2DArtist Issue 091 Jul2013
2DArtist Issue 091 Jul2013
2DArtist Issue 091 Jul2013
Discover how to
paint villainous
characters as Charlie
Bowater takes
us through her
process of painting
Moonshine.
Dreamworks
Animation
10 inspirational
images
Create Costumes
Evolving characters
Contents
Editorial
If you dont know where to start
Digital Painting Magazine
Issue 091 July 2013
Discover how to
paint villainous
characters as Charlie
Bowater takes
us through her
process of painting
Moonshine.
Dreamworks
Animation
10 inspirational
images
Contents
006
Donglu Yu
Sketchbook
020
Evolving characters
The Gallery
Donglu Yu talks to 2DArtist magazine about her career and techniques as a concept artist in the gaming industry. Donglu
shares with us what its like working with the creative team at Ubisoft.
Create Costumes
038
own characters.
Whether you want to discover how to create and paint villains
to a games brief, which Charlie Bowater covers in the design
050
Fantasy Worlds
060
Costume Design
068
076
Evolution
F ANTASY
WORLDS
Fictional universes are often used in games and films, with fantasy being a popular theme! They are made up of many different features such as characters, environments
086
and vehicles, and it is important that all these elements work together to create a believable environment and society to engage the audience. In this series our artist will
Shapes, color and theory are an important part of character design.aYou can create a feeling of good or evil intechniques that canby used to createthe combinations that you use.
visual design be changing all the major
take a comprehensive look at creating a fantasy world from concept perspective, and investigate the processes and
In this tutorial series each artist has been presented with a games-like brief features of a game or film. villain, and their challenge is to use this brief to design a character while
describing a hero or
conveying the elements that make them recognizable.
Landscape Speedpaint
Project overview by Byzwa Dher
Ubermesserschmitt
098
About Us
107
Freelance digital artist Byzwa Dher, shares some of his thought process and techniques to create
landscapes in this step-by-step project overview of his image Landscape Speedpaint.
20%
This month we feature: Jose Cabrera | Markus Lovadina | Jason Seiler | Edvige Faini | Aekkarat Sumutchaya
When designing characters for movies or video games, its important to think about the different possible worlds and how a human character could have evolved to
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,
universe.
cope with his/her environment. In this tutorial series, each artist will take us through their design process, exploring a variety of factors that would effect and influence the
Luis Gama | Mohammad Keivan Marz | Anthony Eftekhari | Alexey Egorov | Ludwin Schouten
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
Discount Code
characters evolution and anatomy, to convey a visual idea that could be passed on to a 3D modeler or art director.
www.3dcreativemag.com, www.2dartistmag.com all physical books, ebooks, emags, video content, texture
libraries and any future releases may not be reproduced in any form or by any means, without the prior
written consent of the publisher.
Editor
Jess SerjentTipping
Lead Designer
Chris Perrins
Layout
Az Pishneshin
Matthew Lewis
Content
Richard Tilbury
Jess SerjentTipping
Proofing
Jo Hargreaves
Marketing
Emma Handley
Free Stuff!
Wherever you see this symbol, click it to
download resources, extras & even movies!
www.2dartistmag.com
page 2
Magazine!
Discover how to
paint villainous
characters as Charlie
Bowater takes
us through her
process of painting
Moonshine.
Dreamworks
Animation
10 inspirational
images
Create Costumes
Evolving characters
feature in this magazine, follow this handy little guide on how to set
up your PDF reader!
Contributors
Donglu
Yu
Donglu Yu is a concept artist
working in the video game
industry. Donglu has been
working on Deus Ex: Human
Revolution, Assassins Creed
Brotherhood, Assassins Creed III and Assassins
Creed IV: Black Flag.
http://donglu-littlefish.blogspot.co.uk/
Contributing Artists
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: [email protected]
Charlie
Bowater
Richard
Tilbury
http://charliebowater.tumblr.com/
http://www.richardtilburyart.com
[email protected]
Takumer
Homma
Takumer Homma is a freelance
concept artist and a digital
illustrator in the entertainment
industry, who made a transition
from the automotive industry in
2012. He dreams and aims to work in films!
http://www.takumer.com/
[email protected]
www.2dartistmag.com
page 4
Donglu Yu talks to 2DArtist magazine about her career and techniques as a concept artist in the gaming industry. Donglu
shares with us what its like working with the creative team at Ubisoft.
