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100

p a g e s o f t u t o r i a l s i n s i d e !

5 2 ssue 100 | April 2014

a narrative

Create a cover with

Wanchana Intrasombat (Vic) illustrates and documentsthe creation o this month’s captivating cover

Master the art o

caricaturecreation

100 topindustry tips

Design newworld concepts

The world’s top digital artists revealtricks, techniques and inspiration tohelp improve your digital painting skills

Discover industry techniques orpainting and presenting environmentconcepts in Photoshop

+plus • 10 o the best digital images• Experiment with brushes• Sketching antasy

• 100 covers• and much more!

SPEEDPAINTING WITHSILHOUETTES

Victor Mosquerademonstrates how to use

silhouettes to speed up

your painting process

Competitions, reebies & special offers exclusive or issue 100 readers!

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2 | 2DARTISTMAG.COM

2DARTIST MAGAZINE | ISSUE 100

Editor’s Letter

ContributorsSTEAMBOT STUDIOSSteambot Studios is a Canadian visual developmentstudio creating world class visual content orinternational clients in the entertainment industry.They also produce their own content.

SABIN BOYKINOV Sabin Boykinov was born in Rousse, Bulgaria. Hecurrently works as a Lead Concept Artist in HaemimontGames studio in Soia and makes reelance illustrationsor a variety o projects.

WANCHANA INTRASOMBAT (VIC)Wanchana Intrasombat (Vic) is a 2D digital artistand co-ounder o Studio Kun. He has worked as aconcept artist, character designer and illustrator basein Bangkok, Thailand.

VICTOR MOSQUERA Victor Mosquera is a Colombian concept artist l ivingin Toronto, Canada and currently working at UbisofToronto. His previous clients include companies suchas Volta, Tor.com and One pixel Brush.

COSMIN PODARCosmin Podar is currently employed as a ull-timelead concept artist. In his spare time, he likes tocreate caricatures and take on other concept-relatedreelance jobs.

MARKUS LOVADINA (MALO)Markus Lovadina (malo) is a Senior Concept Artist atRocksteady Studios Ltd, as well as a reelance ConceptArtist/Illustrator. He has also worked on movie projectsand a variety o book covers too.

FERDINAND DUMAGO LADERA Ferdinand Dumago Ladera is a concept artistoriginally rom the Philippines. Afer studying Fine Art,

Ferdinand now works at Ladyluck Digital Media as aconcept artist specializing in antasy and sci-i.

We eel lucky to have been able to put the spotlighton so many talented artists over the issues, and tocelebrate we have asked some o our avorite artiststo share their digital art techniques and invaluableindustry top tips. And as ever we have the usual un youget with every issue, as well as a step-by-step tutorial onhow to create the cover by Wanachana Intrasombat.

As a big thank you or picking up this issue (or any issue)and standing by us or all 100, head over to page 65 or

reebies and competitions.

I hope we inspire you to get creating art as much as wedid at the very beginning. Enjoy!

Welcome to the 100th issue o 2dartist

magazine!

JESS SERJENT-TIPPINGDeputy Editor

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WOULD YOU LIKE TO SUBMIT TO 2DARTIST?We are always looking or tutorial artists, gallerysubmissions, potential interviewees, writers and

more. For more inormation, please send a l ink toyour work to: [email protected].

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Magazine.

Your

Get the most out o it!


I you’re having problems viewing the double-page spreads that we eature withinthis magazine, then ollow this handy little guide on how to set up your PDF reader!

Top tips or viewingFor optimum viewing o the magazine, it is recommended that you have the latest version oAdobe Acrobat Reader installed. You can download it or ree here:

To view the many double-page spreads eatured in 2dartist magazine, you can set the reader

to display “two-up”, which will show double-page spreads as one large landscape image:

Jump to articlesIn the Contents pages, we have direct links to all articles within the magazine. I a certainarticle catches your eye, simply click (or tap on handheld devices) on the page number withinthe Contents, and you will be taken straight to that article.

Download resourcesWhenever you see this symbol, be sure to click it todownload ree resources to accompany that article!

1. Open the magazine in Reader;2. Go to the View menu, then Page Display;3. Select Two Page Scrolling, making sure

that Show Cover Page in Two Page Viewis also selected.

www.layerpaint.comFor lots more tutorials and exclusive articles, visit

2dartist magazine is available as a downloadable PDF magazine. I you have an iPad or iPhone, you can drag yourmagazine into your iTunes library – it will automatically add the PDF to your bookshel in your iBooks app!

Deputy EditorJess Serjent-Tipping

[email protected]

Sub EditorJenny Newell

Graphic Designer

Aryan Pishneshin

Publishing Co-ordinator Adam Smith

Advertising ManagerGeorge Lucas

[email protected]

Studio ManagerLynette [email protected]

Managing DirectorTom Greenway

AdvertisingMedia pack and rates areavailable upon request.Contact George Lucas:

[email protected]

InternationalTranslation opportunitiesand international licensesare available. ContactJess Serjent-Tipping:

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purchased via2dartistmag.com.12-month subscription –£23.99 ($38.99 US approx.).To enquire aboutsubscriptions, contact:

[email protected]

Distribution2dartist is an e-magazinedistributed as adownloadable PDF and ondigital newsstands.

DisclaimerAll artwork, unless otherwise

stated, is copyright ©20143dtotal.com Ltd. Artwork thatis not copyright 3dtotal.comLtd is marked accordingly.Every effort has been madeto locate the copyrightholders o materials includedin this issue o 2dartistmagazine in order to obtainpermissions to publish them.

Special thanks to 3DHype,Hiperia 3D and Veegraph orsupporting 3dcreative withbanners. Contact George

Lucas i you would alsolike to show your support: [email protected]

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4 | 2DARTISTMAG.COM


Contents Issue 100

006_ Lie at a visual development studioSteambot Studios gives us a glimpse at what lie

is like at their visual development studio

017_ Sketching antasySabin Boykinov shares his sketchbook, where herecords ideas and inspirations

032_ 100 top industry tipsThe world’s top digital artists reveal tricks,techniques and inspiration to help improve yourdigital painting skills

044_ 100 coversCelebrating 100 issues o 2dartist, we take a lookback on the cover art!

048_ The galleryRobh Ruppel and Klaus Pillon eature in thisissue’s gallery selection o our top 10 images

065_ Competitions, reebies and offersExclusive special offers, reebies and competitionsor issue 100 readers

078_ Create a cover with a narrativeWanchana Intrasombat (Vic) illustrates anddocuments the creation o this month’scaptivating cover

088_ Design new world conceptsDiscover industry techniques or painting andpresenting environment concepts in Photoshop

100_ Master the art o caricature creation A step-by-step caricature master class withCosmin Podar

108_ Speed painting with silhouettes Victor Mosquera demonstrates how to usesilhouettes to speed up your painting

114_ Experiment with brushesFerdinand D. Ladera shares his worklow orpainting new landscape concepts

124_ Digital Art Master: Michal LisowskiDigital Painter, Michal Lisowski shares the process

he used to create his image, Customer

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5

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7

The Studio

STEAMBOT STUDIOSsteambotstudios.com

Interviewees:

Sebastien Larroude(Owner / President)

Joel Dos reis Viegas(Owner / Vice-president)

Nicolas Ferrand(Partner / R&D)

Interviewed by:

Jess Serjent-Tipping

STEAMBOT STUDIOS is aCanadian visual developmentstudio creating worldclass visual content orinternational clients in theeature ilm, videogame,advertising, broadcast,graphic novel and publishingindustries. They also producetheir own content throughilms, comic books andanimation projects.

http://www.steambotstudios.com/http://ryanlangdraws.blogspot.com/http://ryanlangdraws.blogspot.com/http://www.steambotstudios.com/

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2DARTISTMAG.COM

2DARTIST MAGAZINE | Behind the doors of Steambot Studios

2da: Does the studio relect any particular inluences

or inspirations?

