element to character design as it helps to enhance a characters personality. You can create an evolving plot of color, changing social status,
or period through the visual design of garments and accessories. In this tutorial series each artist has been presented with a games-like brief describing a character from a
certain section of a fantasy medieval world, and they must design clothing suitable for that characters job description.
www.3dcreativemag.com, www.2dartistmag.com all physical books, ebooks, emags, video content, texture
With the continual development of technology in video games and the wild, imaginative story lines of films, the possibilities of what concept artists are able to produce
become broader in detail and function. With strong silhouettes, recognizable color schemes and distinct proportions in anatomy, it is still important to know the basics of
animal and human anatomy when designing these creatures. In this three-part series, talented concept artist Vinod Rams demonstrates how to use human anatomy as a
Discount Code
written
basis for creature design, create a hybrid creature based on human and animal anatomy, and use real word examples as a reference for designing a creature from scratch.
series, which see Richard Tilbury design a defined costume forDigital Art Masters: V7
a
religious leader, and Mike Hill create a concept for a fire-fighting
Editor
Jess SerjentTipping
Lead Designer
Chris Perrins
Content
Richard Tilbury
Jess SerjentTipping
Proofing
Jo Hargreaves
Marketing
Emma Handley
Free Stuff!
Layout
Az Pishneshin
Matthew Lewis
Layla Khani
www.2dartistmag.com
page 2
Magazine!
feature in this magazine, follow this handy little guide on how to set
up your PDF reader!
Keep practicing!
You can never be
too good.
Contributors
Blaz
Porenta
Contributing Artists
http://www.blazporenta.com/
blaz.porenta@gmail.com
Every month many artists from around the world contribute to 3DCreative
and 2DArtist magazines. Here you can find out a bit more about them!
If you would like to be a part of 3DCreative or 2DArtist magazine, please
contact: jess@3dtotal.com
Gerhard
Mozsi
Richard
Tilbury
last couple of years. He chats to us today about being part of the fantasy card game Legend of the Cryptids, leading a
http://www.richardtilburyart.com
http://www.gerhardmozsi.com/
contact@gerhardmozsi.com
ibex80@hotmail.com
www.2dartistmag.com
page 4
Keep practicing!
You can never be
too good.
Its been a while since we last spoke to the Blaz Porenta and a lots changed in this talented concept artists life over the
last couple of years. He chats to us today about being part of the fantasy card game Legend of the Cryptids, leading a
3DTotal workshop and what he has to look forward to in the future.
work on?
needed a push.
www.2dartistmag.com
page 7
Interview
Blaz Porenta
hectic schedule!
www.2dartistmag.com
page 8
www.2dartistmag.com
page 9
your brain run free and dont limit it, youll come
www.2dartistmag.com
page 11
Always a pleasure!
eBookTraining
To see how these three final illustrations
Blaz Porenta
Web: http://blazporenta.blogspot.co.uk
Email: blaz.porenta@gmail.com
www.2dartistmag.com
page 13
! n
W ciptio
NO bs
E d,
BL loa
Su
A w
IL l Do
A ita
AV, Dig
D
DV
In this two volume series, Scott Patton shows the processes he uses to
create a 3D character for feature films. The first volume explores
Patton's fast and efficient method for concept sculpting, skipping the
2D sketch phase all together and designing the character entirely
within ZBrush. He covers everything from blocking out the forms
and fleshing out the muscles, to adding props, detailing with alphas
and posing the character. The second volume covers methods for
creating a final color rendering using ZBrush and Photoshop. Patton
cr
shows how he squeezes the most from ZBrushs powerful renderer to
create both a wide and close-up shot of the character. He then shares
creative Photoshop tips and tricks to quickly get to a finished piece of
concept art from the ZBrush renders, covering topics such as adding
and refining skin texture, hair, eyes, shadows and scars. Patton also
discusses how to create backgrounds that enhance the character and
overall composition.
ov
www.thegnomonworkshop.com
Gesture is so important
when it comes to
making an appealing
drawing, so sometimes
I will just make things
for that sole purpose.
