Fantasy Artist Genius Guide Vol 2 PDF
Fantasy Artist Genius Guide Vol 2 PDF
Fantasy Artist Genius Guide Vol 2 PDF
The essential
guide to
designing
& creating
stunning
fantasy art
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Welcome to
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Head of Design
Ross Andrews
Production Editor
Hannah Kelly
Designer
Katie Mapes
Photographer
James Sheppard
Printed by
William Gibbons, 26 Planetary Road, Willenhall, West Midlands, WV13 3XT
Disclaimer
The publisher cannot accept responsibility for any unsolicited material lost or damaged in the
post. All text and layout is the copyright of Imagine Publishing Ltd. Nothing in this bookazine may
be reproduced in whole or part without the written permission of the publisher. All copyrights are
recognised and used specifically for the purpose of criticism and review. Although the bookazine has
endeavoured to ensure all information is correct at time of print, prices and availability may change.
This bookazine is fully independent and not affiliated in any way with the companies mentioned herein.
ISBN 978-1910155356
Part of the
bookazine series
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Contents
8
antasy
22 f
art tips &
tricks
46 84
90
Character
18 Create a magical witch
24 Norse character design
30 Paint a vampire pin-up
36 Paint a steampunk-inspired
portrait Creatures
40 Create an ice queen heroine 70 Master the art of creature
46 Sculpt fabrics for fantasy creation
characters 78 Design & model sci-fi creatures
52 Paint a colourful comicbook 84 Design a 3D alien
character 90 Develop fantastical animals
58 Design a Weta character 98 Master expert creature renders
64 Design a magical character using mental ray
112
188
Landscapes
108 Paint a colourful terrain 130 Create a fantasy matte desert
112 Paint a fantasy snowscape landscape painting
118 Compose a magical 138 Sculpt an epic sci-fi terrain
mountainscape 144 Create fantasy landscapes from
124 Create space art photos in Photoshop
182
Concept
152 Build fantasy architecture 170 Sci-fi concept art
158 Concept art for a heroine 176 Build videogame concept art
character 182 Build matte paintings
164 Create dramatic lighting effects 188 Design robot mechs
WorldMags.net Fantasy Art Genius Guide 7
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WorldMags.net
22FANTASY
TIPS & TRICKS
WE GUIDE YOU FROM CONCEPTION
TO COMPLETION WITH 22 TOP TIPS
FROM FANTASY ART EXPERTS
© Jack Zhang
This artwork was created as part of an I find that the most important thing
online challenge. The brief was to make to have when you’re starting an
a steampunk character, so I combined image is a reason to be excited
two legendary characters from two by it. There’s nothing worse than
different cultures: King Kong and the creating a painting that you don’t
Monkey King. care about, or that you suddenly
lose steam with halfway through
OSoftware To make this legendary because it lacks the challenge or
character I used Softimage XSI and interest that you hoped it would
Photoshop. Working on it in daily four- have. One of the ways I avoid
hour shifts, it took me around a month to this is by sketching constantly.
finally complete. Clichéd, I know, but people say it
for a reason. Sketching is the best
OJuxtaposition This piece is way for visual people to dump
all about contrast, so it was my aim ideas out of their head and into
to attract the viewer’s attention to the the real world. So, when I was
factors that clashed in the image: big prompted to create a monstrosity
versus small, west versus east, brute that was 100 storeys tall, and
strength versus intelligence, and hot impossibly difficult to defeat, I
© Alex Kintner
versus cold in the form of the cold metal eventually arrived at the idea of
body of King Kong contrasting against tidal flooding and how dangerous rushing water can be in an urban setting. Then I kept revising the design to
his flaming eyes and mouth. express the idea that another civilisation shared the same fear, and that they were somehow able to harness and
restrain the water spirit that flooded their cities. However, the catch had to be that once it was no longer shapeless
OComposition The composition and free, it actually turned into something far worse. By this point, I was really jazzed about the design I had on
of the image is quite simple; it features paper and, because I was so excited to begin with, the whole process from then on went nice and smoothly.
a big main character that fills up most
of the space and a small supportive 3. Create realistic-looking textures
character in the foreground. Both are set Billy Christian
against a forest backdrop. The centre http://billcreative.deviantart.com
of the image, which grabs your initial
attention, is the flaming eyes and mouth I believe that every fantasy artist has their own style of dragons, so I painted a personal piece about an aquatic
of King Kong. dragon chasing dragon-riders. The first thing I did was make a few paper sketches to work out the strongest
composition. Once I had established the design I painted my illustration in Photoshop using a graphics tablet.
OReferences Most people will Even though I use tools like layers and blend modes, the process is the same as in most traditional paintings; I
know who King Kong is, but the Monkey paint from darker to lighter colours using round and chalk brushes, which help to make it look more realistic.
King is the iconic character from the The hardest part of any digital artwork is the texture, and here I found the textures of the waves and the dragons’
upcoming Hong Kong and Chinese film scales particularly tough to make. My advice for those in a similar position is this: don’t be afraid of using
of the same name, which tells the story references. Referencing is a good way for you to achieve a realistic-looking and believable painting. You can
of how the eponymous character rebels study and mimic how waves react and what scales look like, and then apply this to your artwork. Try not to
against the Jade Emperor of heaven. over-texture your piece, as it will make your painting look flat and you’ll lose points of interest. You can also create
The struggle and rebellious natures of texture by using colour and light to separate your focal points from the background; in my painting, the waves are
these two subjects is something I’ve less saturated and I have painted rim lights around the dragons’ and riders’ bodies to create depth.
tried to re-create in this image.
I made ‘Procession’ entirely in Photoshop CS3, using custom Aurora, goddess of the morning, is usually depicted as a golden, beautiful female with wings,
brushes and matte techniques such as painting over the top of and was a great subject to experiment with as there are lots of curves in her pose, body
the photography. and wings to play with. Curves are the basic and most prominent feature of female beauty,
and suggestively create familiarity and comfort. Moreover, curves are very easy on the eye,
interesting for the viewer to follow, and associated with nature because of their organic feel. The
Golden Spiral is a fantastic composition guide because it embraces and follows this theory, so it
was natural that I should use it to compose this image of Aurora. The stars of the fading night sky
seen in the top-left corner slowly introduce interest in the spiral, which gradually curves around
to the main area of interest – Aurora – and, later still, the main point of focus: her arm and neck.
© Irene Zeleskou
OFrom girl to fairy To turn the young girl into a fairy, I made the
skin greener and the hair redder using the Overlay blend mode.
OA question of clothing The fairy is dressed in photos of
individual blades of grass and leaves that I transformed to her body.
To create the fairy’s clothing, I used the Transform tool to mould
some ginkgo leaves and form the base of her dress, then added
single blades of grass to complete the look.
OBuild a backdrop Next, I added background elements
using a separate rock layer and water photos, and then incorporated
a variety of plants and flowers to set the scene. To complete the
image I painted in some translucent fairy wings.
ODepth of field To create the illusion of depth of field I blurred
the elements in the background, which increased the focus on the
fairy in the foreground. I later included some blurred dandelions in
the near-foreground to take this notion one step further.
OCreating the watercolour effect I softened the overall
tone using the Overlay blend mode. Later, I painted in shadows and
highlights on and around the fairy to convey the sense of sunlight.
OSay no to stock art I like to compose a fantastical setting of
my own creation by using dozens of different photos that I’ve taken
myself. Personally, I get the most joy out of being the originator of all
the elements in my art, rather than using stock photos or art. © Susan Schroder
12. Creating thematic tension 13. Rendering is a virtue 14. Achieving realism
Alex Kintner Martin Faragasso Kate Redesiuk
www.alexkintner.com http://cargocollective.com/faragassomartin www.redesiuk.com
One of the challenges of narrative work is leading the
eye. We do this using tools like composition, value, This image was made using Zbrush, Cinema 4D and You can convey realism in many ways, but a lot of
colour intensity, characters and thematic tension. Photoshop. Time is precious to artists, and adjusting them come down to making studies from nature and
Since the brightest object is the torch, that is where lighting and colours in 3D renders can be really time- applying them to your art. If you nail at least one or
the viewer should naturally ‘start’. After that, the eye consuming. This is where Photoshop is a real treat, two aspects of your artwork, such as proportions,
is led to the woman’s face, as we naturally gravitate since I just render once. Using an additive process, colours, lighting or anatomy, your illustrations will be
towards faces. Then we follow the orange glow down I experiment in Photoshop with adjustments and more convincing and compelling. Achieving realism
the length of the arm, bringing our attention to the blend modes. I render a first pass; not too dark or too is easier in digital paintings with fewer layers, which
closest wolf which, shockingly, is next to where we bright, and in black and white. Then I render several are merged down for natural mixing. Here, I ended
started – this is the big reveal. I gave this scene more passes and add these on top of the render. I also up with just five background layers, three for the
tension by placing the torch in the Huntress’s line of experiment with a 3D pass – adjusting opacity and character and ghosts, and three adjustments. That’s
sight on the wolf, and having the dagger at the same Brightness/Contrast or Exposure adjustments – to enough to apply corrections without excessive work
height as the wolf yet the Huntress looking away. play with light intensity or the hue and saturation That while still keeping the file easy to handle. Try using
way, it becomes a non-destructive process. groups and clipping masks for fast, simple editing.