SS: Our inluences come rom a lot o things rooted

in our past and background. We are French rom

France, so our main inluences come rom Europe.

However we bathed in the Japanese animation.

Japanese culture is a big part on our inspirations.

But it is an undeniable act that we also had been

permeated by American culture.

2da: Tell us about some o your avorite projects to

date and how they have evolved?

SS: Our highlights are our IP’s like Exodyssey , Spark ,

Urbance orCyan. IP’s mean difficulties. This is a long

and hard way to ollow. Perilous but rewarding.

2da: What has been your highlights as a studio and

have you encountered any difficulties along the way?

SS: One o our big highlights was Exodyssey because

it was our irst project and every single step we went

through together. Over pretty much 10 years, we

meet an important step every year and difficulties

adorn the path to the highlights. It’s a normal

process.

2da: Can you tell us about any o the projects you

are currently working on?

SS: We can talk about Urbance and Cyan two

projects we developed over several years and

all, especially Urbance we want to move on an

animated-TV-show. Be ready to hear more in the

next month, but we are really happy to announce

you that the Art book is actually in print. Trust me,

this will be a big master piece and people we be

surprised by the extreme quality and content o this

book.

http://www.2dartistmag.com/http://www.2dartistmag.com/

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Cyan is a comic book we developed on the side,

which talks about the story o Atasi the heroine and

main character we ollow through a dark antasy

story taking place in the 80’s in North America.

Actually we are polishing chapter one now.

2da: Finally, what can we expect to see orm

Steambot Studios in the uture?

SS: More ilm and game projects and pretty soon

a new art book. For the rest we hope to develop

Urbance the best we can. Our objective is the

animated TV-show.

2dartist: Tell us a little bit about yoursel: Who are

you, what do you do, and where are you located?

Nicolas Ferrand: I’m working at Steambot Studios

as an Art director / R&D , living in Montreal.

2da: Tell us the story behind your artwork: What

brought you into the digital art world and what

sofware do you use?

NF: I started as a 3D level artist or years then I chose

to go back to my ine art roots , and to develop my

ideas as a concept artist in the industry.

2da: How did you learn to paint digitally?

NF: I remember ocp art studio on amstrad cpc, we

had to paint with the joystick pixel by pixel, then I

spent a lot o time creating skins and maps textures

or Quake and doom with the mouse on paintshop

pro , and now I eel pretty comortable with my

Wacom in Photoshop!


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2da: How do you keep your portolio up-to-date?

Any tips?

NF: I am trying to be constant and to post a picture

every two weeks, sometimes it’s a speed painting,

sometimes a more inished picture. Always try to

have un, explore new possibilities and techniques,

try to take some risks and push your ideas urther!

2da: Who are your avorite artists, traditional or

digital, and can you explain why?

NF: Nicolas Bouvier, because he’s a good riend and

also one o the digital pioneers who showed us the

possibilities o the digital world, or the traditional

part, there are too many artists I like, but just to say

some names: Gustav klimt, Jerome Bosch, Van gogh,

Picasso, J.M.V turner, Giger, Egon Schiele etc.

2da: What sofware would you like to learn in theuture to expand your portolio and skill set, and

why?

NF: I am trying to be better with Mudbox, to create

organic stuff, and also because I want to improve my

(digital) sculpting skills.

2dartist: Tell us a little bit about yoursel: Who are

you, what do you do, and where are you located?

Sebastien Larroude: I’m working at STEAMBOT

STUDIOS as an Art director / concept artist and

owner , living in Montreal.

2da: Tell us the story behind your artwork: What

brought you into the digital art world and what

sofware do you use?

SL: I started as a 3D animator and compositor artist

or years then I chose to go back to my ine art roots.

2da: How did you learn to paint digitally?

SL: I learned to paint digitally year by year with really

important people to me, like Sparth, Bruno Gentille(aka Hydropix), Nicolas Ferrand (aka Viag), Joel Dos

Reis Viegas (Aka Feerik) and others great people I met

over the years.

2da: How do you keep your portolio up-to-date?

Any tips?

SL: I am like the military. I work every day, I am

constant in what I am doing. I do a lot o sport

activities like climbing, running and I play music.

These side activities are really important and give me

the possibility to stay creative and help me a lot to

ocus on what I am doing. I couldn’t live without. A

tip: Be disciplined, don’t do too much and enjoy.

2da: Who are your avorite artists, traditional or

digital, and can you explain why?

SL: I have a lot. Too many artist are everywhere,

how to choose? However I am more inspired by

musicians, dancers, sports persons etc. than digital

painters. I love creative people, whatever painters or

scientists.

2da: What sofware would you like to learn in the

uture to expand your portolio and skill set, and

why?

SL: I am trying everything anytime. But 2D animation

seduces me a lot, even the basics.

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“A great source o inspiration and tips on how to improve your skillsand speed up your painting process. Besides very detailed step-by-steptutorials, 2dartist magazine will also ensure there are a large variety o

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Lead Concep t A

r t i s t, Sa b in Bo y k

ino v f ind s

in sp ira t ion in e v

er y t h ing , from m

o v ie s and

g ame s, to mu s i

c or a g ood boo k

, and i s ne ver

w i t hou t h i s s ke t

c h boo k to reco

rd i t a l l do wn

in. Immer se you

r se l f in t ho se pa

g e s o f h i s

fan ta s y f i l led s k

e tc h boo k !

The Artist

Sabin Boykinovsabinart.blogspot.com

Sabin Boykinov was bornin Rousse, Bulgaria. Hecurrently works as a LeadConcept Artist in HaemimontGames studio in Soia and

makes reelance illustrationsor a variety o projects likeFantasy Flight Games cardgames, The Lord of the Rings and Game of Thrones.

http://www.sabinart.blogspot.com/http://www.sabinart.blogspot.com/

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Sketchbook of Sabin Boykinov

1 8

Sabin Boykinov revealsthe inner pages o hissketchbook...

For me sketching is the best way to record

ideas and develop my drawing skills. Drawing

is also a way or me to relax, away rom the

digital work I create with the rest o my time.

Inspiration and ideas

My inspiration comes rom almost everything – a

great book, movie, mountain hiking or song title.

Music is a powerul source o inspiration or me.

Playing games is another great source o visual

research and proessional development. It is so

interesting to see how my avorite concept art is

transerred into the actual game.