www.2dartistmag.com
page 17
Sketchbook
John Thacker
www.2dartistmag.com
page 18
Stylization provides so much room to play. Even with things like this
though, it is all still rooted in real-life figure studies (Fig.06).
www.2dartistmag.com
page 19
Sketchbook
John Thacker
www.2dartistmag.com
page 20
John Thacker
Email: johnrthacker@yahoo.com
This month we feature: Jennifer Healy | Evan Lee | Titus Lunter | Bruno Hamzagic | Sayja
Bastien Grivet | Aekkarat Sumutchaya | Markus Lovadina | Arthur Haas | Mohamed Elgalad
Meeting
Arthur Haas
http://www.ahaas.nl/
erahaas@yahoo.com
(Right)
www.2dartistmag.com
page 23
Detective
Muhammad Algalad
http://algaladart.blogspot.com/
elgalad_mail@yahoo.com
Desert Empire
Markus Lovadina
http://malosart.blogspot.com
malo74@gmx.de
Color Rings
Aekkarat Sumutchaya
http://aekkarat.blogspot.com/
webang111@gmail.com
Saramago
Bruno Hamzagic
http://www.facebook.com/bruno.hamzagic
jadecilcleton@gmail.com
10 of the Best
The Gallery
Golden Lie
Jennifer Healy
http://beautifulburden.com
jenniferhealy@hotmail.com
(Left)
Thermal
Titus Lunter
http://www.tituslunter.com
titus.lunter@gmail.com
(Below)
www.2dartistmag.com
page 32
SynthEyes
as
ling, panoram
mode
ools
an plates, set
Extraction: cle
d Calibration T
is an
Texture
ns Grid Analys
d Le
New Advance
youtube.com/SynthEyesHQ
The ability to sketch and render vehicles is an important asset in the field of concept design. In this tutorial series each artist has been given a brief description of
a possible vehicle, which they will approach like a games brief to demonstrate the techniques used when creating a vehicle concept.
Speeder
Deforestation
Personnel Carrier
This Issue
Fire Truck
www.2dartistmag.com
page 35
www.2dartistmag.com
page 36
www.2dartistmag.com
page 37
www.2dartistmag.com
page 38
www.2dartistmag.com
page 39
Mike Hill
Email: mike@heavyunitdesign.com
DESIGNING
NEW WORLDS
Games and films are made up of many different features such as characters, environments and vehicles, and it is important that all these elements work together
to demonstrate a consistent visual language and therefore create a believable environment and society to engage the audience. In this series our artists will take a
comprehensive look at creating a new world from a concept perspective, and investigate the processes and techniques that can be used to create all the major features of a
game or film.
The Introduction
In this tutorial we shall examine the industrial
core of our society. Industrial production is
the sleeping giant in our alternative history.
The world is at peace, yet the population has
demands. An ever-burgeoning world state
requires goods to placate the needs and wants
of the people. Though with such prolonged
peace comes stagnation and complacency.
What does this brooding industrial machine look
like?
The aim is to create a scene that depicts
a lumbering industrial factory, a state-run
industrial facility that appears to have been
running for eons and is now in a state of slow
decay. Its cumbersome, steamy and grinding.
Through this illustration we will explore using
color and texture to depict our industrial
setting. Furthermore we shall spend some time
on shape theory, the idea of positive and
negative space, as well as the effective use of
atmosphere in depicting scale and depth.
Blocking In
www.2dartistmag.com
page 45
extraneous detail.
evident.
www.2dartistmag.com
page 46
(Fig.05).
www.2dartistmag.com
page 47
(Fig.07).
introduction of atmosphere.
(Fig.08).
www.2dartistmag.com
page 48
Wrapping Up
Gerhard Mozsi
Web: http://www.gerhardmozsi.com/
Email: contact@gerhardmozsi.com
www.2dartistmag.com
page 49
Costume design is an important element to character design as it helps to enhance a characters personality. You can create an evolving plot of color, changing social status,
or period through the visual design of garments and accessories. In this tutorial series each artist has been presented with a games-like brief describing a character from a
certain section of a fantasy medieval world, and they must design clothing suitable for that characters job description.
ideas.