© Ken Barthelmey
I started with a monochromatic approach but soon introduced red and beige tones to add depth to the
landscape. I used the Pen tool to create a dynamic shape (though a Lasso works just as well), then used
soft brushes to make an interesting colour gradient. I duplicated the shapes several times, adjusting the size
and rotation to create the motifs and patterns that make the final structure and shape of the image.
© Alex Ruiz
OPerspective I created a two-point perspective OPhotography I cut out cathedrals and temples
OSky I added a photographic sky texture to the grid to help me design the structures. I used the Pen with the Lasso to create fantasy-esque castles, using
background, as the sky colour has a huge impact on tool to create these grids as it allows me to go off clipping masks to ensure the photography adhered
the scene’s colours and you want to get it right early. I my canvas to easily find my vanishing points. I set to my blocked-in value sketches. I then tweaked the
also added the suggestion of a sun between the two them to different colours using Hue/Saturation and perspective of the photography according to my
structures on the left, done on a Screen layer. Colorize to help distinguish right from left. grids and added photos for the foliage and bridge.
© Sabine Rich
© Kate Redesiuk
OCustom brushes Use
OFocus your attention dynamic brushes to quickly
Always roughly sketch out your OMasks Painting light and create busy backgrounds.
idea first. It’s tempting to just shadows onto objects or adding Scattering and dual brush
start painting and see what will adjustment layers is much easier options let you paint foliage
happen, but this often leads to with clipping masks. Layer masks without having to spend time
you concentrating on pointless are perfect for non-destructively on each leaf. Depending on the
details or a lack of focus. Mark refining shapes, while group image style, create a custom
your composition and key masks let you modify whole sets of brush with, for example, a photo
elements with simple shapes. objects and their visibility. of a twig.
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WorldMags.netGeniusFantasy
Guide
Art
21. Work in 3D
Edli Akolli
http://edli.deviantart.com
To allow for different viewing angles of the same
© EverdreamSoft
library, I used a 3D rendition of the background.
© Irene Zeleskou
OViewing angle I didn’t worry too much
about texture and lighting at the beginning of
this piece – all I was concerned with was getting
the perspective right. After choosing the viewing
angle I wanted, I then started populating the
shelves with books, which was fairly simple
since many books can be represented just using
rectangular solid colours.
Character
From magical to steampunk
30
18 Create a magical witch 46 Sculpt folds and fabrics for Have fun
24
30
Norse character design
Paint a vampire pin-up
fantasy characters
52 Paint a colourful comicbook
when deciding
36 Paint a steampunk-inspired character your character’s
portrait
40 Create an ice queen heroine
58 Design a Weta character
64 Design a magical character
apparel
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WorldMags.netGeniusFantasy
Guide
Art
58
46
Sculpt folds &
fabrics for a
fantasy
character
36
Create a
magical
witch
The Prey Photoshop
Digital artists explain the
Jennifer Healy shows how to techniques behind their
amazing artwork
paint a non-traditional witch and
Artist info
her surroundings
Jennifer Healy Digital painter
When you think of a witch you tend to think of the
traditional character with a long pointy hat, a long
nose, warts, broomsticks and cauldrons. But in Jennifer Healy
fantasy, witches are so much more than that stereotype and
Personal portfolio site
can hold a great deal of magic and beauty. A fantasy witch is a www.beautifulburden.com
woman practising magic; sometimes black, but she can also Country USA
be aligned with good magic. Her practice involves varying Software used Photoshop
degrees of magic, shamanism, folk medicine and spiritual I have been painting digitally
since May 2009. I used to
healing, calling on elements and spirits, veneration of ancient be a pencil artist before that.
deities and the many forces of nature. This kind of witch can My art usually infuses the
beautiful and the ugly in a
have any appearance, but more often than not they are quite single painting. Each is also
attractive. Being tuned to nature can also mean they look a bit laced with a sense of
unkempt, too, but in a pretty way. wonder and mystique.
You can have a world of fun when designing your witch’s
apparel, keeping her sexy but also strong. Her expression
should be cool with a hit of mischief and you can add in natural
elements to her clothing to show that she uses nature in her
craft, further developing her character.
With fantasy images, you don’t really have to be practical The painting
when designing your armour or clothing; it all depends on your Sketch, tweak and colour your scene
personal preference. If you want your witch to be wearing a big
ÁXII\GUHVVZK\QRW",I\RXZDQW\RXUZLWFKWREHZHDULQJ Sketch the
heavy armour, go right ahead. She’s a magical character, after 01 concept With the
all, so mortal concerns like tripping over a hem just don’t apply concept in mind, sketch it all
to her! out to place everything before
Portraying the character and the narrative should be your starting the painting process.
primary objective, so make sure that you add in elements to Start with the background
indicate she is a witch and attuned to nature. This can include a and perspective so you
range of details like acorns, pine needles, berries, leaves and know where it’s best to place
so on, and techniques and effects such as lighting, blur and your character for maximum
varying levels of detail to give a strong sense of the occult. We impact. When you are ready to
will take you through the steps to paint this beautiful and start painting, add a new layer
unconventional witch. underneath the sketch.
Source files
available
Start off your witch’s spell
with the sketch on the
disc provided
Begin with
02 lighting
Decide where you
want the lighting to
be and what colours
you want to use for the
overall piece. Use a
different layer for the
trees in case you need
to change something
later on. Start blocking
in the front trees and
work your way back,
gradually getting
lighter the further back
you go.
Liquify You can add a little more detail to your trees if need be. Open the Filter menu and select
03 Liquify to move and distort your shapes easily for more intricate branches and limbs. Another good
method is to select the Lasso tool, Ctrl/right-click on the image and then select Transform. It’s not as free as the
/LTXLI\ÀOWHUEXWVWLOOZRUNVZHOO
Body
05 outline
Now it is time to
start on the witch.
Use a single colour
(we recommend
something pale if
your background is
dark) for the base
and a Hard Round
brush. Be careful and
clean when colouring
in your lines because
you want things to
be as smooth as
possible. It is best to
pick a dark shade for
the base so you can
work your way up to
the highlights. It helps
to keep your original Start the skin Now you need to duplicate the layer. Ctrl/
sketch showing at
06 right-click and select Duplicate, then select Create Clipping
this stage so you Mask to help you stay in the lines. Now select a Soft Round brush
know where things at 12% Opacity. This helps even things out as you paint. Pick a
are as you paint. midtone skin colour and begin to shade in her body.
Quick 07
Layer for detail
Even though her clothes
Tip will cover some parts, you
can still paint all of the skin
It’s okay if you decide to
change something from underneath. This helps a great
your original sketch. A deal if you need to move some
good example is if you
don’t like the way clothing or decide to redesign
something looks or you a part of her costume along the
decide something else way. Keep adding more layers of
will look better in its
place. As you go along, PLGWRQHVWRKHOSNHHSWKHÁHVK\
many things may be look, as sticking to one colour is
moved or switched
likely to render it lifeless.
around.
Tip
more. It’s easier now since you can see where all the
shadows will be from the clothing. Keep adding tones
Don’t forget to check XQWLO\RXDUHVDWLVÀHGZLWKWKHRYHUDOOORRN<RXFDQJR
\RXUWRQDOYDOXHV$GG back later on and put in the details.
another new layer, select
the Paint Bucket tool with
ZKLWHÀOOWKHZKROH Skin colours If you still think the skin is a
canvas and then click on 11 OLWWOHÁDWDQG\RXDUHQRWFRPIRUWDEOHDGGLQJ
/D\HU3URSHUWLHV<RXFDQ
now set this to the Color coloured paint over the shaded area, there is an easy
blend mode and this will À[$GGDQRWKHUFOLSSLQJPDVNRQWRSRIWKDWOD\HU
make changes easier. and set it to the Color blend mode. Use a low-opacity
Leave this layer so you
can toggle it on and off. brush and gently paint in the colours of your choice.
Work on
12 the face
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while and requires
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Lips 2QFH\RX·YHGRQHWKDW\RXFDQVWDUWRQWKHOLSV6WDUWZLWKDÁDWIDLUO\GDUNFRORXUDQGPDNHVXUH
13
Quick
WKHEUXVKWLSLVVRIWHQRXJK1RZDGGDOLJKWHUFRORXUWREHJLQJLYLQJWKHOLSVVRPHGHSWK6HDUFKWKH
LQWHUQHWRU\RXUDUWERRNVIRUUHIHUHQFHVLI\RXQHHGDELWRIKHOSDWWKLVVWDJH7KHWRSOLSLVXVXDOO\GDUNHUWKDQ
Tip WKHERWWRPRQHVRZHSDLQWHGLWLQVOLJKWO\GDUNHUWRQHV%HFDUHIXOWRNHHSKHUH[SUHVVLRQULJKWKHUH
,WLVDJRRGLGHDWRQDPH
your layers as you create
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labelled you will end up
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FKHFNLQJHDFKOD\HUWR
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15 Final
features
For the eyes you
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Set the brush
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LQWKHZKLWHVRIKHU
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Shape the nose /HW·VVWDUWVKDSLQJXS 1RZWDNHD+DUG
14 WKHQRVHQRZ$JRRGZD\WRKHOS\RXNHHS Round brush and
WKHVKDSHDQGVKDGLQJUHDOLVWLFLVWRJHWDPLUURUDQG DGGLQWKHERWWRP
UHIHUHQFH\RXURZQQRVHDV\RX·UHZRUNLQJ eyelids.
Highlights
18 Now you can
start applying your
highlights to the skin.