Materials

I don’t really have a speciic set o avoritematerials because I like to experiment with

everything I ind in the local supplies shop. Mostly

I use mechanical pencils like HB, B2 B4 with no

speciic brand.

Sketching techniques

My technique is really simple. I start with the

overall composition idea, then add orms and

shadow balance. Finally, I add some details.

PRO TIPInterestsTry to have many diverse personal interests – don’t ocus on painting and drawing alone.

Read a lot o books, research world-amous designers and architects, and meet different

kinds o people.

Be like a child. Keep your ascination with nature alive, and store an extensive visual library

in your mind.

Sabin’s studio

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2 d a r t is t m a g c o m


2 0

Character research inspired by the book o Roger Zelazny: Donnerjack Personal idea inspired by medieval mystic people who search

or the answers o universal creation

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2 1

2 d a r t i s t m a g a z i n e is s u e 1 0 0

PRO TIPInspiration

You can indinspiration in

everything, especially

when you are

somewhere outside

your usual studio – the

surrounding nature

can be an amazing

teacher. Try to ocus on

the idea o sketching

no matter where you

are, whether in the

mountains, at a park

or on a beach.

Sketching on

the beach o Akti

Oneirou, Greece

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2 2

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2 4

PRO TIPSketchbookAlways carry a small sketchbook in

your bag – you never know when a

good idea will come to you.

Compositions inspired by airytales rom

my childhood

This is inspired by the heavy metal songs o

Manowar – I am really a big an o the band

A kind o horror story

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2 6

Medieval sketch inspired by the Game of Thrones series This is a story about a giant who holds some secret

knowledge on his island

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2 8

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2 9

2 d a r t i s t m a g a z i n e is s u e 1 0 0

Work made or un – I’m a big

an o vintage diving suits

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We’re always on the lookout or talented artistsand their artwork to adorn the pages o our

magazine. I you think you have what it takes,get in touch!

To submit, simply email Jess at [email protected] with a selection o your

images or a link to your portolio online, plus a

little inormation about you.

We look orward to hearing rom you!

Would you like to see your sketches

eatured in 2dartist magazine?

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thefoundry.co.uk/mari

3D digital paintingNow available on Mac

Justin HoltImagined by

Created with

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32 | 2DARTISTMAG.COM

2DARTIST MAGAZINE | 100 top industry tips

100


top industry tips

Words by Poz Watson

The world’s top digital painters reveal invaluable industry theories, techniques and

inspiration to help you hone your digital painting skills and improve as an artist…

image © Wesley Burt


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33


Bjorn HurriLead artist, Opus Artzbjornhurri.com

Brett BeanCharacter designer & visual artist

2dbean.com

Ian McQueAssistant art director, Rockstar Gamesmcqueconcept.blogspot.co.uk

Ioan DumitrescuConcept designer, ilm and games jonone.cgsociety.org

Jeremy LoveConcept artist & illustrator

jeremylove.com

Jonas De RoConcept artist, MPC jonasdero.be

Raphael LacosteFranchise art director, Ubisofraphael-lacoste.com

Wesley BurtSenior concept artist, Massive Black

wesleyburt.tumblr.com

Xavier EtchepareSenior concept artist, Ubisof Montrealxetchepare.cgsociety.org

http://www.bjornhurri.com/http://www.2dbean.com/http://mcqueconcept.blogspot.co.uk/http://jonone.cgsociety.org/http://jeremylove.com/http://www.jonasdero.be/http://www.raphael-lacoste.com/http://wesleyburt.tumblr.com/http://xetchepare.cgsociety.org/http://xetchepare.cgsociety.org/http://wesleyburt.tumblr.com/http://www.raphael-lacoste.com/http://www.jonasdero.be/http://jeremylove.com/http://jonone.cgsociety.org/http://mcqueconcept.blogspot.co.uk/http://www.2dbean.com/http://www.bjornhurri.com/

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Ideas can’t be orced, but you dohave to learn to pin them down,shape then, tame them...

Sometimes as an artist you eel you haven’t

got an original thought in your head, and

other times you can barely reach or the paper

ast enough. But perhaps what separates

the good artist rom the great artist is their

ability to shape that raw idea into a workable

concept and then a inal polished piece. Too

ofen, resh ideas get lost in translation and

execution, so you have to learn to trust your

own instincts.

01 Capture the essence: “It allstarts at the idea phase. The initial sparkcomes to mind and I will start to pursue it using

gesture, then as the picture is evolving I will try to

capture it more and more.” Bjorn Hurri

02Trace layers: “I use the powers othe layers by roughly sketching on alayer where I ocus purely on character and pose,

and then I lower the opacity o that layer and

create a new layer on top so I can trace my own

sketch or a much cleaner look.” Bjorn Hurri

03Keep avenues open: “I try tocreate at least three options. I sketchthem out on separate layers irst, but at some

point I extend the canvas so all the sketches sitnext to each other and continue to evolve the

ideas by making sure they are sitting together

stylistically but separated by ideas.” Bjorn Hurri

04Keep your ideas pure: “An ideais abstract; it exists somewhere in yourhead and you have to make it real. So don’t work

with reerences at the beginning, simply working

with an objective is enough.” Xavier Etchepare

05 Avoid composition chaos: “I always draw a rough base, and thenwith a Lasso selection, I ill it with color and

different brushstrokes. This makes the process

quicker and is more likely to create those ‘happy

accidents’. It’s important to test out a variety o

different compositions irst, so it’s better to have

an efficient process to play with and ind a good

one quickly.” Xavier Etchepare

• Creating concepts

When you’re doing character work, pose and gesture is one o the irst

things that might come as you work out your concept © Brett Bean

When you’re working on personal projects, you need to develop an inner voice that you can

trust to know when an image direction is right © Brett Bean

Background and oreground; all aspects o your concept need to work in harmony © Raphael Lacoste


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35

06Keep it simple: “Usually an ideacan come rom a picture I have inmy mind, or sometimes afer reading a book,

watching a movie or just something that is in my

mind and that needs to be ‘materialized’. For me,

the irst step is to draw something on paper and

get the very simple irst sketch and composition

down. I love to use Uniball bold 207 pens on any

small piece o paper.” Raphael Lacoste

07Break the concept down: “I take a picture o a simple thumbnailand import it in Photoshop. Then I ix the size o

my canvas, crop the ideal composition and start

to divide my painting in different layers. I create

groups or each part rom the background, sky,

and clouds, to mid-ground, and the oreground

elements.” Raphael Lacoste

08Using reerences: “For prettymuch any sort o concept job orillustration job I start out by researching and

compiling a older o reerences relevant to

the job. I then create rough sketches and/or

thumbnails to igure out the idea or direction I

want to go.” Wesley Burt

09Just dive in: “I ofen start sketchingright in Photoshop. I love workingtraditionally too, but generally save that or my

own personal work and keep the digital stuff

exclusive or working.” Wesley Burt

10Strike a pose (or two): “I usuallywork out an idea through a number

o thumbnails or, i it’s a character job, I will do

an assortment o different line art or grayscale

options exploring the ways the character could be

approached visually.” Wesley Burt

11Use your downtime: “Yourthought process is key. I usually think oideas as I do random things like dishes, laundry,

or play volleyball. Only when I have a story

segment or a character design idea do I start

thinking about composition or shapes that relect

it. I I need research, that’s when it happens. I not

I’ll start drawing on paper or take a pencil brush

in Photoshop and start to scheme. While I am

drawing I’m usually thinking o the next stages

like tones and colors.” Brett Bean

12Offer options... “I it’s or a client, Imake many little thumbnails and ideasor them to choose rom. Since it’s hard to know

what they want right off the bat I make lots o

choices so we can start a dialogue. I I like a shape

or design, I’ll clone it in Photoshop and keep

messing to get variations on that theme. It’s a

quick and easy way to show lots o options or the

director.” Brett Bean

13...or make conident choices: “I it’s or my own project I will eraseand redo the image until I ind the design. Since I

am the ‘director’ I just keep moving stuff until my

inner sel says; ‘OK, yeah, that’s it, move on now’.”