Introduction
Thumbnails
of drawn in lines.
www.2dartistmag.com
page 53
Costume Design
impact.
inclusion of a staff.
Characters
I did not particularly want to design a character
that looked as though he belonged to this world
necessarily and I so started with a hybrid, which
can be seen in Fig.03.
www.2dartistmag.com
page 54
www.2dartistmag.com
page 55
Costume Design
marginally (Fig.10).
www.2dartistmag.com
page 56
Richard Tilbury
Web: http://www.richardtilburyart.com
Email: ibex80@hotmail.com
www.2dartistmag.com
page 57
Meet modo.
Wonderland | Ken Kaiser, Animator | Veronica Marino, Compositor | Phan Wiantrakoon, Animator | John Iskandar, Visual Effects Artist | Jacob Curtis Miller, Digital Artist | Geeta Basantani, Digital Matte Painter | Andrew Lawson, Charac
nimator | Assassins Creed: Brotherhood Zack Mathew, Animator | Wilson Mui, Team Lead Animation | Avatar | Michael Cozens, Lead Animator | Tamir Diab, Technical Director | Patrick Kalyn, Animator | Chrystia Siolkowsky, Motion Edito
en Sanders, Animator | Alfredo Luzardo, Layout Technical Director | Aaron Gilman, Character Animator | Jami Gigot, Texture Artist | Bioshock 2 | Jacob Palmer, Animator | Bobs Burgers | Tammy Dubinsky, Animator | Nathan Keane, Animat
ffects | Jake Biberdorf, Animation Supervisor | Coraline Brian Demoskoff, Animator | The Dark Knight | Gia Sadhwani, Digital Effects Artist | Freddy Chavez, DMR Compositor | Pietro Ponti, Lead CG Lighting Artist | Dead Rising 2 | Fredr
ass, Animator | Dead Space 2 | Wayne Gonsalves, Environment Art Lead | Despicable Me | Justine Codron, Lighter | District 9 | Neill Blomkamp, Director/Co-Writer | Shawn Walsh, Visual Effects Executive Producer | Samson Wong, Matchmo
rtist | Robert Bourgeault, Lighting Lead | Richard Sur, Lighting Technical Director | Paul Copeland, Visual Effects Artist | Julianna Kolakis, Creature Texture Painter | Jelmer Boskma, Modeler | James Stewart, Creature Supervisor | De
tevenson, Matchmove Lead | Drag Me to Hell | Thomas Schelesny, Visual Effects Supervisor | Dragon Age II | Nathan Zufelt, Senior Cinematic Animator | Family Guy | Michael Loya, Storyboard Artist Fast Five Rommel Shamoun, Composito
nthony Di Ninno, Animator | Fringe | Bob White, Visual Effects Artist | Scott Dewis, CGI Supervisor | Futurama | Claudia Keene, Prop Designer | Gears of War 2 | Scott Dossett, Senior Animator | Halo: Reach | David Helsby, Animator | Matth
urner, 3D Artist | Rajeev Nattam, 3D Artist | Happy Tree Friends | Brad Rau, Animator | Harry Potter and the Half-Blood Prince | Pietro Ponti, TD Generalist | Gia Sadhwani, Digital Effects Artist | Teh-wei Yeh, Lighting TD | Kieran Tether, Dig
rtist | Harry Mukhopadhyay, Lead Effects Technical Director | Harry Potter and the Deathly Hallows Part 1 | Henry South, Digital Artist | Horton Hears a Who! | Brent Wong, Lighting Technical Director | Arun Ram-Mohan, Lighting Techni