You don’t have to go
into too much detail
just yet, just enough
Robe and accessories Pick a colour to get the general
17 that is two shades lighter than the base of your mapping together.
robe. Use a low-opacity brush and start blending Try to match the
in the tonal values to create some highlights and a highlight colours to
sense of movement in the fabric. Do the same for the the background’s
rest of the clothing then start adding some patterning highlight. You can
and detail on her garments. Use a low-opacity eraser add more hues to
to remove areas and make it look more realistic. You make the skin seem
can also set this layer to Soft Light or Overlay. more alive as well.
Cat and sprites Use a base colour for the cat and then go through Colour and detail Go back and double-check your image. If a
19 the same process as you did for the clothing. The hair is also rendered in
20 certain area is lacking colour, use another layer set to Color mode to
the same way but using smaller strokes. For the sprites, use a soft brush with a À[LW$QGGRQ·WIRUJHWWRÁLS\RXULPDJHDVWKLVKHOSVSRLQWRXW\RXUPLVWDNHV,I
lighter colour and build up strokes to make them glow. HYHU\WKLQJORRNVJRRGWKHQ\RXDUHQRZÀQLVKHGZLWK\RXUZLWFKLPDJH
Norse character
design
Freyja 2011 3KRWRVKRS
Lili Ibrahim takes you step by step through how to paint
an army going to war and the Norse goddess watching
over them
/LOL,EUDKLP Illustrator
Rich and fascinating, Norse mythology death. Freyja is often depicted wearing a cloak of falcon
ÁRXULVKHGLQ6FDQGLQDYLDSULRUWR feathers with her necklace Brisingamen hanging around
&KULVWLDQLW\GXULQJWKH0LGGOH$JHV her neck. Freyja is also often seen next to her boar
VSHFLÀFDOO\WKH9LNLQJ$JHGDWLQJIURPWKHWKWR Hildisvíni (literally translated to battle swine) and the two
WKHWK&HQWXU\ Norse mythology has a lot of iconic cats who pull her chariot.
gods and goddesses who are well known thanks to The illustration in this step-by-step tutorial depicts
modern interpretations of the characters. There has Freyja with most of her iconic items. Her design is also
been a particular resurgence of interest recently with the LQÁXHQFHGE\YDON\ULHV²WKHP\WKRORJLFDOFUHDWXUHV
UHOHDVHRIÀOPVOLNHThor and The Avengers. RIWHQDVVRFLDWHGZLWKKHU9DON\ULHVDUHIHPDOHEDWWOHÀHOG
One of the better-known goddesses from these psychopomps, and sometimes Freyja is depicted as a
stories, Freyja, is the goddess of love, beauty, fertility, valkyrie herself. The scene in the illustration is a war
6RXUFHILOHV war and death, and rules over the Fólkvangr, the scene, where an army moves across a landscape with
DYDLODEOH meadow where half of all soldiers slain in battle go after Freyja watching over them, waiting to collect their souls.
Study the sketch on
the disc to help pose
Painting Freyja
your character
/LOL,EUDKLP
Personal portfolio site
www.liliibrahim.com
Country UK
Software used Photoshop,
Zbrush, Maya, 3DS Max
Lili Ibrahim is a freelance
concept artist and illustrator
working from and living in 6NHWFK It helps to sketch out your ideas on paper before %ORFNRXWWKHEDFNJURXQG In
her London apartment. She 01 taking it into Photoshop. Keep this stage loose and, when
02 a background-heavy piece like this, I
LVDÀOPDQGJDPHV
enthusiast with a degree in you have found the idea and composition you want to, bring it into recommend getting this part done before the
illustration and animation, the program. Set your sketch to Multiply and roughly throw down character. Start blocking it out by playing around with
hoping to bring something
exciting to the industry. some greys on a layer beneath to get an idea of space. dark and light values.
Paint the sky Switch off the silhouette of the character and start painting the sky. By
04 keeping the sketch of the character still visible, you can plan out the details in your clouds
and lighting to make sure they don’t clash with the shape of the character. The sky immediately
surrounding the character’s face and upper body has been left a bit less detailed than the rest.
Paint the ground When you are starting to feel good Character values Switch on the character silhouette again and, on an new layer set
05 about the sky, move down to the ground. The colours of 06 to the Overlay mode, start adding values to it. By darkening and brightening areas, you
the hills are fading into the colour of the sky the further back into can start chiselling out the character. Remember that different surfaces will react differently to
the picture they are to show perspective. The closer ground is kept light. Metal will have very sharp highlights and shadows, while hair and feathers will have a softer
bright red and the contrast here is stronger as well. WUDQVLWLRQ7KHIHDWKHUVZLOOÀOWHUWKURXJKOLJKWWRRDQGJLYHDIX]]LHULPSUHVVLRQ
More colours Colours can also be added by painting onto a layer set to Color. Play around with
08 WKHGLIIHUHQWOD\HUW\SHVWRÀQGZKDWZRUNVEHVWIRU\RX'RQ·WZRUU\DERXWEHLQJWRRFDUHIXOZKHQ
painting the initial colours. Use a fuzzy brush and make the colours bleed into the surrounding areas. Also add
a little bit of red blush to the skin. This is especially effective when added to legs, arms and faces.
Keep
12 painting
Paint details by
picking colours that
are already present on
your canvas with the
Eyedropper tool (using
the keyboard shortcut
I and clicking). At this
stage you should avoid
introducing completely
new hues unless
you actually want to
recolour something
or add emphasis to
DVSHFLÀFLWHP3DLQW
tiny braids in her hair
this way with highlights
and shadow, and
design a spear with a
decorative feel to give
the impression of a
powerful and important
character.
Quick
Tip
7KHEHVWSODFHVWRÀQG
instant inspiration can be the
least expected. Take some
time browsing the internet
DQG\RXZLOOHQGXSÀQGLQJ
visual material you never
would have thought about
VSHFLÀFDOO\VHDUFKLQJIRU$OO
these things can and will
LQÁXHQFH\RXUZRUNDQGWKH
PRUHGLYHUVH\RXULQÁXHQFHV
are, the more dynamic your
art will be.
Cut the skirt If you haven’t 100% decided
13 on your character’s costume at the sketching
stage, don’t be afraid to adapt it. The skirt in this
design was made shorter, which revealed that the
legs were slightly disproportionate. Sometimes last-
minute changes can be advantageous!
Adaptation:KHQEXLOGLQJXSGHWDLORUPDNLQJDQ\FKDQJHV\RXFDQ Start on the army Beneath the cliff, start sketching out the basic
16 XVHWKHFRORXUVWKDWDUHDOUHDG\DYDLODEOHWR\RXLQWKHEDVLFLOOXVWUDWLRQ 17 VKDSHRIDYDVWDUP\JDWKHULQJRQWKHÀHOG$WWKLVVWDJHIRFXVRQJHWWLQJ
&RORXUSLFNZLWK\RXU(\HGURSSHUDQGUHSDLQW DJUDVSRISHUVSHFWLYHDQGPDVV
Smoke
19 DQGÀUH
%HDFRQVZHUHDGGHG
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mountains to give a
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Final
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Working
Progress Paint a
Build a spooky
vampire image
vampire
pin-up
The Last Meal Photoshop
Step 04: Values
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Lili Ibrahim Illustrator
Lili Ibrahim
Personal portfolio site
www.liliibrahim.com
Country UK
Software used Photoshop
Lili Ibrahim is a freelance
concept artist and illustrator
working and living in her
London apartment. She is a
ÀOPDQGJDPHVHQWKXVLDVW
who has recently graduated
with a degree in illustration
and animation, hoping to
bring something exciting to
the industry.
Values By
04 working in
greyscale you take
control of the values at
an early stage in your
painting process. When
doing your value study,
keep in mind that they are
affected by perspective
and atmosphere. This
means that things close
to you have stronger
contrast, while things
further away from you
Clean it up Depending on how normally have less. The
03 loose your sketch is, you may or may thicker or foggier the
not want to clean it up a little for crisper lines. air is, the quicker the
Lower the opacity of the original sketch and contrast fades into the
draw on top of it on a new layer. Doing this will background.
enable you to look over the lines one more
time to make further tweaks and changes. Colour palette
05 Choose a colour
palette for your piece
Quick based on your research
Tip
and the kind of media that
you have been inspired
It can be very useful to keep a mirror on by. Instead of a typical
your desk. Sometimes, it is simply nighttime colour scheme
easier to pose yourself rather than
WU\LQJWRÀQGDUHIHUHQFHLPDJHRQWKH of blues and blacks, for
internet with the exact stance or angle example, you might want to
that you want. Keeping a camera ready go for warmer tones to give
is also useful for poses that you can’t
model and paint at the same time! a dreamy, alluring feel.
Tweak the base By now the base for the painting is almost prepared. Spend some time tweaking
06 WKLQJVWKDW\RX·UHQRWFRPSOHWHO\VDWLVÀHGZLWK)RULQVWDQFHRXUYDOXHVWXG\VKRZHGXSVRPH
problems with the tone of her hair – the dark colour was weak. Other details such as the cross necklace and
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08 Composition
changes
Quick
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compositional ones. complicated and realistic without stealing the
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Render the
09 character Where you
start rendering your painting is up
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good place to start. Warm up your 3DLQWWKHÁRZHUV Using pictures of
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by painting some warmer colours with the red placeholders and start painting the
on a layer set to Hue. Changing ÁRZHUVSURSHUO\:KHQSDLQWLQJVRPHWKLQJ\RXDUH
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making too big a change. unreal or is incorrect.