Brett Bean

14Get inspiration where

necessary: “I like to start with roughshapes and try to get as many o my own ideas

and interpretations o the brie onto the page

beore looking at any reerences. Once I hit a wall,

I’ll look at all sorts o reerences to help spark new

ideas and to make my initial thumbnails more

convincing.”Jeremy Love

15Don’t over-think it: “I stay looseand try to let my ideas low withoutover-thinking. I sometimes use a low opacity

black to do a very quick scribble then move

straight onto the next one without stopping. Assoon as an idea comes, I scribble it down then

move on. Once I’ve done a page o scribbles

I’ll go back over and play around with them. I’ll

increase the Opacity on the black with each pass.”

Jeremy Love

16Don’t be caught short: “Most omy work begins in a sketchbook. Thebiggest piece o advice I could give is that you

should always carry a sketchbook and a decent

pen with you. You never know when you’re going

to see something that will prompt an idea or a

painting.” Ian McQue

17Don’t get tied down: “I scan mysketchbook work and use the line art asa basis or a value painting over the top on a layer

set to Multiply. While ollowing the line art I try not

to be too constrained by it, and always be open

to going off on a tangent i it will help the overall

look o the image.” Ian McQue

18Know what you’re doing: “Startplanning your image afer breaking

down the brie received, ideas, or eelings you

want to portray. Either it’s a ilm-noir sci-i city

with highways and cars going down skyscrapers,

or its two people walking in a park. So write a

simple sentence and describe as effectively as

possible what the inal image will show to get a

irm idea o your direction.” Ioan Dumitrescu

19Broad strokes: “The best way toplan out any illustration is rom thebottom up. Start with the overall mood and

composition. Big shapes and thumbnail viewing

can help make your image read well at small

sizes.” Jonas De Ro

20Don’t rest on your laurels: “Remember, a lot o paintings look goodin a rough stage, i the irst step was successul.

But or client work or other high-resolution

requirements, most o the time will be spent

detailing everything - and that’s where the skill

comes in.” Jonas De Ro

Staying strongO course, i you’re working on a proessional

piece, it’s not only your own instincts you have

to satisy, but the ideas and working needs o the

client. Generally speaking though, i an idea is

strong and you’re listening to the brie properly,

you should be able to push towards a concept

that both you and the client appreciate.

But be warned, the bulk o the hard work is to

come, as you have to create that image and keep

the original concept in mind at all times. Things

might change in your image, but it’s better to

adapt your work to it a better idea and move

orward, than simply drif.

Draw straight into Photoshop, or not, depending on what eels right or the image

© Wesley Burt

Being open to changes

is important as you

hone your concepts© Wesley Burt

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Every artist has their own wayso approaching Photoshoppainting. Our experts revealsome o their tricks

The most important thing to remember when

you’re painting in Photoshop is that it’s not all

that different to painting on a real canvas with

a real brush. You still need to think about the

composition, color, and texture, and choose

and tweak your tools to achieve your desire

effect. So don’t get caught up in the whizz-

bang power that Photoshop has, instead ocus

on the hard work and talent required to bring

a great image to ruition.

21 Try different techniques: “I tryto vary my painting techniques now andthen to teach mysel new approaches. I’ll hard-

brush only where I ‘carve’ the orms without asketch to guide me, and use Photobashing where

painting and careul composing o photos go

hand in hand. I a lso sometimes use line art irst

and then do washes o paint on top in order to

build the painting up.”Bjorn Hurri

22 Work on texture: “I think it isquite important to paint at least asuggestion o texture in your work because you

can use that to your advantage. Controlling how

different materials deal with the Specular one can

signiicantly impact your inal look.” Bjorn Hurri

23 Elbow grease: “I tend to paint alot rom scratch, so when textures areinvolved it is usually handcrafed textures where

I’ve tried to apply textures and separate or join

areas using different techniques to achieve a

speciic look.” Bjorn Hurri

24 Fast ade: “Using ade ilters in theEdit menu is very handy!” Bjorn Hurri

25 Texture to highlight: “A random

square shape on your image can be

transormed into a beautiul rock with only some

scratches and rough shadows. Ofen textures are

something I use in lighter spaces to highlight the

material and its characteristics. When I work with

photographs on videogames I always use the inal

lighting to break my textures because I don’t want

them everywhere, it’s really noisy and you can

lose sense o the image.” Xavier Etchepare

26 Texture to differentiate: “I apply realistic textures on mainelements and have more graphic ones on

secondary elements.” Xavier Etchepare

27 Texture to guide: “Texture can

help move the viewer’s eyes through a

composition and also help keep their eyes glued

to a certain area, depending on the ocus you

create.” Wes Burt

28 Texture or realism: “Texturingis important i you want to achieve arealistic or plausible design and illustration, but is

not essential i you simply want to create a mood

and composition.” Raphael Lacoste

29 Work rom a photo: “I use a loto different techniques, though recently

most o my works are based on photos I have

taken or are painted completely rom scratch. I

also sometimes use 2D textures that I’ll distort

in Perspective to give more realism or detail to

suraces.” Raphael Lacoste

30 Work rom a 3D render: “Sometimes I will even go to 3D sofwareand render a scene with a simple geometry and

Global Illumination and use this as a base to work

on. The use o 3D render is mainly or architecture

or structural compositions though. When it

comes to more natural or organic settings like

a landscape, I use only 2D drawn and textured

elements.” Raphael Lacoste

31 Use color wisely: “I use colorsthat remind me o the ‘point’ o thepiece or character. I’ll usually think about using

boisterous bright colors or happiness, or pastel

colors or a childlike mentality, or muted tones

or somber pieces. I use colors as metaphors

and I ask mysel very plainly, ‘how do I want the

audience to react to this?’” Brett Bean

32

Banish unnecessary brushwork: I use brushes sparingly and I

stick to basic Photoshop brushes or 90% o the

piece. As or technique, I will either work rom

• Painting techniques

Ian McQue uses the Lasso tool in his work © Ian McQue

Texture is hugely important in Ian McQue’s work © Ian McQue

Ian McQue describes himsel as being quite traditional in his

painting approach © Ian McQue


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37

light to darks (watercolor approach) or start

with lat colors and then add tonal ranges. Each

painting or client comes with a different need. I

try to be open to handling a variety o situations.”