Director | How to Train Your Dragon | Tyson Erze, Visual Effects Artist | Jiyoung Lee, Texture Artist | Fredrik Nilsson, Animator | The Illusionist | Yann Tremblay, Senior Animator | Iron Man 2 | Teh-wei Yeh, Digital Artist | Stephen King, Anima
Simeon Bassett, CG Sequence Supervisor | Nicholas Markel, Previsualization Supervisor | Kieran Tether, Digital Artist | Joshua Herrig, Lead Lighting Artist/Look Dev Artist | Ben Sanders, Animator | Allen Holbrook, Animator | King of the H
Michael Loya, Director | LA Noire | Upinder Dhaliwal, Motion Capture Data Editor/Cinematics Editor | Legend of the Guardians: The Owls of GaHoole | Tim Rowlandson, Animator | Mars Needs Moms! | Shraga Weiss, Character Modeller | K
hantraine, Motion Capture Technical Director | Joel Pennington, Motion Capture Technical Director | Mass Effect 2 | Kolby Jukes, Principal Artist | Brian Sum, Concept Artist | Bartek Kujbida, Senior Cinematics Animator | Megamind | R
Naamani, Animator/Character Lead | ModNation Racers | Eric Gabas, Senior Environment Artist | Monsters vs. Aliens | Jiyoung Lee, Texture Artist | Night at the Museum: Battle of the Smithsonian | Nicholas Augello, Technical Animator | Ad
aniv, Animation Supervisor | Zeke Norton, Previsualization Supervisor | Rex Ahn, Pre-Visualization Lead | Joshua Herrig, Lead Lighter | Ben Sanders, Supervising Animator | Ai Saimoto, Lighting Lead | Percy Jackson & The Olympians: T
ightning Thief | Dave Mah, Animator | Ryan Lim, Concept & Creature Artist | Richard Sur, Lighting TD | Julien Stuart-Smith, Look Development | Jeffrey Burt, Lead Layout Artist | Piranha | Lon Molnar, Visual Effects Production Executiv
hristopher Buzon, Tracking/Lighting | The Princess and the Frog | Claudia Keene, Key Assistant Animator | Rango | Cedric Lo, Lead Animator | Scott Jones, Creature Lead | Kieran Tether, Digital Artist Red Dead Redemption Josh Lange, Sen
nimator Rio Graham Silva, Character Animator | Rock Band 3 | Mike Krentz, Artist | Scott Pilgrim vs. the World | Joel Meire, Animator | Shrek Forever After | Javier Solsona, Character Technical Director | Tom Piedmont, Rotoscoper | SpongeB
quarePants | Andrew Overtoom, Animation Director | Star Trek | Teh-wei Yeh, Digital Artist | Nicholas Markel, Previsualization Supervisor | Kieran Tether, Digital Artist | Aruna Inversin, Digital Compositor | Star Wars: The Clone Wars | KahJe
heong, Cloth Simulation Artist | Jim Hatibarua, Animator | Ivy Ho, Lighting Technical Director | Cedric Lo, Animation Supervisor | Brandon Chien-Chia Huang, Animator | Starcraft II: Wings of Liberty | Alvaro Buendia, Cinematic Artist | Suc
unch | Ben Dishart, Senior Surfacing Artist | Jeff Tetzlaff, Model/Texture Lead | Tuba Yalcin, Effects Technical Director | Jeffrey Burt, Lead Layout Artist | Ferda Guray Ayaokur, Track/Matchmove Artist | Tangled | Lino DiSalvo, Supervising Anima
WATCHED A
BLOCKBUSTER LATELY?