The stake Place the stake into your scene. Keep the colours fairly
Quick We all have favourite things to paint, but there is a risk
involved with lingering too long on the same part of your
Tip
painting. Try to continuously move around the painting
16 saturated, as it is a foreground object, and use strong highlights on the and paint a little bit of everything at each stage. Zoom
out and you will spot something that needs to be
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dark tones, and draws the eye. ORVH\RXUPRWLYDWLRQWRÀQLVKWKHUHVW
Final
18 touches
Go over the painting
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adjust any other little
things that have been
bothering you or have
now noticed. Add some
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wind to make the scene
feel alive and to give it a
more dynamic edge.
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19 and you are happy with your details, you can
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painterly. This is also an opportunity for some very
ÀQDOWZHDNVWRRYHUDOOFRORXUDQGFRQWUDVW7ZHDNWKH Fangs for the memory One of the most iconic features of vampires is, of course, their fangs. If
hues with a Color Balance adjustment layer and the 20 you have ever worn a brace you’ll know that larger-than-normal canines sit in awkward positions in the
values with Levels. jaw, much higher and further apart than normal teeth. Use this to emphasise your vamp’s grin!
Ashley Walters
Personal portfolio site
www.ashleywalters.net
Country US
Software used Photoshop
Ashley Walters is an
illustrator with a love of all
things fantasy and sci-fi.
She currently works as a
freelance artist and spends
her spare time being a mum
to three kids and watching
Doctor Who.
Source files
available
Included on the disc, you
will find the Photoshop file
of the illustration as well
as corresponding texture
and pattern files to help
you replicate the steps
listed in the tutorial
Paint a Steampunk-
inspired portrait
Steampunk portrait Photoshop
Once you understand how light interacts with your subject
matter, the possibilities are limitless
Ashley Walters Illustrator
The following tutorial is for those who wish to learn Once you understand how light interacts with your subject
the basics of digital painting and discover tips and matter, the possibilities are limitless.
tricks to add texture, luminescence and mystery to Learn how to pick compelling colours to establish mood, to
illustrations with simple Photoshop methods. paint different materials such as cloth, metal, and skin, including
Learn to sketch non-existent objects using basic perspective how to apply textures and patterns realistically using filters.
and visualise lighting so that you can add any element to your Finally, discover the secret to creating glow effects and glares
painting regardless of reference. Discover the difference using various layer blending modes. From start to finish, you will
between form shadow and cast shadow and how to effectively learn how to employ Photoshop effectively to create a
render both. compelling painting.
Start a new document Begin by creating a new document (Cmd/Ctrl+N). Set the image dimensions to 4800px by
03 6400px at 300ppi. Decide between RGB or CMYK for your colour mode (RGB can achieve richer colours while CMYK is
Progress 3: Add effects useful for printing). Fill it with a warm green tone in the middle-range of value (not too light and not too dark).
Quick
04
Sketch the outline Create a new layer named ‘Sketch’ (Layer>New>Layer). When sketching
your outline, think about the focal point to keep the eye moving within the image. Use your reference
Tip
Paint separate elements on their own layers so that
as a rough guide as you freehand the sketch using a dark burgundy colour. Keep in mind perspective as you you can lock the transparency and paint each one
draw objects without a reference as a guide, like the dragon and goggles. It helps to sometimes draw boxes without going over the edges. To do this, choose
in perspective with the rest of the piece and then chisel away at the objects inside to create angular shapes the corresponding layer in the Layers palette and
click the checkered square icon at the top next to
before finally rounding off the details. the word ‘Lock’.
Understanding light Form shadow Visualise where light falls When Create the Background Create the
06 (or core shadow) creates the illusion of form 07 creating an object without reference, it is vital 08 illusion of a light source just off canvas using a
and gives objects depth. It occurs when light fails to be able to picture in your mind where the shadow hard round brush choosing a pale yellow hue. Sweep
to completely wrap around the form of something would fall if you could see it. Sometimes it helps to the brush downward to emulate the glowing effect of
and is a gradual transition from light to shadow, picture the subject matter as if it were made up of light on a wall. Picking a dark green colour, sweep the
with softer edges (like the cheekbone, which at first several small geometric polygons. Look at each same brush along the edges of the canvas to push
catches the light and then curves downward into surface plane and ask yourself if the angle would the corners into darkness. Blend the colours with a
shadow). Cast shadow occurs when something catch the light or not, then translate that into your soft round brush as necessary. Note that the light will
(like the nose, for example), blocks the light, painting. Don’t forget to add in cast shadows of be brighter here and the change between values will
throwing areas below into darkness. It tends to have made-up elements to ground the work and give it a be more drastic near the top where the light is closest
sharper edges. cohesive feel. to the wall.
Down to detail
Apply paint, add texture and create atmospheric effects
Start painting On a layer beneath the Shiny versus dull When painting Painting skin and hair When painting
09 sketch, paint the skin using a default round 10 matte surfaces like the cotton vest, do
11 skin, find a balance between matte and shiny.
brush. Keep your Opacity and Flow at 100%, and not paint highlights. Only two values are needed The skin will have sharper and brighter highlights if
rely on the sensitivity of your tablet to blend the for these – mid-tone and shadow – with gradual the face is wet (like around the eyes) or where oils of
colours. Make a clear delineation between light transitions between the two on occasion. When the skin reflect light (like on the nose and inner tear
and shadow. As you continue to refine, add the painting reflective surfaces like silk or brass, however, duct). If you haven’t already, add these specular
transitions between the two values using a soft brush exaggerate the drastic change in value by using highlights to create luminescence. When painting
when needed. Use your highlights sparingly for the sharp specular highlights in areas where the light hair, start by putting in the darkest values first, and
greatest effect. Merge your Sketch layer and your would logically fall and by using contrasting strokes. then add the midtones using a chunky round brush.
painting layer and gently paint out the sketch until all Remember to incorporate surrounding colours, as Gradually reduce the size of the brush until you are
the lines are gone. metal is highly reflective. painting individual strands.
More on pattern
Pattern should conform to the form beneath.
To create the effect of the pattern wrapping
around the silk shirt, paste the pattern on a
new layer above the painting. Create a quick
mask over your painting by clicking between
the two layers on the Layers palette and
pressing Opt/Alt.
Set the layer Blend Mode to Overlay and
reduce the Opacity to 30%. Go to the Liquify
filter (Filter>Liquify), and with the painting
layer visible beneath your pattern, use the
Forward Warp tool (W) to push the pattern
downward around the edges of the arm.
Do the same for the fabric texture above
the vest area.
After
Before
Source files
available
On the disc you’ll find a
Create an ice
Digital artists explain the selection of the supporting
techniques behind their images used to create
amazing artwork atmosphere, the model
start image and a PSD file
Artist info
queen heroine
Drew Lundquist Ice Queen Photoshop
Personal portfolio site
www.drewlundquist.com
Country US
Summon a glow effect and engulf a
Software used Photoshop model within a glossy ice texture
A recent graduate with a
bachelor’s degree in Drew Lundquist Photographer
photography, Drew
Lundquist is one of the
premier artists at creative The following tutorial is not for the faint of who persevere through the thick and frustrating times will
support studio Elevendy Inc.
in California. heart, and is intended for those who are always take away more than those who are easily
obsessed with striving towards Photoshop shaken. Following our guide will support you.
euphoria. Assuming those following along have at least In short, you will discover how to summon a glow
a moderate understanding of Photoshop, we’ll attempt to effect from nothing but variations of a single image,
Blending madness To create the model’s glow, you’re going to use many versions of the two
04 layers you just created. Within a new group titled ‘Blending Madness’, duplicate a mixture of the Normal
and Inverted layers of the model as you see fit. Using layer masks, vary the brush Size and Hardness to blend
or paint in areas of the model that you’d like to appear glowing using the Inverted model layer, or where you’d
like to maintain highlights and shadows using the Normal model layer.
Skin frost Now it’s time to grab the frost texture. You can use image #5179760 from www.
07 depositphotos.com, which will work perfectly. Be sure to select ‘Advanced Search’ on the site or it
won’t show up. Position the texture over the model’s chest and set the blending mode to Overlay. Use a layer
mask to hide and feather the edges of the texture image so there aren’t any harsh lines (seams) all over the
image; you want seamless transitions between textures. Group this texture and title it ‘Skin Frost Texture’.
Step back and admire your work Getting this far is not easy considering how much
09 experimentation this image requires, so pat yourself on the back, stand up, stretch and then buckle
down because you’re not out of the woods yet. Let’s take a look at what’s been done so far…
03
Quick Layer organisation is key when working with so many duplicates of the
same layer, or just an extensive amount of layers in general. It will
Tip simplify your whole experience in Photoshop if you use a group mask
as a cutout rather than applying 16 clipping masks to one layer.
Add ice spikes Snag image #8159693 from Depositphotos and drag it in above the Bottom Ice
17 group, into its own group titled ‘Ice Spikes’. Cut the ice from the sky. Shape and place the layer just
above the Bottom Ice group, slightly lower on the model, surrounding her with ice. Duplicate it three times.
From bottom to top, change the blending modes to Pin Light, Color Burn and Hard Light with an inverted black
mask, and leave the top layer at Normal with an inverted black mask. Paint in Normal and Hard Light layers.