Donglu Yu Interview
Hi Donglu, thanks for taking the time to have
industry?
my work.
ideas across?
www.2dartistmag.com
page 7
the fog.
Donglu Yu Interview
www.2dartistmag.com
page 9
Interview
www.2dartistmag.com
page 10
Donglu Yu
Donglu Yu Interview
www.2dartistmag.com
page 11
Donglu Yu Interview
artistic journey.
art fundamentals.
virtual space.
www.2dartistmag.com
page 13
Interview
www.2dartistmag.com
page 14
Donglu Yu
Donglu Yu Interview
I think it is important to
focus on what you want to
draw in your portfolio, so
the recruiters and the art
directors can quickly see
your strength.
looking for?
name few!
time?
looks like.
instructor-workshops/donglu-yu/
in Photoshop!
www.2dartistmag.com
page 15
Interview
Donglu Yu
www.2dartistmag.com
page 16
Donglu Yu Interview
brushes, etc.
today!
Donglu Yu
Web: http://donglu-littlefish.blogspot.co.uk/
Email: [email protected]
that color.
photo-real one.
I am not the kind who gets too fancy with the
How do you go about choosing the colors
www.2dartistmag.com
page 17
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
Sketchbook of
Nicolas Weis
These sketches are a good example of
what I draw on a daily basis while working
in an animation studio, from a single, small
and sun-burnt plant, to a wide view of a
huge landscape. Both were drawn with
the same pencils and I had fun on both
assignments (Fig.01).
www.2dartistmag.com
page 23
Sketchbook
Nicolas Weis
www.2dartistmag.com
page 24
really enjoy.
www.2dartistmag.com
page 25
www.2dartistmag.com
page 27
Fig.08 was drawn in the south of France, in the convoluted and cool streets of
Bargme, Castelane and Roquebrune Cap-Martin, with the sun over my head.
This is the unique taste of vacation.
Fig.09 is a result of a fine night sketching with friends. I did the abstract splashes of watercolor,
then looked at them as if they were clouds, trying to figure out if they were trains, flowers or birthday
cakes. It turned out they looked like demons.
www.2dartistmag.com
page 29
I have been recently drawing a lot with ballpoint pens and I really enjoy it.
Not fancy ones; the kind you find on any desk. The scope of their potential
is really wide and it seems like every one of them has a special feel. Hence I
have been gathering and mentally labeling every one I used (Fig.11).
Sketchbook
Nicolas Weis
www.2dartistmag.com
page 32
www.2dartistmag.com
page 33
Sketchbook
Nicolas Weis
I have been drawing a lot of dragons recently, trying to incorporate non-reptilian shapes and characteristics. I drew all of them
on the Strathmore artist trading cards. Then I used watercolor and colored pencils. Once again, I tried to come up with a variety
of shapes, poses and then colors. The small size of the support forced me to go as straight to the point as I could and to focus
on the dynamic of the overall pose and on the cuteness (Fig.14 15).
www.2dartistmag.com
page 34
Nicolas Weis
Web: http://www.nicolasweis.com/
Email: [email protected]
www.2dartistmag.com
page 35
ANIMATION
& VISUAL EFFECTS
This month we feature: Jose Cabrera | Markus Lovadina | Jason Seiler | Edvige Faini | Aekkarat Sumutchaya
Luis Gama | Mohammad Keivan Marz | Anthony Eftekhari | Alexey Egorov | Ludwin Schouten
Contact
Luis Gama
www.luisgama.com
[email protected]
(Below)
www.2dartistmag.com
page 39
On the Run
Markus Lovadina
http://malosart.blogspot.com
[email protected]
The Beach
Anthony Eftekhari
www.artofae.com
[email protected]
10 of the Best
The Gallery
30 with Parents
Jason Seiler
www.jasonseiler.com
[email protected]
www.2dartistmag.com
page 46
Jose Cabrera
Alexey Egorov
http://brujulacromatica.blogspot.com.es
(Below)
(Above)
www.2dartistmag.com
page 47
Monsters Friends
Aekkarat Sumutchaya
www.facebook.com/webang111
[email protected]
Shapes, color and theory are an important part of character design. You can create a feeling of good or evil in visual design by changing the combinations that you use.
In this tutorial series each artist has been presented with a games-like brief describing a hero or villain, and their challenge is to use this brief to design a character while
conveying the elements that make them recognizable.