THEN YOU'VE SEEN THE WORK OF VFS ANIMATION & VISUAL EFFECTS GRADS
ROLAND VALLET
ANIMATOR
ABEL VARGAS
GEOFFREY HANCOCK
ARTHUR LOBO
DIGITAL COMPOSITOR
ANIMATOR
SENIOR ANIMATOR
SENIOR RIGGER
THE AMAZING
SPIDER-MAN
ANIMATOR
ANIMATOR
COMPOSITOR
COMPOSITOR
JUANI GUIRALDES
TAMIR DIAB
SCOTT JONES
BORAE CHO
ARGO
THE HOBBIT:
AN UNEXPECTED
JOURNEY
ANIMATOR
EFFECTS ARTIST
ANIMATION SUPERVISOR
SENIOR ANIMATOR
JOHN WONG
JOSH LANGE
PREVISUALIZATION ARTIST
AMY LU
SENIOR ANIMATOR
CG SEQUENCE LEAD
KIERAN TETHER
PROMETHEUS
DIGITAL COMPOSITOR
BILL WATRAL
AARON GILMAN
ANIMATION SUPERVISOR
GIANCARLO D'ERCHIE
JUSTIN HAMMOND
JUNIOR COMPOSITOR
JUSTINE CODRON
CEDRIC LO
GIA SADHWANI
DIGITAL COMPOSITOR
ANIMATOR
DAPHNE DE JESUS
STEPHEN KING
SENIOR ANIMATOR
LEAD ANIMATOR
ROTO ARTIST
ROTO ARTIST
ROTO ARTIST
LOUIS COX
JAMIE BOWERS
TEXTURE ARTIST
COREY COATES
ADAM BRADLEY
DIGITAL ARTIST
PREVISUALIZATION SUPERVISOR
CHRYSTIA SIOLKOWSKY
JOSE YAPOR
THE AVENGERS
GENERALIST TD
ANDREW PARK
MATT WHEELER
COMPOSITOR
SANTHOSHI BALASUBRAMANIAN
NICHOLAS MARKEL
ROMMEL SHAMOUN
COMPOSITOR
LEAD ANIMATOR
JOOYONG LEE
EMANUELE BIGNONE
SAPTARSHI CHAKRABORTY
COMPOSITOR
DIGITAL COMPOSITOR
MIKE DHARNEY
MICHAEL PLOTNIKOV
PAINT/ROTO ARTIST
ANIMATOR
PHAN WIANTRAKOON
GIORGIO BERTOLONE
MARCELA A. SILVA
PAINT/ROTO ARTIST
ANDREW LAWSON
FRANK AKRONG
WRECK-IT RALPH
PAINT/ROTO ARTIST
MARY-MARGARET CONLEY
PREVIS ARTIST
BRAVE
JAMES ROBERTS
MATT WEAVER
DIGITAL PAINT ARTIST
ALEX BERSON
Jessica Chan, Animator | John Wong, Animator | Serguei Kalentchouk, Character TD | The Twilight Saga: Eclipse | Shawn Walsh, Visual Effects Executive Producer | Brian Harder, Creature Rigger | Veronica Marino, Matte Painter/ Composito
obert Bourgeault, Lighting Lead | Ori Ben-Shabat, Compositor | Jacob Curtis Miller, Lighting Artist | Derek Stevenson, Matchmove Lead | Thor | Daphne De Jesus, Roto/Paint Artist | Anna Tonrungroj, Roto/Paint Artist | Eric Petey, Animat
CG STUDENT
nd Rigging Lead | Rex Fang, Animator | Kristin Sedore, Senior Lighter | Toy Story 3 | Daniel Holland, Sets Artist | Tristan Ikuta, Simulation & Effects Artist | Bill Watral, Additional Simulation & Effects Artist | Transformers: Dark of the Moo
AWARDS
erguei Kalentchouk, Rigging Lead | Jooyong Lee, Roto/Paint Artist | TRON: Legacy | Craig Calvert, CG Supervisor | Brenda Li, Roto/Paint Artist | Jose Julian Karam Lopez, Digital Compositor | Christopher Ahrens, Lighting Artist | Alberto Lander
Digital Compositor | True Grit | Tom Piedmont, Roto/Paint Artist | Uncharted 2: Among Thieves | Mike Yosh, Lead Animator | Up | Bill Watral, Visual Effects Artist | WALL-E | Daniel Holland, Production Artist | Bill Watral, Effects Artist Mark Shir
ayout Artist | Warhammer 40,000: Dawn of War II | Nathan Hocken, Lead Animator | Ian Cumming, Senior Artist | Claire Roberts, Artist Christine Hubbard, Artist | Allan Dilks, Artist | Watchmen | Shawn Walsh, Visual Effects Supervisor | L
Molnar, Visual Effects Supervisor | Sean Lewkiw, Technical Head of 3D | Ty Duperron, Modeler | Pearl Hsu, 3D Artist Matthias Lowry, Digital Compositor | The Wolfman | Karin Mattsson, Animator | Joshua Herrig, Lighting Artist/Look Dev Ar