Blending
modes
Concept
The idea behind this
Andrzej Kuziola illustration is to create a
unique fantasy character
Personal portfolio site – I’ve decided to
www.kuziola.com concept a female spirit
Country Edinburgh, UK of a tree. I want to
Software used ZBrush, achieve a very
Photoshop sculptural, stylised look
Andrzej Kuziola specialises to the image, inspired
mainly in character creation, greatly by ancient Greek
from concept to render, and mythological character
detailed 3D model creation sculptures.
In this tutorial we will explain the design and This tutorial will explain how to design and create a
creation process of a fantasy character character from scratch, showing important considerations
showcasing the features in ZBrush. We’ll explore along the way while explaining the workflow and various
various ZBrush tools and show how helpful they are to techniques used. We will focus mainly on sculpting the fabric
visualise ideas and achieve great effects. ZBrush gives the of the dress, the character’s hair and some stylised tree
freedom of creation in any workflow, enabling you to branches to finish, but also show you how to create the body
experiment and visualise ideas. and establish composition.
Principles
of good
design
There are a few golden
rules that you need to
follow if you want to create
a really impressive
illustration. First of all you
need an interesting focal
point to pull in the viewer’s
eye. You also need to
design and place elements
in your image in such a
way that the viewer’s eye
will flow around the various
details. Creating rhythm
and variety in your image
to keep it balanced is
important. Always think
about positive and
negative space, and also
about the relationship of
light and dark.
We want a mesh that matches the shape of the legs as much as possible. This
will help us establish interaction between the fabric and the body later
48 Fantasy Art Genius Guide WorldMags.net
www.dohoafx.com - Chuyên trang đồ họa & nhiếp ảnh
WorldMags.netGeniusFantasy
Guide
Art
Move to the top To create the top of the dress we’ll use DynaMesh
07 again, but in a slightly different way than previously. Mask the area that Design the tree Create a curved tree trunk with ZSpheres, adjust
you want to use for a new SubTool. Go to SubTool>Extract, adjust Thickness
08 its shape with the Move Elastic brush, then transfer it to DynaMesh and
and choose Accept Extraction. This is a good way to create a mesh around start adding branches with the Curve Multi Tube brush. This is a great tool for
a complex shape. Now start to reshape a new mesh, using the Move Elastic, elongated, tentacle-like structures. Re-calculate the mesh often and also use
Move Topological and Standard brushes to add volume and block large folds. the Inflate, Smooth, Move Topological and SnakeHook brushes. This sketch-
Remember that DynaMesh needs some thickness. When you get artefacts after like workflow is a good way to create designs and develop ideas straight in 3D
re-calculation, undo the action and work on the area with the Inflate brush. without an initial sketch.
Sculpt the hair Now we can start sculpting the hair with
10 a modified Slash 2 brush. Sculpt the hair strands with loose
and smooth strokes on a separate layer. Our goal is to create an
effect of hair filling the background and turning into it. We also want
the hair to be tangled with the branches. At the end, decrease the
Create the background Now we’ll add a background that will play two roles. layer’s intensity and gradually work with the Morph brush to create
09 First it will show the final image proportions that will consequently help establish an a smooth transition between the strands and the background
effective composition. We’re also going to use the background plane as a basis for the hair material. For the loose hair strands, append a sphere and move it
– but first we need to add some dimensionality to it. Use the Move Elastic brush to create a to the head area, also using the DynaMesh and Curve Multi Tube
recess behind the character, then move a part behind the head towards it and the bottom brushes. After that, flatten the strands with the TrimDynamic brush
edge towards the viewer to create some ground. After that, sculpt the whole plane with the Clay and finish with the Standard brush with Alpha 38 and Lazy Mouse
Tubes brush, then equalise it roughly with the TrimDynamic brush and Morph Target. options turned on.
Finishing touches
Finalise the model and render it for illustration
Facial expression AOur goal is to show that our Dryad enjoys the presence of
Complete the dress Add more volume to the folds 15 a tree (she’s the spirit of a tree, remember). To change her neutral facial expression to
14 with the Inflate brush and pull down some parts that are something with more character, firstly re-sculpt her eye a little to a half-closed, sleepy shape.
lacking in gravity. Fine-tune the creases with the Standard brush Mask the lower lid and lower half of the eyeball with the Layer brush and then work on upper
and Alpha 38, then use the same brush with a very small Draw parts of the eye with the Clay brush. When the upper eyelid is lower, use the TrimAdaptive and
Size to add some texture to the fabric. Work with different Gravity Smooth brushes to create the correct curvature of the lid. To finish, use the Pinch brush to
settings and adjust interactions between the wrinkles. See how sharpen the edge. To create an elusive smile, decrease the model’s subdivision and use the
they react to kinetic and gravity forces and tweak the overall flow. Move Topological brush to move the corners of her mouth slightly.
Create illustration
Practise 17 Use Best Preview
Render to render the image in a
makes perfect few separate passes: different
MatCap materials, Ambient
At the beginning, without Occlusion and Shadow from
knowledge of fabric dynamics, it is one main light source. Fill each
very difficult to sculpt believable SubTool with a different colour
folds. I recommend studying as
many references as possible, and render it with a Flat Color
observing different kinds of clothes, material – it will be the mask
studying sculpture works – even for easy separation of each
taking photos of varied fabrics in SubTool for post-production. In
different configurations and then
Photoshop, apply a layer mask
trying to re-create them digitally.
The more you practise, the more to each rendered MatCap layer
believable your effects will be. When and experiment with different
you understand folds you can material configurations. To
create any fabric without relying on finish the illustration, import a
references. It’s vital not to focus on
one area at a time; first establish Shadow pass and Ambient
larger folds, their direction and Occlusion and set them to a
placement, and keep in mind fabric Multiply blending mode with
qualities and gravitational forces. customised opacity.
EMILIO J LOPEZ
Personal portfolio site
e-man.deviantart.com
Country US
Software used Photoshop
Emilio has worked in almost
all aspects of the
entertainment industry, from
animation to licensing art,
comics, card games and
video games. Some of the
more notable properties he
has worked on are Teenage
Mutant Ninja Turtles and
Justice League Beyond.
Paint a colourful
comicbook character
Working Comicbook heroine Photoshop
Progress high-impact
Use Photoshop’s brush styles and other tools to create
comicbook imagery
From sketch to
finished comic art Emilio J Lopez Animator
Photoshop is quite capable of being utilised to results, which simply can’t be found in real-world media or
the same effect of more-traditional mediums. many programs other than Photoshop.
Brush styles can simulate markers, coloured The techniques covered in this tutorial don’t require any
pencils, watercolours and even oil paints. Like any artistic additional tools that aren’t already available in Photoshop.
format, the best way to become familiar with such options is All the effects and techniques covered can also be applied
by experimenting with them. using older versions of Photoshop. We’ll be exploring how to
In this tutorial you will learn how to accomplish target image areas using Lasso controls and the Magic
comicbook styles using Photoshop from start to finish. Wand tool, then using standard brush presets to paint to
Digital illustration is at the heart of this approach, because it these specific areas. We’ll also look at ways in which filters
Step 01: Concept design enables a great amount of control to create such stylised and blending modes can enhance your image.
Character concept
Simple thumbnails and block colour using Lasso controls
Map your ideas First we’ll
01 design our comic character
– in this case a comic heroine. One
rule to remember is that audiences
Step 04: Colour fill
should be able to recognise your
character even if it’s silhouetted.
Also, if the character has any logos or
symbols, we should include them on
the design.
Select with the lasso There are two types of Lasso tool controls: Freehand and Polygonal. You
06 should use the Polygonal Lasso to apply straight edges to areas such as the flame jets coming from
her feet and her trail, which signifies momentum. Use the Freehand Lasso tool to make selections of oval or
rounded shapes, such as the lips or eyes. We can toggle between the two while applying live by holding the
Opt/Alt key and releasing the mouse button or lifting your stylus pen off the tablet surface.
Expand
and
contract
Make more fills Now the image is filled,
actions
05 lock the Opacity of its colour layer and use
Instead of choosing
Select>Modify to Expand or
the Magic Wand tool to select inside the line art. Contract selection edges, you
Once selected, go to Select>Modify>Expand. Colour holding Using the techniques we’ve just covered, can create an Action from
Sometimes, because of unclosed or incomplete
07 continue to apply selections and flat colour throughout the
these functions. First make a
selection then go to Actions
line art, the Magic Wand will bleed out into areas you image (see the supplied example). Once flat colours are spread, and hit the Record button.
duplicate them and the line art. Now we’ll make sure that our line Choose
don’t want to colour. We can clean up our flat colour
Select>Modify>Expand, add
areas by using the Lasso tool, applying flat colours art’s Transparency is locked and proceed with colouring in the lines a value of 1 and stop
and detailing areas. We can also use this tool to themselves. This is referred to as a colour hold or self line. When our recording. To finish, name
your action, give it a hot key
target the areas we want to select., but remember to colour holds are complete, we will merge our copied line art with these
and repeat to gradually
deactivate Anti-Aliasing. new coloured layers, with the exception of the visor. contract selections.