Introduction
Character design is easily my biggest
painting passion. What can I say? Im in love
with painting people! I always find painting
characters fun, but painting a villain? Its the
perfect opportunity for having that little bit
of extra fun! The starting point for my villain,
Moonshine, is a brief description:
This character carries a tank or cylinder on his
back, attached to a hose that fires flammable
liquid similar to a flamethrower. His appearance
is shabby and he wears a large, overhanging
hat that helps obscure his face.
Exploration is an important part of any character
creation a little experimentation will give you
a nice selection to choose from but I have to
admit that I usually picture the sort of character
Im aiming for instantly.
After reading the description of Moonshine I
already know what I want to go for: something
leaning on the side of stylized rather than
realistic, purely because its going to be a hell
of a lot of fun! Perhaps its harking back to my
Disney years, but I do love a good villain. With
a little stylization I can exaggerate his features
and throw in some bright pops of color, both of
which are appealing to the idea I have stewing
in my head.
www.2dartistmag.com
page 51
Chapter 02 Moonshine
on his character.
option (Fig.04).
www.2dartistmag.com
page 52
character (Fig.05).
www.2dartistmag.com
page 53
Chapter 02 Moonshine
duties (Fig.10).
www.2dartistmag.com
page 54
bounce lights.
www.2dartistmag.com
page 55
Chapter 02 Moonshine
Charlie Bowater
Web: http://charliebowater.tumblr.com/
Email: [email protected]
www.2dartistmag.com
page 56
! 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
FANTASY
WORLDS
Fictional universes are often used in games and films, with fantasy being a popular theme! They are made up of many different features such as characters, environments
and vehicles, and it is important that all these elements work together to create a believable environment and society to engage the audience. In this series our artist will
take a comprehensive look at creating a fantasy 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 Concept
The first step is just thinking about the character
in your head. I first think about the main
are secondary.
range of materials.
concept art!
progress anyway!
www.2dartistmag.com
page 61
Chapter 01 Characters
Fantasy Worlds
the canvas.
and composition.
www.2dartistmag.com
page 62
www.2dartistmag.com
page 63
Chapter 01 Characters
Fantasy Worlds
drawing a lot!
Web: http://yong.cghub.com/
www.2dartistmag.com
YongSub Noh
Email: [email protected]
page 64
Meet modo.
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.
Introduction
This tutorial is one of many processes that can
be used and applied when working on creating
quick character and costume concepts. It is
a step-by-step in producing a character and
costume with a specific occupation in a fantasy,
medieval world.
In the process you will see the mistakes I make
and how I constantly fix things. Its important to
remember that everyone makes mistakes and
it is not wrong to make them. It is normal to not
get it right on your first go, so dont be afraid.
With a solid foundation, you only need basic
knowledge of Photoshop to start coming up with
concepts digitally. So please dont skip on your
foundations!
There are many advantages to Photoshop
digital painting, from layering and creating
custom brushes to image adjustments and
saving your work. In addition, I use a default
round brush for 99% of the painting.
www.2dartistmag.com
page 69
Chapter 05 Magician
Costume Design
www.2dartistmag.com
page 70
www.2dartistmag.com
page 71
Chapter 05 Magician
Costume Design
www.2dartistmag.com
page 72
Takumer Homma
Email: [email protected]
Web: http://www.takumer.com/
3D MODELS
SHADERS
TEXTURES
RESOURCES
When designing characters for movies or video games, its important to think about the different possible worlds and how a human character could have evolved to
cope with his/her environment. In this tutorial series, each artist will take us through their design process, exploring a variety of factors that would effect and influence the
characters evolution and anatomy, to convey a visual idea that could be passed on to a 3D modeler or art director.
Introduction
things unimagined.
were extreme.
Thumbnails
harsh conditions.
www.2dartistmag.com
page 77
Chapter 02 Arctic
Evolution
www.2dartistmag.com
page 78
Sketching
high tech.
three sketches.
www.2dartistmag.com
page 79
Chapter 02 Arctic
Evolution
some technology.
when in water.