Zombieland | Mike Rhone, Visual Effects Artist to name a few. A small selection of VFS Animation & Visual Effects alumni credits include | 2012 | Zeke Norton, Previsualization Supervisor | Jamie Bowers, Texture Artist | Christine Peters
Digital Compositor | Anuj Patil, Senior Technical Director | Alice in Wonderland | Ken Kaiser, Animator | Veronica Marino, Compositor | Phan Wiantrakoon, Animator | John Iskandar, Visual Effects Artist | Jacob Curtis Miller, Digital Artist | Ge
asantani, Digital Matte Painter | Andrew Lawson, Character Animator | Assassins Creed: Brotherhood Zack Mathew, Animator | Wilson Mui, Team Lead Animation | Avatar | Michael Cozens, Lead Animator | Tamir Diab, Technical Directo
atrick Kalyn, Animator | Chrystia Siolkowsky, Motion Editor | Ben Sanders, Animator | Alfredo Luzardo, Layout Technical Director | Aaron Gilman, Character Animator | Jami Gigot, Texture Artist | Bioshock 2 | Jacob Palmer, Animator | Bo
2010, 2011
urgers | Tammy Dubinsky, Animator | Nathan Keane, Animation Effects | Jake Biberdorf, Animation Supervisor | Coraline Brian Demoskoff, Animator | The Dark Knight | Gia Sadhwani, Digital Effects Artist | Freddy Chavez, DMR Composit
ietro Ponti, Lead CG Lighting Artist | Dead Rising 2 | Fredrick Fass, Animator | Dead Space 2 | Wayne Gonsalves, Environment Art Lead | Despicable Me | Justine Codron, Lighter | District 9 | Neill Blomkamp, & 2012
Director/Co-Writer | Shawn Wal
isual Effects Executive Producer | Samson Wong, Matchmove Artist | Robert Bourgeault, Lighting Lead | Richard Sur, Lighting Technical Director | Paul Copeland, Visual Effects Artist | Julianna Kolakis, Creature Texture Painter | Jelmer Boskm
Modeler | James Stewart, Creature Supervisor | Derek Stevenson, Matchmove Lead | Drag Me to Hell | Thomas Schelesny, Visual Effects Supervisor | Dragon Age II | Nathan Zufelt, Senior Cinematic Animator | Family Guy | Michael Lo
toryboard Artist Fast Five Rommel Shamoun, Compositor | Anthony Di Ninno, Animator | Fringe | Bob White, Visual Effects Artist | Scott Dewis, CGI Supervisor | Futurama | Claudia Keene, Prop Designer | Gears of War 2 | Scott Dossett, Sen
SCHOOL
OF
THE YEAR
With the continual development of technology in video games and the wild, imaginative story lines of films, the possibilities of what concept artists are able to produce
become broader in detail and function. With strong silhouettes, recognizable color schemes and distinct proportions in anatomy, it is still important to know the basics of
animal and human anatomy when designing these creatures. In this three-part series, talented concept artist Vinod Rams demonstrates how to use human anatomy as a
basis for creature design, create a hybrid creature based on human and animal anatomy, and use real word examples as a reference for designing a creature from scratch.
www.2dartistmag.com
page 61
Creature Anatomy
Vinod Rams
Web: http://www.vinodrams.com/
Email: vinod@vinodrams.com
www.2dartistmag.com
page 62
LayerPaint allows you to browse the gallery, interviews, news, tutorials and products all dedicated to 2D digital art. On top of that, we have
included a free custom brushes library that is available to all our LayerPaint audience.