Use reference
imagery to help
with lighting,
examining how
Apply to the face Select the flat colours light and
10 of the face and use the Splatter brush with shadow react
the preset options mentioned to render contour. To
better render faces you can make a bespoke oval-
shaped brush by going to the Brush Preset options
and selecting Brush Tip Shape. Now adjust the
Roundness values to edit the existing brush shape
into an oval. You can adjust the direction of the brush
Choose a pose that
as well as the spacing to create different effects. Any
brush can be distorted in this way, so experiment and
engages the
see what works best. viewer and offers
maximum impact
Build up hair
11 and clothing
Select the hair from your flat
colour layer. When rendering
the hair, use the oval round
brush we created in the last
step and pay attention to
your light source and the
direction it falls. Splatter and
Round Fan Stiff Thin Bristles
brushes work really well
when applying hair. When
rendering a shiny outfit you
should remember that it has
a reflective surface and will
pick up any stray light in the
environment, often including
hot spots.
Focus on the details Use a small round brush for Create the visor Now that the initial painting is done, we can begin work on the
12 minute details and tighten up any loose lines, like on her 13 visor that lies over the face. Turn off all of your layers except your character line art.
hands or the logos on her arms. Add hot-spot highlights and If you haven’t already added a colour flat of the visor, do so by using the Magic Wand
reflections, then use a round soft-edged brush to lightly smooth out selection techniques discussed in Steps 4 and 5. Duplicate your line art and your flat colour
her uniform and face. Don’t overdo the feathering in this brush style once more, but this time don’t merge the line art with it, as we’ll need the line art to do some
as you’ll want to soften the surfaces, not totally blur them. You won’t colour holds later.
want to lose your strokes and detail, so try setting the brush Opacity
to 40% to soften the effect.
Quick 16
Insert more
highlights
Tip Duplicate your flat colour
again and make sure the
Switching through different-
sized brushes can be a bit
Transparency is locked.
cumbersome, especially if you Place the layer between
want to quickly change to a the detail layer and your
smaller version of a brush
you are using. Try using the amber-tinted visor layer. Fill
square bracket keys ([ and ]) the new visor with black,
to expand or constrict your then paint the details
brush sizes.
and shines based on the
background and previously
established lighting. Use
an oval-shaped brush and
a feathered round brush
to paint light shines. When
you’re done, set your layer
to Screen.
Bring in the special effects Create a new layer and set it to Linear Dodge Add. Use grain Create a new layer and fill it with grey, making
17 Take a feathered brush and start painting on top of the blue tones in the image’s blue 18 sure it’s not too dark. Go to the Filter options and select
lighting and energy effects (see the example) to improve the glow effects. On the same layer, Texture>Grain, setting Intensity to 27 and Contrast to 25. Hit Cmd/
colour pick from the background and apply similar glow effects here. Create another layer set Ctrl+Shift+U to make the grain into a uniform grey. Now set the
to Multiply, adding dark gradients on the left and right side. Apply the oval brush on a new layer layer to Overlay at 47% Opacity. This layer serves two purposes,
to create a lens flare from the glowing hand. Use an electric, blue, small round brush to add adding a bit of texture to our piece, but also lightening the whole
accents to the heroine’s suit. composition slightly.
Good
advice
The simplest of features can say a lot about a
person, from the shoes they wear, the look on their
face, or even simply how they present themselves
in public. If you look hard enough you will find that
everyone wears a story on the surface. As an
illustrator you need to pick up on these subtle
things and apply them to your own work. Every
little bit counts toward the believability of your
character no matter how fantastic it is. Observe the
world around you and let it inspire you to create
worlds of your own.
Andrew Baker
Personal portfolio site
www.andbakerdesigns.
blogspot.co.nz
Country New Zealand
Software used ZBrush,
Photoshop
Andrew Baker creates and
conceptualises characters
and creatures for physical
and digital pipelines
Using DynaMesh
Use DynaMesh wisely. I start using DynaMesh on a very low
level. In this case I have it set to 48, but depending on how
large your model is the resolution will differ. At the early
stages it’s almost like what you do with sketching: blurring
your eyes to start visualising where the forms are, and
quickly laying down broad strokes to find the design.
DynaMesh is extremely useful at this stage and can be used
in the entire sculpting process. However, I prefer to use it as
a base generator and subdivide further. Later I want to be
able to drastically pose this character, so having a lower
subdivision level helps with this.
Weta character
The Satyr 2012 Photoshop, ZBrush
Find tutorial files on
the disc
Concept
The aim of this tutorial
Learn to use ZBrush to create a fantasy character portrait, is to create a fantasy
satyr-type character. I
following Andrew’s Weta workflow want to create an
overly stylised face for
Andrew Baker Digital artist a fantasy genre that
can be rendered
realistically and create
A bust or portrait is always a great place to Without getting too focused on the technical aspects in the impact.
start visualising a character. TZBrush enables us 3D process, I’d like to show how I generally start
to conceptualise an idea to an extremely high level conceptualising a character by creating a bust and portrait.
relatively quickly as well. We no longer have to go through an Due to the speed at which I execute such refined work, this is
arduous technical process to create an effective, realistic- where I begin the conceptual stage of my project – often, in
looking 3D character. essence, cutting straight to the point.
09 Add some colour As colour will greatly affect how our texture is shown, I want to start
adding that in, treating the detail of the surface and colour now at the same time. I start
10 Refine detail with colour Because ZBrush enables
off by adding a very light base colour, covering the whole model. I use the default skin shader us to affect the form while adding colour, I go back to my
as this shows up colouring for skin very well – and all in real-time. I layer up the model with reds, DamStandard brush, turn the RGB down very low with a brown
blues and yellows for the underlying blood vessels to wash with a flesh colour and soften in colour and start to tighten up some of the wrinkle details. I also use
areas. I also mask out the cavities to add some dirt. the Inflate brush to push all the details tighter together.
Quick
Tip
Depending on how long I have to get an image done, I sometimes
spend a bit of time playing with the hair and positioning tattoos.
These are often things that can be explored in 2D for conceptual
13 Give him some ink I want to add another element to this character that isn’t
pieces, but it never hurts to have something 3D there for the final
render. All of what’s been done so far has been done very quickly necessarily a costume accessory. I’m thinking of a large religious-style tattoo on the
without getting too consumed with technical aspects. If it’s not character’s back. I create the tattoo in Photoshop as a flat template then use Spotlight in ZBrush
working in 3D, solve the idea quickly in 2D by doing paint-overs to project it onto my character. Spotlight is another great way to project any other further texture
before committing to the 3D render. This can also be really handy
to show a client for variations. onto your characters.
Render out
15 layers for post
Once I’ve established my main
light source, and the shadow
that is created by looking at
the BPR render passes, I start
to look at what else I can take
to Photoshop to help this
image along. I render out a lot
of different light passes on the
various standard shaders turned
to black. I use the BPR render
passes, a cavity and reflection
pass. For SSS I use a standard
shader set to red and amp up the
ambience. Then I just need any
shader that looks like it might
do something interesting in
Photoshop.
The final composition I generally experiment a Post-production Once I’m happy with the blended
16 lot with blending options on the passes I’ve rendered out. 17 layers, and they’re all doing what I want, I can really start to
Because this guy has human skin and I’ve painted the model, the have some fun. A background can be used to make the image look
initial render gave me a lot to work with. This is the great thing about more of a studio shot or something more photographic. As this
this process and leaves us a bit of time to spruce up the image. Using image could be used as the base for many design passes, I’m not
the Z-Depth map and changing the colour while turning it to Overlay shy about painting over areas that need further attention – even
can create some nice depth effects. Reflection and Light maps can using photographs – although I only ever use photos to add noise or
be used to create interesting effects for the eyes, too. At this stage, be textures where I can. Sometimes it’s unavoidable, but if I’m sculpting
experimental and have fun. a character like this, there’s really no need.
Design a magical
character
Quinnv Photoshop
Paint a fox spirit, taking inspiration from scenes in martial arts
movies and model references
Zhonglu Zhao Digital artist
My aim is to highlight what I wanted to design ideas too. In the novel, a fox possessed Daisy. Her
achieve with this illustration of a fox spirit, as coquettish beauty captured the heart of the king, and the
well as my concept art and design process in country was paralysed. In the East, charm and magic are
general. As a professional concept artist, I start every often symbolised by the fox in this way, and legends of fox
piece with a picture in mind of the artwork I want it to be, spirits are also found in Chinese, Korean and Japanese
but it does change and evolve throughout the process. folklore. Fox spirits can change their shape at will into
My advice to anyone going into concept art is to watch a beautiful women and live for hundreds of years. Their
lot of movies, look at a lot of art and read a lot of books. myths are similar to English stories of fairies; they can cast
Other media is full of things that can influence and help illusions over places and take people out of time.
you realise the kind of character you want to create. I was Sometimes evil, sometimes good; but fox women are
influenced by martial-arts movies, Asian folktales and always beautiful and clever. I wanted to bring this into my
novels, as well as an underwear fashion show while piece of concept art to give it a distinctly oriental flavour.
creating this character! Don’t be afraid to draw from many Fox women feature in some manga too, so I was
different sources, because the way you put them together confident that Western viewers would at least be familiar
makes something that is uniquely yours. with them as an Asian art staple.