Brett Bean

33 Make it coherent: “I I do my job right, you won’t notice any single

element in the scene - not technique, not

textures, not lighting, you’ll just see a character or

a design. I you see it as a whole entity, then I did

it correctly. Just like in ilm, i you’re noticing the

editing or the crescendo o the score, it takes you

out o it. But i you just see what ‘it’ is, then well

done.” Brett Bean

34 Under paint: “One paintingtechnique I sometimes use is to ‘under-paint’ in grayscale to get the tone and contrast

right, and then use a ew selective color layersto add global colors. I then paint in more reined

colors using a Multiply or Color layer. From there,

it’s easy to paint over in Normal mode as all the

hard work is done.” Jeremy Love

35 Dodge deects: “I like to use theMagic Wand tool with Contiguousturned off, to select areas o similar tone, copy

(Ctrl+Shif+C) then paste (Ctrl+V) onto a new

locked layer then play around with texture

brushes and the Dodge tool. A good example

would be sunlight on roofops or the ocean. You’ll

ind that using the Dodge tool with different

brushes creates some great Specular effects,

especially on metal.” Jeremy Love

36 Select and perect: “I use theLasso tool a lot to create masked areasto paint into. I’ve made a hotkey or the Transorm

Selection which is great or warping selections

around. I also use Inverse (Ctrl+Shif+I) to paint

outside the mask. This works especially well or

organic shapes such as plants.” Jeremy Love

37 Bring the real world in: “I’m

quite traditional in my approach,

and always try to replicate the same sort o

techniques I would use i I were using paint

on canvas. I eel this is more honest than

relying heavily on the shortcuts you can ind in

Photoshop.” Ian McQue

38 Be hard-edged: “I use the Lassotool a lot or creating hard edges,it’s very important in describing interesting

silhouettes.” Ian McQue

39 Make it weathered...“Texture ishugely important in my work. I use thedeault oil pastel brush a great deal to create the

rusted and weathered suraces you’ll see in my

paintings.” Ian McQue

40 ...or create some weather: “Use the Noise ilter or a range oeffects. The most simple technique here is to

add some noise to your image as you would get

on a photo taken with a high ISO setting. Crush

the contrast o the noise and you suddenly getsnow particles. Put a Motion Blur on that and it

becomes rain!” Jonas De Ro

Paint it outThis is the stage where it’s easy to lag. You have

that initial light bulb moment and the adrenaline

that goes with it, and then you the creative buzz

o exploring the avenues you could go down. But

the painting is the work, the meat o the image

as it were, and i it doesn’t continue to look as

good as it did in your mind’s eye then it can be

dispiriting. But keep going, or take a break, or try

a different technique, or work on something else

or a while – whatever you need to do to keep

that inspiration lowing.

“Just like in ilm, i you’renoticing the editing or thecrescendo o the score, it takesyou out o it. But i you just seewhat ‘it’ is, then well done”

Jonas De Ro admits that texture is very important. Reaction to light and texture are the main elements that make up any material,

and everything you paint has a ‘material’ – yes, even clouds! © Jonas De Ro

Custom brushes are great or painting with, but experience is also key © Jonas De Ro

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Make your work your own, withcustom brushes designed or thetask at hand

Photoshop has a massive selection o brushes

and various ways to tweak them to suit, but

or some artists, and or some projects, there

is nothing like a custom brush. These can be

created and re-used by an artist as personal

brushes, or they can be built or a speciic part

o a speciic image. Our experts reveal how

they make and use custom brushes in their

own work.

41 Adding difference: “Using custombrushes is a great way to break up themonotony o a single brush, and they can also be

useul or taking shortcuts in the creative process.

It’s something you have to be careul with though,

too many and it will end up a mess.” Bjorn Hurri

42 Do it yoursel: “Sometimes I useparts o a photo to make a custombrush; sometimes I paint something with a

speciic texture or behavior in mind.” Bjorn Hurri

43 Know what you want: “It’simportant to know what are youexpecting graphically (which texture do you

want to simulate?) beore you create your brush,

because you can effectively create a million

different results. At the beginning, it can be unto discover new effects but you may become

completely lost in your process later on, so you

have to ix objectives.” Xavier Etchepare

44 Bring everything together: “In videogames you ofen work withphotographs or your concepts, though they have

many different resolutions and you will have to

homogenize all areas o your image in the inal

step. Brushes are useul at this point because you

can add a custom texture to make your render

stronger and more personal. I don’t use brushes

to design something, only to reinorce the lighting

and texturing.” Xavier Etchepare

45 Custom cutouts: “Withphotographs I ofen deteriorate theimage with a Cutout ilter to reduce details – this

way I can choose which ones I want on the inal

result. I also do something similar with custom

brushes.” Xavier Etchepare

46 Know when to say ‘no’: “I don’tuse a lot o custom brushes, as I am a bitmore traditional in this area. The main brushesI use are a hard-angled brush to get sharp

shapes and edges, and the simple large standard

airbrush with a very low opacity to mix light with

local colours and create atmospheric blending.

Sometimes, to save time in speciic designs, I will

also use pattern brushes (like scaffoldings ora sci-i theme or trees in a landscape) to create

effects” Raphael Lacoste

47 Use what’s available: “There areso many brush packs on the web that Imainly just go through and keep an assortment

o brushes rom other people. I’ll make a speciicbrush i there is an effect I know I want to get.”

Wesley Burt

• Custom brushes

You can use all sorts o materials to create your own custom brushes © Xavier Etchepare

Raphael preers using hard-angle and standard airbrushes in his work © Raael Lacoste


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39

48 Play avourites: “I have severalcustom brushes that I preer to usewhen working on sketches and thumbnails. These

are rough, scratchy brushes that keep me rom

rendering too much early on and ensure I stay

in the block-in phase. I also have a number o

brushes that work well or things like ire, clouds,

magical FX, brushed metal texturing, and many

others.” Wesley Burt

49 Texture tactics: “In order to createcustom brushes or textures, I irstmake a clean empty layer. I will ind a texture

that conveys my design intentions like rocks, a

pattern, cloth, or a sci-i symbol. I will erase the

edges so there are no hard edges, and then create

a custom brush.” Brett Bean

50 Silhouette solutions: “Theother way I custom brushes is to createinteresting silhouettes. I will make long rectangle

shapes, or maybe a thin palette knie shape, oreven a triangle. I you convert these to brushes

and mess with direction, you can create some

interesting and helpul accidents or exploring

your designs.” Brett Bean

51 Basic brush creation: “I start witha white 300x300pixel image, and paintmy texture in grayscale. Then I’ll move to Edit >

Deine Brush Preset, and name it. I experiment

with the brush presets until I’m happy, then

select all my brushes and save over my current

set. I sometimes just duplicate and edit the

brush presets o an existing brush which already

has attributes that closely suit what I’m afer.”