Having a Blend
Final Designs
Multiply layer.
www.2dartistmag.com
page 80
organs warm.
seemed appropriate.
www.2dartistmag.com
page 81
Chapter 02 Arctic
Evolution
www.2dartistmag.com
page 82
Richard Tilbury
Web: www.richardtilburyart.com
Email: [email protected]
Subscribe
Interviews
Nicolas Weis
Articles
Tutorials
Fantasy Worlds
Chapter 2: City/Residential Architecture
by YongSub Noh
Costume Design
Chapter 6: Jester
by Ahmed Aldoori
Evolution
Chapter 3: Low Gravity
by Charlie Bowater
Making of
Galleries
Freelance digital artist Byzwa Dher, shares some of his thought process and techniques to create
landscapes in this step-by-step project overview of his image Landscape Speedpaint.
Introduction
When creating a speed painting I focus on what
is clear according to the title of the scene. It is
a fast method of painting without significantly
refined details, where the result is basically a
sketch with clear composition, colors and light.
This sketch can be used for further repainting.
Personally I really like this method because the
painting arises very quickly and it mainly catches
the atmosphere that I want to put across to the
viewer. I am a big fan of impressionism and that
is why my final stylization of the painting can be
Canvas
www.2dartistmag.com
page 87
Making Of
Landscape Speedpaint
Background Sky
me to achieve this.
I decided that the daytime sky should have
Next I created a new layer where I built the
one-point perspective.
www.2dartistmag.com
page 88
www.2dartistmag.com
page 89
Making Of
Landscape Speedpaint
Castle
In this step I focused on the primary element
of the scene: the castle. I placed it on a more
detailed hill, draped in the atmosphere. It had
to be a shade of blue to fit in with the rest of the
colors in the scene.
I made shapes for all the different parts of the
castle, such as the tower and pillars, which
to a solid shape.
www.2dartistmag.com
page 90
through a painting.
Trees
I started to add natural elements into the scene
by adding green colors in. To create the effect of
www.2dartistmag.com
page 91
Making Of
Landscape Speedpaint
www.2dartistmag.com
page 92
Conclusion
Byzwa Dher
Web: http://www.arte-grafik.com
Email: [email protected]
www.2dartistmag.com
page 93
20%
Discount Code
Digital Art Masters: V7
Grab your exclusive 20%
discount code at the end of
this tutorial!
www.2dartistmag.com
page 97
Free Chapter
Ubermesserschmitt
Software Used: Photoshop
My Painting
The original plan when starting this image was
just to practice exaggerating a classical airplane
design and to create a vintage poster with some
retro-tag lines. At the time I was feeling kind of
guilty for not using the huge sketchbook I was
given at Christmas. Because of this I took a
break from my usual tiny pencil sketches and
started a bigger, more complete drawing.
After a few thumbnails where I tried to nail
down a pleasing silhouette and camera angle, I
sketched the drawing. The drawing you can see
in Fig.01 is about 20 x 25 inches in size.
The final aircraft design was like a bloated
plane where the engine was clearly visible
in places, almost like an American hot rod. It
was decorated with a savage-looking paint job
and equipped with a ridiculously overpowered
mini-gun (which would actually block the pilots
view, but it looked good so I left it in). The flying
squirrel was just for fun at this point. I changed
almost everything about it later, but by the end I
liked to think of it as the pictures heart.
Before starting on the final image I usually try
(Fig.03 04).
www.2dartistmag.com
page 98
perspective.
(Fig.06 07).
www.2dartistmag.com
page 99
Free Chapter
www.2dartistmag.com
page 100
www.2dartistmag.com
page 101
Tobias Trebeljahr
Web: http://www.trebelja.com
Email: [email protected]
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
2.99
The Gallery
Rafael Grassetti is among this issues pick
of top talent from around the world
Learn how to create clothing for characters with our expert, Dmitry Shareyko
Patrick Evrard outlines his all-important first steps when modelling tricky characters
Andrew Hickinbottom shares his head-modelling secrets for his latest protg, Cara
Duarte Francos discusses Weight Pushing in the final part of his series for Maya
www.3dcreativemag.com
visit
to see a full preview of the latest issue, subscription offers and
to purchase back issues.
OUT NOW!
3dcreative
3DTotal Aboutus
Contact Information
http://www.3dtotal.com
http://www.3dcreativemag.com
http://www.2dartistmag.com
Editor/Content Manager > Jess Serjent-Tipping
[email protected]
Designer > Az Pishneshin
[email protected]
Marketing > Emma Handley
[email protected]
Partners
If you have a CG community website and would
like to support 3DCreative and/or 2DArtist
magazine by showing our banners, please
contact Simon at the email address above
www.2dartistmag.com
page 107