I wanted to create a sexy oriental woman who was At the beginning of the drafting stage, I placed the
attractive but lethal at the same time. I therefore looked at image of the fox into the design, positioning it on the
fictional characters that exemplified this. The inspiration shoulder like a fur coat. I also developed the eyes to look
for her design was derived in part from the character of out at the viewer. In the final draft, though, I removed the
Snow (played by Brigitte Lin) in the martial-arts movie shoulder design and gave her fox ears instead. When
Deadful Melody (Liu Zhi Qin Mo). The central character creating concept art for a character, the viewer must focus
has to protect a powerful and beautiful Chinese musical on one thing, and that’s the character. I felt the fox’s eyes
instrument, known as the magic lyre. Inspired by this, my were distracting and pulling focus away from my woman,
character stands with her hand on a lyre-type instrument, so they had to go. Pay attention to what an image tells
known as a zither in the West and a guqin in China. you even at the sketch stage. If it looks too busy, the Digital artists explain the
techniques behind their
The role of Daisy in the ancient Chinese novel shapes don’t look right or the eye isn’t drawn to where amazing artwork
Investiture of the Gods had a profound impact on my you want it to go, then you need to change something.
Artist info
Zhonglu Zhao
Personal portfolio site
fireluzhao.cghub.com
Country China
Software used Photoshop
I live in Shanghai, where I
majored in printmaking.
After graduating I have been
engaged in the game
business. I love this career
Determine her action and structure with a simple silhouette without going into too much detail. At this stage you should and hope I can create my
ultimate job within it.
have a clear design direction
Working
Progress
Use coloured layers to
build up vibrant art
Progress 1: Silhouette
Progress 3: Alterations
Pay attention
to what an image
tells you at sketch
stage
She and I
2011, Photoshop I meticulously painted the Chinese musical instrument,
O The idea behind this picture is the added a ponytail for my figure and she was basically
relationship between my wife and I.
Although the wall has been damaged complete.
and the roof is leaking, I hope that no I gained a lot of inspiration from watching a Victoria’s
matter what, I will be able to protect this
loving environment Secret video. I drew two sketches very quickly and chose
the one that I felt best conveyed the effect I wanted.
Creatures
Bring mythical beasts to life
70 Master the art of creature creation
78 Design & model sci-fi creatures
84 Design a 3D alien
90 Develop fantastical animals
98 Master expert creature renders
When
designing a
creature, a good
place to start is
the head
70
90
84
68 Fantasy Art Genius Guide WorldMags.net
www.dohoafx.com - Chuyên trang đồ họa & nhiếp ảnh
WorldMags.netGeniusFantasy
Guide
Art
70
73
98
Master expert
creature
renders in
mental ray
Concept
We’ve only explored a relatively small part
of the sea, so I can only imagine what else
might live down there. Due to my
fascination with sea-life – especially
deep-sea creatures – and inspired by
monster myths, I wanted to create my own
interpretation of a Leviathan beast.
Source files
available
Tutorial screenshots
Keep it
simple
When learning how to sculpt
or draw a skull, a general idea
is to break it down into simple
planes and primitive shapes.
It’s worth referring to Eliot
Goldfinger’s Human Anatomy
for Artists to look for examples
Work on overall shape When combining of this. Tweaking the
03 your varied sea creature reference elements proportions and silhouette of
the design is also an easier
into an overall form, make sure that the Leviathan looks task when dealing with simpler
convincing for life in its habitat. When straightening shapes. Applying this process
the body from tip to tail, the overall shape still has to be to your designs is important to
make even the most
dynamic and functional for proper swimming. Check bizarre-looking creatures easy
the image for step 3 supplied with the disc – it shows the to read and acceptable to the
straight body from a top view and compares the detailed human eye. The ways that I
check design readability are
body with a blurred version. You can see that even with its by squinting my eyes and
enormous size and complexity, the shapes of the creature blurring the image, or having a
copy of the viewport window
can be broken down into a simple fish. This is important for that shows the model from a
readability and therefore a believable design. greater distance.
Benjamin Erdt
I have been fascinated
by Sci-Fi universes and
fantasy movie creatures
since I was a child, so I
trained myself in CG art
so that I could make my
own. Here are two other Saric/Killzone: Shadow Fall Maya, ZBrush, Monster Concept Maya, ZBrush, Photoshop
projects that I have MODO, Photoshop (2013) (2013)
O For Killzone: Shadow Fall I worked on Saric’s head, O One of the monsters that managed to make it from my
invested a lot of time in. creating the high-poly, game mesh and textures. sketchbook into a final 3D render.
Stay
clean
When working on a large
project like the this, think
about what could be done in
advance to stay organised
and efficient in later stages.
Before creating any polygons,
start thinking about the
targeted geometry resolution,
which pieces are going to be
separate, which parts are
visually more important for the
later render and which need
extra attention. During the
modelling process we’ll be
working towards these
specifications. Having a
proper naming convention is
helpful to maintain the
overview of the scene as well
as the project folder and to
quickly track down objects
Unwrap in MODO Before creating UVs, think slowdowns while painting. The torso is the largest object and
09 about where we want the texture seams to be and therefore it needs to be split into nine individual UV patches.
that could cause errors. It also
makes it easier to transfer
which objects are going to share the same UV space. I The scales are packed together with eight to 20 scales in each objects between applications
and ensures a smooth
decided to go for a maximum of 4096x4096 texture maps as group, depending on their size. Here a texture resolution of texturing workflow for the
they have enough density for the targeted render resolution. 2048x2048 per group is enough to reach the desired detail 100+ parts that the creature
level. Unwrap and import back into Maya for the next step. model is built out of.
Larger texture maps would lead to longer loading times and
Sculpt finer
10 details Use
ZBrush to sculpt surface
details. Each OBJ of the
creature model will be
imported as a separate
SubTool into ZBrush. For
objects like the torso, which
has multiple UV patches,
use the UV Groups option
in the Polygroups palette to
assign a Polygroup to the
parts of the mesh that share
the same UV patch. This
is going to be important
for baking Displacement
maps. In this project, the
brushes that I frequently
used for the model were
the Standard brush, Clay
brush, the Slash brushes,
Dam Standard and Inflate.
To keep the sculpted details
consistent, stick with one
type of detail and finish it on
all parts of the model before
introducing new detail
patterns. In areas where
the pre-modelled scales
needed to blend smoothly
with the underlying skin,
sculpt in scales to create the
desired transition.
Texture painting
Use maps and layers to texture the Leviathan
Final rendering
Pose and render the final composition
Pose the creature We’ll now create a low-resolution Set the scene in MODO The model consists of 100 parts. Each
14 representation of the model to be used as a rig mesh and as a driver 15 has its own material, which is named after the object it’s assigned to.
of the high-resolution geometry. This will make posing a lot faster as we This helps to control the overview of the large Shader Tree. Before loading in any
won’t have to deform a multimillion polygon model. After posing the low-res Diffuse, Roughness, Reflection or other maps, do some test renders to check the
mesh, switch to the high-res geometry to see the results. The rig consists Displacement and Bump maps. Regions with UV seams need extra attention as they
of a simple FK driven joint hierarchy, which is sufficient enough to pose the can cause artefacts when displacing, or show cuts in the Bump or Normal maps.
Leviathan for the render scene. Once happy with the pose, export all objects Once the Displacement and Bump maps render cleanly, continue adding other texture
into MODO using a Batch Export script. In MODO, polish the pose by fixing maps. For lighting, use an HDRI to provide the lighting information of an ocean storm
deformation issues and distortions caused by the skin weights of the rig. For scenario. To create the rim light effects on the creature’s left side, add an area light at
this task, MODO’s Sculpting tools will come in handy. the appropriate position. Another area light can be added to emphasise the specular
highlights caused by lightning..
To
end
Working on a project of this
scale can be quite a
challenge, but it’s also good
training as it covers multiple
disciplines of the design
process, from modelling,
sculpting and texture painting
to shading, lighting and
rendering. You also learn how
to stay organised and think
ahead. Breaking this project
down into smaller steps made
it easier to plan and was
therefore more feasible.
Lukruk is an armoured alien character I rigging and animation in mind, without compromising the
Ben Erdt created as an exercise at Vancouver Film original design intent. I’ll also share my approach for
School. During this process you’ll get an insider’s keeping clean topology for efficient subdivision, rigging,
Personal portfolio site view of his creation from the first spark of inspiration texturing and rendering.
www.ben-erdt.de
Country Netherlands to the final render. By the end of the steps you’ll have a full This project was a great learning experience for me in
Software used Maya, 3ds understanding of how Maya, MODO, ZBrush, MARI, fields such as design, modelling, texturing, rigging,
Max, MODO, ZBrush, Photoshop and NUKE can be used. animation, rendering and VFX, as well as how to
MARI, NUKE, Photoshop
Lukruk was a very complex project from both a design collaborate with other disciplines. I hope the little nuggets
Concepting and producing
both hard-surface and and technical point of view, so here you can get a closer of experience shared here will help and inspire you with
organic models. look at how to design and build complex characters with your own characters.
Make a concept
Develop who and what your character is
Source files
available
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VËË7ajËÍÖÍÁ?ËÄÝ~Ë
ͬÄËwÁËÄßjÍÁW?Ë
aj~ËË ?ß?
VËË7ajËÍÖÍÁ?ËËÁ~~~Ë
MßËÁË-j
Concept
Inspired by the unpredictable-looking
reptiles such as tegus and iguanas, the
spiritual feel of Gregorian chant, the armour
of the samurai, as well as the Knights
Templar, I decided to create Lukruk, an
armoured alien lizard knight.