Jeremy Love

52 Organize your assets: “To savetime when selecting brushes, I putthe ones I use the most at the top o the brush

selector. I group the brushes I tend to use or

thumbnail development at the beginning and soon.” Jeremy Love

53 Broad strokes: “I mainly createcustom brushes or efficiency when I’maced with painting a lot o the same thing, like

trees or grass, patterns and so on.” Jeremy Love

54 Kick start your creativity: “Ihave about ive brushes I use or justabout everything but sometimes it’s beneicial

to just make a quick brush to save time. Custom

brushes are great or getting a painting started sothere’s already some texture on the page to paint

over. Sometimes it helps me to get started i I’m

having a bit o a block.” Jeremy Love

55 Seek out the best: “I don’tactually create my own custom brushes,and until recently I only ever used deault

brushes as I ind custom brushes tend to create

images that look gimmicky. I do use some o the

brushes rom Kyle Webster’s Ultimate Brush Set

(www.kyletwebster.com/portolio/brushes/ ),

particularly his excellent Chisel Shif 15 brush

which gives me a really painterly eel, reminiscent

o a short lat oil brush. I’m always looking to have

as traditional a eel as possible in my work, so

Kyle’s brushes are antastic or this.” Ian McQue

56 Go custom or speed: “I youwant to create more complex thingsquickly it’s always good to use custom brushes

and custom shapes. These can help with painting

oliage, complex structures and so on.” Jonas

De Ro

57 Be conident: “Use big strong

brushstrokes and think about big

shapes and values. This will allow you to get

ideas down quickly. The secret is to trick the mind

that there is a lot to see, even though afer closer

inspection it is all just painterly blobs. Good

control over your undamentals is key to get the

image across.” Jonas De Ro

58 Whatever brushes you use.... “You can avoid a mirrored look whenpainting symmetrical subjects like aces or

environments, by making sure you alter one

side enough to make it more convincing. It

seems simple but it’s amazing how many artists

don’t take the time to do it. It’s a good idea to

use an off-centre vanishing point when doing

environments anyway.” Jeremy Love

59 Match the brush to brie: “Forquick thumbnail sketches I like to use

brushes that emulate markers and pens as it

gives the impression o meaning to look rough.”

Jeremy Love

60 And once you’ve inished... “Set correction layers on Color i youwant your values untouched.” Bjorn Hurri

Brush off Even i the image doesn’t turn out quite as

planned, having made a set o custom brushes is

never a waste because you never know when theymight turn out to be useul again in the uture.

This is one o the best things about Photoshop -

you can hone, customize and add to its standard

tool set so that it becomes your own unique

workshop, rom which you can create whatever

style o artwork you desire.

“Custom brushes are great orgetting a painting started sothere’s already some textureon the page to paint over.

Sometimes it helps me to getstarted i I’m having a bit o ablock”

An off-centre subject makes an image both realistic and interesting © Jeremy Love

http://www.kyletwebster.com/portfolio/brushes/http://www.kyletwebster.com/portfolio/brushes/

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41

physical build o a character or a concept piece,

I want that solid ramework really igured out

and established beore going into any sort o

rendering.” Wesley Burt

70 Practice makes perect: “Accruing accuracy rom experiencewill make you aster, whether you realize it or

not. Yes, you need to be airly ast to work in

the entertainment industry, but just being ast

doesn’t do anything i you don’t have the solid

oundations and ideas to go with it .” Wesley Burt

71 Tool up: “You get aster as youbecome more comortable with thetools and begin to know the result you want to

get, and aren’t restrained by the tools. That also

comes rom becoming less indecisive and having

a clear idea or what it is your and doing and

why.” Wesley Burt

72 Think colorul thoughts: “Colorcan be used in many ways to conveymeaning or emotion, you can use it to emphasizecertain things or lead the eye through the

composition with rich saturated colors or through

hue shifs and changing tones. I will employ color

differently depending on what it is I am trying to

do and how it will help or affect the current image

I’m working on.” Wesley Burt

73 Back to basics: “Concentrateon your oreground, mid ground, andbackground. In my opinion, an image needs a

sense o storytelling and a composition to lead

the eye. No tricks, just a real thought behind the

action. Mostly I just see people scribbling or an

hour and it usually equals the term I like to call,

“beautiied nothing.” Brett Bean

74 Slow down: “Take your time andget it right. I think it is very hard to put apersonal touch rom the artist in a speed-painting

so I rarely engage in the activity. I would only use

it as an under-painting as part o a larger piece

o work. I don’t normally just speed paint or the

sake o it.” Brett Bean

75 Pick up the pace: “I’vedownloaded a timer which sits on mysecond monitor. I set time limits or each block o

work and try to stick to it. It stops me rom getting

distracted and keeps me working efficiently.”

Jeremy Love

76 Don’t look too close: “I typicallydon’t zoom in past 50% until theinishing touches to avoid overworking with

pointless detailing. Most people don’t look at

an image or more than several seconds so I try

to only add detail that I eel is essential. Create

the illusion o detail without zooming right in.”

Jeremy Love

77 Hone your observation: “Bypracticing all the time you will becomeaster at achieving what you want. Every spare

moment you get, you should be drawing,

painting, and observing. Always look at how

light and shadow describe the object they’re

acting upon, this is the basis o all good painting.”

Jeremy Love

78 Capture the essence o anidea: “Speed-painting isn’t somethingthat you achieve just by opening Photoshop

and bashing in some photos or texture brushes.

A speed-painting is the rough expression o an

idea, capturing the essence with as little effort as

possible, and it takes years o practice to master.”

Ioan Dumitrescu

79 Do it over and over: “Speed yourprocess up by repetition. Once you havedone something long enough it becomes second

nature, that’s when you can start exploring other

processes in your work. Remember, you will

always have your usual method to all back on or

success.” Ioan Dumitrescu

80 Learn your shortcuts: “A vital

part o being ast is using keyboard

shortcuts and having organized brushes. Know

your tools and learn them inside out. Humans

are an incredible species, beore you know it you

will be able to do everything inside Photoshop

without even needing to think about it. Your hand

will live a lie o its own and help you switch tools

quickly. Another thing that can help is making

your own panels with tools or actions you use

a lot. You can use Adobe Conigurator to make

these easily.” Jonas De Ro

Not your cup o tea?While there are plenty o artists who swear by

the speed painting method, there are plenty

more who think it a gimmick. So give it a go by

all means, but don’t think that you can’t be a

proessional or that you aren’t as good an artist i

it doesn’t suit you.

That said, all proessional artists will have to

work to a deadline at some time in their artistic

career, so the ability to work under pressure and,

perhaps more importantly, to be able to quickly

and simply express the direction your work is

going to go in, is o vital use. Speed is o the

essence, it seems.

Take the plunge when you’re painting in Photoshop, and have conidence in what you can achieve © Brett Bean

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Ready to set the mood?Photoshop has a powerul arrayo eatures that’ll allow you tolight a scene with ease

Mood is everything. I you have painted a

picture that is accurate in detail, but somehow

ails to come alive, then it’s to lighting and

color and the other things that impact on

atmosphere that you must turn. Afer all,

i your image doesn’t make the viewer eel

something – eel anything – then what, really,

is the point o it? And besides that, creating

eeling or your imagery is the un part, so read

on to see what our experts have to say.