We wish LayerPaint to be a definitive resource for digital painting, creating a friendly and educational environment that not only helps
budding and experienced CG artists alike, but also showcases some of the best computer generated artwork in the world.
LAYERPAINT.COM
FACEBOOK.COM/LAYERPAINT
TWITTER.COM/LAYER_PAINT
Absinthe Making Of
Absinthe
Software Used: Photoshop
Introduction
For this image I had an imposed theme:
Absinthe. In France this beverage is well known
as la fe verte (the green fairy), I thought it
would be easy to do an actual green fairy.
So as a portrait lover, I couldnt resist making
a psychedelic portrait of an absinthe drinker. It
had been a long time since Id had the chance
to do a portrait, so I took this as an opportunity
to get back into it!
Sketch
It started with some sketching to find the right
composition, where parts would be placed and
what would enter the frame, etc. As I wanted to
do a portrait, I didnt want the viewer to be too
far from the subject, so I managed to keep the
face, and the hands holding the bottle and glass
in the frame, in a relatively natural way. I wanted
the viewer to feel close to the scene, as if the
man was at the same table as them (Fig.01).
For sketching I usually use the Photoshop brush
24, just tweaked to have the opacity sensible
to the pressure, and with a size of 3 4 px, to
have some variations in my strokes, and be able
to make forms quickly (Fig.02).
Blocking In
Once I was happy with the framing of the image,
I quickly blocked in the areas of lighting that
www.2dartistmag.com
page 65
Making Of
Absinthe
(Fig.03).
(Fig.04).
www.2dartistmag.com
page 66
Absinthe Making Of
www.2dartistmag.com
page 67
Final Touches
Some final refinements and last tweaks were
made (Fig.09), and I was happy with my image.
I hope you found this interesting! I sure found
it super-interesting to write, to go back on
a creation, putting my workflow into words,
explaining why and what I did; a hard exercise,
but a really great way of understanding new
stuff.
Many thanks to 3DTotal for letting me do this;
Im really grateful for the opportunity.
Khasis Lieb
Email: lorenzruwwe@freenet.de
2.99
Andy Brning
3D Generalist Artist
at Vetor Zero
Adam Fisher
Freelance Character Artist
at Immersive Tech
The Japanese
Project Overview by Diego Querol
Gallery
Gallery - 10 of the best images
from around the world!
NEW!
- Scenes and Textures
This month Tudor Fat kicks off our all new ZBrush series with the creation of
his supurb alien creature in his comprehensive tutorial entitled The Engineer.
Luciano Iurino continues on with our Creating Realistic Shaders series, this
time focusing on the development of the control panel materials.
Vehicle Post-Production
Arturo Garcia (3ds Max) and Renato Gonzalez Aguilante (Maya) bring an
end to our Futurisitc Vehicles series by adding post-production in Photoshop.
Character Animation
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page 73
Free Chapter
Westbound
Software Used: Photoshop
Introduction
I created this piece for an art show my company
put on to showcase the personal projects of its
employees. I was very excited to participate and
happy that something like this could happen!
This was the perfect excuse to create imagery
that I loved and have it shown to a (hopefully)
willing audience.
The post-apocalyptic genre was the inspiration
behind this piece. Its my absolute favorite genre
to design for. I had this image floating around
in my head for a while; a group of survivors
who have joined together, who are all decked
out in old worn clothing and make-shift gear,
who wander the landscape in an old antique
robot looking for other survivors and resources.
Theyve stopped at a gas station in the desert
somewhere in previously contested territory, to
see if theres any fuel left in the pumps that they
might use to continue their journey, wherever it
ends up taking them.
Sketches
There definitely had to be a cool robot
somewhere in this piece and I decided to design
that first. For this particular design I didnt want
it to be a war-like looking mech. Instead it
should look like its main purpose is exploration
and discovery. I tried to achieve that feeling by
combining a submersible design with parts of
valuable things.
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Free Chapter
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Justin Albers
Web: http://www.justinalbers.com
Email: albers.justin@gmail.com
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