81 Dodge details: “I ind using ColorDodge with a high saturated midrangecolor works really well to help light areas and

tweak the base o your painting. I use it mostlyon areas which are receiving a lot o light or that

I want to add subtle color variations to.” Bjorn

Hurri

82 Light antastic: “There are twocategories here where I use lightdifferently. The irst one is concept art where

the light can’t be too dramatic and all the areas

need to be more or less readable, and the second

category is obviously illustration. When doing

an illustration I ocus on mood a lot more. Light

can be heavy or light depending on the directiono the illustration but I always try to use light to

dictate a speciic mood in the subject. It is a huge

part o my art.” Bjorn Hurri

83 Give it a back light: “I ound acontrasted backlight really effectivebecause it reveals shapes clearly and hides

secondary details. It’s important or me to have

many shadows on my images because I can hide

or accentuate as I want.” Xavier Etchepare

84 Think mood, but also clarity:

“For me lighting is key or creating

both emotions and readability. You can have

expressive characters and perect compositions,

but lighting will always empower them. An image

doesn’t look realistic or believable because o

its details but because o your comprehension

o all volumes and materials, and this is exactly

the deinition o the lighting effect.” Xavier

Etchepare

85 Balance light and shade: “You’llind that viewers will ocus on lightspace, and see the shadowed areas as a border,(long lines, contrasts, and so on). You have to

manage both and balance the intensity o each

to avoid disparate ocus points. You have to

play with colors in each one because a realistic

shadow is never black/grey - this is the same or

the white light. Mother Nature makes the things

complex, so don’t eel limited.” Xavier Etchepare

86 Shape the vibe: “Your choice oelements has a big impact. Smoothshapes will make you comortable, triangular

ones will look more aggressive or dynamic,

square ones eel heavy and stable, and so on...”

Xavier Etchepare

87 Think about what you don’tsee: “I love to create ‘moments’.Composition and color is key, and even on

a static image you can create a moving and

immersive moment. I think that creating mystery

in an image, by giving some areas less detail or

making them lost in the mist or instance, helps

create a more interesting picture.” Raphael

Lacoste

88 Learn rom the world: “I thinkthat the best way to learn lighting is

observation. I have been doing photography now

or more than 20 years, with 6x6 cameras, ilm and

digital, and this has educated my eyes a lot. You

will also learn rom every day observation. Look

at your riends under the light when you have a

drink in a bar, look at the sky when you drive back

rom vacations (don’t stare or too long!), look at

suraces, how relection works, what colors are in

the shade, and so on...” Raphael Lacoste

89 Use body language: “I there is

a human (or human-esque) character,

you can create mood very effectively through

the gesture and body language o that character.

We as humans pick up on the subtlest changes

and angles when it comes to the ace and body

or other people. Our visual communication is

extremely honed and you can rely on the viewer

using this perception when they look at the

character or pick up on the narrative.” Wes Burt

90 Strong and simple: “For

characters, I use a three-point lightscheme: main light, bounce light, and rim

light. It’s basic but it lets an audience, a client,

• Lighting, mood and atmosphere

A sci-i world demands that you present an arresting mood and atmosphere © Jeremy Love

Lighting a scene can be tricky, admits Ioan Dumitrescu © Ioan Dumitrescu


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and a modeler know everything they need to

understand about the scene. I you’re painting an

environment, what I ind most effective is a strong

main light source coupled with bold decisions in

shadows. Dramatic lighting is my avorite to view

and create.” Brett Bean

91 Know your goal: “It’s all in serviceo ‘the point o it’. Everything rom howshadows all to where the main light source is

placed, serves the overall idea. Is it to show off an

alien world with three moons? Is it because this iswhere the hero doubts himsel? Is this when two

people all in love? Does the villain really end up

being the hero? And sometimes it’s just to show

the 3D team how something works.” Brett Bean

92 Examine the unseen: “I use lightand shadow to draw the eye to what Iwant them to see, or not see. It’s just as scary to

see the alien as it is to see dark spaces where the

alien could always be lurking. Something we tend

to orget.” Brett Bean

93 Bring it all together: “To helpsell the mood you can start thinking othe scenery surrounding the piece. Little things

help sell the reality. Look at ilm - the mood is

about the costumes, the lighting, the textures, thecamera setting and composition, and whatever

else is just lying around. All o these add up to the

overall mood and setting.” Brett Bean

94 Darkest beore the dawn: “Ilike to use a Global Darken layer thenerase out areas I want to stand out or where light

shines, like the ocal object in a room or light

coming through a doorway.” Jeremy Love

95

Think about the big picture: “I think about how I can cast shadows

into the image using objects which may be off

shot, like clouds or buildings. It can help break

up your image and contrast areas o interest.”

Jeremy Love

96 Have your cake and eat it: “Agood way to add light and shadow topaintings is to duplicate an unlit, lat colored

layer and then create a shadow version o this

by using the Hue/Saturation dialogue (Ctrl+U) to

darken and desaturate the image. Then create lit

passages using the Eraser tool or the Lasso tool

to deine selections that you can then delete. Thisallows the original unlit layer to be visible through

the shadow layer, effectively creating a lit and

shaded orm.” Ian Mcque

97 Straight to the point: “Mood canbe created through many ways, such asshape relations, color blending, light, characters

and action. Sharp shapes generally denote

danger while rounder shapes calm things down.

Light and shadow can transorm a character

rom a gentle calm old man to a scary creeping

character.” Ioan Dumitrescu

98 Try a sidestep: “Lighting ascene can be tricky. You can use the

generic atmospheric perspective and just add a

backlighting to your image. This creates a lot omood. On the opposite end, ront lit scenes are

harder to nail as the image will have the tendency

to appear lat. Directing light rom the sides can

bring up interesting lighting situations, whereas

a play o shadow and light will complete your

composition.” Ioan Dumitrescu

99 Everybody loves sunsets:“Generally concept artists play around alot with lighting to set a mood. Low light and back

lighting are very popular and always give a more

romantic/dramatic eeling. There is a reason

everyone loves sunsets. When an atmosphere

is thick, or example because o smoke or dust,

light rays tend to become more visible. This is

called volumetric light and is a un and popular

technique to bring the usage o light to the next

level!” Jonas De Ro

100 Hold onto your values: “Good color and value control iskey to establishing mood. Putting warm colors

against cold, or vibrant against desaturated ofen

gives pleasing results. Another good thing to do is

play with atmospheric perspective. This instantlycreates a sense o mystery and also makes it

much easier or your image to read, particularly i

there is a lot o depth going on.” Jonas De Ro

Mean and moodyAnd with your lighting complete, you can take a

step back rom your work and have a well-earned

rest. There’s always more about Photoshop you

can learn, another eature you can explore or trick

you can pick up, but there’s always tomorrow or

that. As all these artists say, nothing really beats

pure artistic skill, practice, and a lot o hard work.

In some ways, Photoshop is the easy bit .

Jonas says low and back lighting always gives a more romantic eeling © Jonas De Ro

What isn’t seen can ofen be as important

or the image as what is © Brett Bean

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Celebrating 100 issues

2DARTISTMAG.COM

2DARTIST MAGAZINE | Celebrating 100 issues


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Thank you or taking the time to read 2dartist

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3DTotal presents the new issue of3dcreative magazine, a downloadablemonthly magazine for digital artists foronly ₤2.99 (approx. $4.79/€3.69).

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3D characterconcepts

CG expert Jeff Miller divulges his tips

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+plus • 10 of the best digital images• Photoreal sci-fi characters• Perfect vintage car models

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John A. Martini reveals his precise

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Discover how Germán Córdoba

modeled, textured and rendered

his image Abandoned Gas Station

Alexandr Novitskiy reveals his tricks

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a photoreal car mesh in Maya

Replicateobjects in

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Mastervehicle meshgeometry

Textures forcinematic

characters

104

Issue 104 | April 2014

The art of

Plus! WIN an online course worth £7,500 from Escape Studios!

ZBrushcharactersCharacter design veteran Kurt

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http://www.3dtotal.com/offer/2dalightwave3d

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Each issue the 2dartist team selects 10 of the best digital images from around the world. Enjoy!

Crypt KingdomEytan Zana

Sofware used:

Photoshop

Year created: 2014

Web: ezdraws.blogspot.co.uk

© Eytan Zana All Rights Reserved

2DARTISTMAG.COM

2DARTIST MAGAZINE | The Gallery

http://ezdraws.blogspot.co.uk/http://ezdraws.blogspot.co.uk/

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Submit your images! Simply email [email protected]


49

mailto:jess%403dtotal.com?subject=2dartist%20Magazine%20Gallerymailto:jess%403dtotal.com?subject=2dartist%20Magazine%20Gallery

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Lady o the Fallen

Josu Hernaiz

Sofware used:

Photoshop

Year created: 2014

Web: josuoh.cl

UrashimaMatt Rockeeller

Sofware used:

Photoshop

Year created: 2013

Web: mattrockeeller.com

2DARTISTMAG.COM


http://josuoh.cl/http://mattrockefeller.com/http://mattrockefeller.com/http://josuoh.cl/

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Warriors

Roldan

Sofware used:

Photoshop

Year created: 2014

Web: juanparoldan.blogspot.co.uk


53

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2DARTISTMAG.COM


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They ound it!

Klaus Pillon

Sofware used:

Photoshop

Year created: 2014

Web: klauspillonportolio.carbonmade.com


55

http://klauspillonportfolio.carbonmade.com/http://klauspillonportfolio.carbonmade.com/

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Sunset on the lowlands

Jessica Rossier

Sofware used:

CINEMA 4D, Photoshop Year created: 2014

Web: jess-studio.com


57

http://jess-studio.com/http://jess-studio.com/

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Graphic LA

Robh Ruppel

Sofware used:

Photoshop

Year created: 2011

Web: graphicla.tumblr.com


59

http://graphicla.tumblr.com/http://graphicla.tumblr.com/

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ButterFlyerJason Stokes

Sofware used:

Photoshop

Year created: 2013

Web: stokes.cghub.com

2DARTISTMAG.COM


http://www.stokes.cghub.com/http://www.stokes.cghub.com/

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New World

Titus Lunter

Sofware used:

Photoshop

Year created: 2013

Web: tituslunter.com

2DARTISTMAG.COM


http://www.tituslunter.com/http://www.tituslunter.com/

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http://www.layerpaint.com/

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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 everyone.

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CrazyTalk Animator is a revolutionary animation suite with all the necessarytools to easily create pro-level animation. It provides an exciting new approachto traditional 2D animation with innovative new tools that allow users to apply3D motions to 2D characters.

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TERMS AND CONDITIONS: The competition deadline is 31 May 2014; entries received afer this date will not be considered. Winners will be contacted via email afer the closing dateand prizes will be distributed as downloadable sofware versions only. Employees o 3dtotal.com Ltd and Reallusion (including reelancers), their relatives or any agents are not eligibleto enter this competition. 3dtotal.com Ltd’s decision is inal and prizes will not be exchangeable or cash. By entering this competition you consent to 3dtotal.com Ltd sending youtwice-monthly email newsletters and press releases. You also consent to be added to the Reallusion mailing list. You may unsubscribe rom these at any time.

To be in with the chance o winning one o 6copies o CrazyTalk Animator 2 Pipeline, justanswer the question below beore 31 May...

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TERMS AND CONDITIONS: This offer expires at the end o 31 May 2014. Requests to download thesofware afer this date will not be considered. The sofware will not be exchangeable or cash. Forhelp with installation o your ree sofware, please contact the Reallusion support team. Please donot contact the 2dartist magazine editorial team with technical queries about CrazyTalk 6 as this isthe wrong department or dealing with your enquiry.

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TERMS AND CONDITIONS: The competition deadline is 19 May 2014; entries received afer this date will not be considered. Winners will be chosen at random and will be contacted viaemail afer the closing date with prize inormation. Employees o 3dtotal.com Ltd and Phoenix Atelier (including reelancers), their relatives or any agents are not eligible to enter this com-petition. 3dtotal.com Ltd’s decision is inal and prizes will not be exchangeable or cash. By entering this competition you consent to 3dtotal.com Ltd sending you twice-monthly emailnewsletters and press releases. You also consent to be added to the Phoenix Atelier mailing list. You may unsubscribe rom these at any time.

Questions1. Which o the Phoenix Atelier instructors work at Weta Workshop

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a) Andrew Baker

b) Cezar Brandao

c) Adrian Smith

2. Which o the ollowing clients has Phoenix Atelier instructor

Adrian Smith not worked or?

a) THQ

b) Ubisof Entertainmentc) Pixar

PrizesFirst prize: Win a seat on Adrian Smith’s /Fantastic Fantasy/ course, worth $800 US!Adrian Smith’s list o clients credits reads likea dream or any aspiring artist; in no particularorder: THQ, EA, Mythic Entertainment, UbisofEntertainment, Vivendi, Blizzard, Wizards o theCoast... And i that wasn’t enough, Adrian has alsoworked with the likes o Pat Mills on comics or theFrench marketplace, plus board games, tabletopgames as well as work or various publishersaround the world. Adrian Smith has the pulse o

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10 c o p i e s o f D r a w P l u s X 6 t o b e w o n !

TERMS AND CONDITIONS: The competition deadline is 31 May 2014; entries received afer this date will not be considered. Winners will be contacted via email afer the closing date andprizes will be distributed as downloadable sofware versions only. Employees o 3dtotal.com Ltd and Seri (including reelancers), their relatives or any agents are not eligible to enterthis competition. 3dtotal.com Ltd’s decision is inal and prizes will not be exchangeable or cash. By entering this competition you consent to 3dtotal.com Ltd sending you twice-monthlyemail newsletters and press releases. You also consent to be added to the Seri mailing list. You may unsubscribe rom these at any time.

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Instinctive, powerful and portable,Procreate lets you work anywhere –

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Terms

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