Work on the head Starting out in Maya, I always begin modelling the
04 head because it’s the most important part of the figure and can determine Refine the head After blocking in the eyes, I move over to the mouth,
the look and feel of the character. For example, a bulky head with a fat neck would 05 ears, lips, the jaw and the bony structures around the head. The goal is
make me expect an appropriate body to support it. I start with the eyes first, to create the individual facial features first and stitch them together at the end.
placing a polySphere at the position where the eyeball sits and scaling it to fit. When they are separate, it’s easier to move them around and adjust the head
For shaping the eye socket, I usually start with a single polygon and work my way proportions. With the eyes filling the spaces in between, you can already see what
around the eyeball. When beginning work on a model, start simple, as too many the proportions and volumes are going to be. Above Lukruk’s eyes I created a row
polygons can make any fixes later on rather difficult and time-consuming. of eyebrow-like scales, which help when conveying emotion.
Model the body When modelling the body I followed the same approach as for
06 the head. I started modelling, then tweaking very rough representations of the features
to build the correct silhouette, shape and volume. In order to manage the amount of detail in
the original concept art, I broke it down to primary, secondary and tertiary shapes using colour
coding. During the modelling process, I needed to determine the large and small shapes, as
well as where they join or overlap one another without constantly referring back the original
concept work. The chest was one of the more complex pieces, so I wanted it to fit as neatly as
possible. Since everything else was proportionally correct at the end, the chest was very easy
to add in.
Complexity demands
organisation
Lukruk has an extremely complex hierarchy. Counting meshes alone, around
1,800 different objects needed to be named, grouped, organised, unwrapped and
laid out efficiently in UV space. A clean scene is vital to making your life and those
of your colleagues easier. Clean UVs within a good layout are half the texture job
and even riggers can benefit. I decided to unwrap everything in MODO because I
was going to bake Cavity, Flat, Diffuse and RGB maps in it. Switching applications
also brought a bit of variation into this tedious process as I like using a Cintiq when
working inside MODO. When it comes to polygon-modelling, especially, this is one
of the most artistic methods I have found.
Collaboration is key
This project was a shared effort between several
people, with Amir Ronen performing rigging and
secondary animation, Colin Giles completing primary
animation and myself responsible for design, modelling
and texturing. We shared and referenced the main rig
as a master file that was frequently updated with rigging
information by Amir.
When Colin, the animator, started blocking out the
animation, I could work on the textures and shaders. In
order to stay on course, we had regular meetings to
discuss our progress, the next steps in the work, and to
discuss any current issues that might have arisen.
Supplied with your free resources, you’ll find several
video tutorials from Amir Ronen (www.amirronen.com)
who generously provides an in-depth look at his own
rigging workflow.
Prepare textures
Enhance and refine the character
Artist info
Over these steps we are going to be jumping We’ll use DynaMesh along with standard ZBrush tools to
into ZBrush with plenty of reference to create a build up all the creature’s kinks, wrinkles, muscles and other
cinematic creature concept. Within production, details. The point of interest of The Wraith is its menacing
ZBrush is an extremely valuable tool. By spending head, complete with a sizeable set of teeth, so we’ll only
time creating a sculpt, rather than drawing, you’re able to focus on this once the easier main body
create an asset that can be reposed, textured and altered is complete.
very quickly and easily. This results in multiple angles and ZBrush is also a great tool to use in conjunction with Justin ‘Goby’ Fields
visuals all within a single 3D package and means you’re Photoshop, where you can achieve great-looking results by
Personal portfolio site
able to produce an orthographic view in seconds, rather painting on top of your renders. This is where we’ll complete www.justingobyfields.com
than days. post-production work on the model. Country USA
Software used ZBrush,
Photoshop
Concept art for films and
games, including creatures,
characters and
environments.
Establish a base
Build your concept using simple shapes & ZSpheres
Reference
02 is key Keep
a collection of images
on another monitor to
constantly refer to and
keep the design in check.
Nature is the greatest tool
in any artist’s arsenal, so
spend some time studying
photos. For this project,
observing insects and their
body parts is useful.
Concept
With The Wraith I wanted
to focus on an insect-style
monster with elongated
limbs and a multi-jointed
mouth to give him some
intimidating features.
Adding more aggressive
shapes also helps create a
frightening alien concept.
06 Begin work on the head After adding the head we’ll use DynaMesh and the
SnakeHook brush to pull out some interesting shapes. Following the same steps we used
on the body, quickly lay out the shapes and detail them. We can add eyes early on, then test
different shapes and sizes to see what looks best. After these are in place, make sure that the
underlying shapes support the sockets to give the head a bit more character.
Layer on textures & fine detail Try to keep your design grounded with areas of Play with tonality Colour can drastically change
07 rest and subtle textures. Experimenting with stock Alphas and different brushes in ZBrush, 08 how your design is perceived. Try choosing a flat colour
as well as pressure, is a really great way to learn just what the tools can offer a project. Using and airbrushing variations in to slowly build up the tones.
LightCaps to see how light is affecting the surface of your creature may also affect some of your Masking out the cavities and adding some dirt always helps to
design decisions. make your designs ‘pop’ as well.
Choose your angle Get ready to start the composition by finding your favourite
11 angle and locking that in the camera view via the ZAppLink properties. Some of your
details will inevitably get lost in the view that you choose. However, if you need a different pose,
DynaMesh
all you have to do is repose and re-comp, rather than go back to re-sculpt detail that isn’t there.
Having detail in there and not needing it is better than needing and not having it.
means freedom
Using DynaMesh in conjunction with extractions frees
up a lot of technical modelling issues and enables
limitless creation possibilities. Pixologic has really broken
the creative barrier with this solution, as well as the Insert
brushes. Using these in production has made me a
faster artist and has provided assets for the pipeline that
can be used again. Seeing how a practical design studio
builds and replicates props has really opened up the
worlds of kit-bashing and production modelling to me.
Adjust with layers Being confident in Photoshop will help at this point as it’s key
15 to make changes in a non-destructive way. Using masks and adjustment layers is vital
in production, as this way the changes aren’t permanent and each can be developed to suit
your art director’s various demands. Another valid concern is that you may not be the only one
working on the piece, so make it easy to edit, label those layers and keep it clean. Because you
have to keep things organised and non-destructive, you will probably end up with a few hundred
layers while building up your post effects and painting on top of your render.
Because you
have to keep things
organised and non-
destructive, you
will probably end
up with a few
hundred layers
Make the finishing touches Now we can add in a small vignette and a little chromatic
17 aberration to help prevent the creature from looking like a 3D render. We can also add a little noise to
break up the image.
Danail Nikov
Personal portfolio site
http://didom.cghub.com
www.behance.net/didom
Country Sofia, Bulgaria
Software used Photoshop,
ZBrush, 3ds Max, V-Ray
Danail Nikov is a freelance
3D artist working in
advertising, for movies and
on personal projects
Concept
I’ve always been interested in
the nature around us. Why do
hummingbirds fly backwards?
Why do flies have compound
eyes? How come sharks don’t
have bones?
Nature is a mystery that
inspires my work. With this
project, my goal was to create
a nonexistent animal,
combining the characteristics
of three different creatures
already present in our natural
habitats. Even though they are
all completely different, they
all, rather remarkably, share
something in common.
Develop fantastical
animals
Chagirro 2012 Photoshop, ZBrush, 3ds Max, V-Ray, UV Layout
Source files
available
Tutorial files on the disc
The concept of cross-evolution is a great area flowers attract insects; while a giraffe can catch food with its
for provoking and inspiring your imagination in extraordinary tongue.
your 3D art and design work. The animal I’m In this tutorial you will learn how to combine objects,
creating for this tutorial – using ZBrush, 3ds Max, V-Ray, compose a scene, retpopologise in 3ds Max and pose
UVLayout and Photoshop – is a mix of a chameleon, a using animation tools.
flower and a giraffe. I’ve chosen this bizarre combination So let’s experiment with some different objects and
because a chameleon is adapted for climbing and hunting; methods to create a fantastical hybrid creature.
Finish the
06 details For the
final details I need lots of
polygons, so I’ll use HD
Geometry. I can choose
between two methods: the
first is using Stencils with
standard sculpting; the
second is using Stencils with
Projection Master. Both are
identical, but personally I feel
the latter is better – I’ve found
it very useful while making
this creature.
Stencils
Here’s how to use Stencils using
Projection Master:
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.ÍjWËÝË?¬¬j?Áˮ˶ÖWË
ÄÁÍWÖÍËÄËÍËÍË#¬ÍÊÍ´Ë
to turn the Stencil on and
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VËË+ÄjËÍjËajË?ÄË;ÄË
WÜjjÍËwÁËßÖË?aË
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0jËWÄjËjwÁ?ÍË
Á¬Ë!ݱ
VËË8jËßÖË?ÁjËÁj?aßËÝÍË
the details, clear the
Detail the environment To detail the tree I’ll mainly use the Clay Buildup brush. On a lower
ÖjWjÄÄ?Áßˬ?ÁÍÄËÝÍËÍjË
Á¬ËMÁÖıË
08 level I make separate lines following the shape of the tree. It’s not necessary to smooth these
VËË;ÄË~aËÍËÜ?ÁßËÍjËjwwjWÍË features, as after increasing the level of polygons they will make a great base for smaller details. Next I
MßË?¬¬ß~ËÍjËzË?ÍËÁË
use several Alphas for larger elements and finish by adding the colour texture to the tree. I do this with the
?.Í?a?Áa±Ë
VËË0jËÄÍËawxËWÖÍˬ?ÁÍËÄË Spotlight tool in ZBrush, then duplicate the texture, use it as a mask and add details using the Inflat brush.
jÁ~~ËawwjÁjÍËjjjÍÄ^Ë I decide to use 3ds Max for the leaves, starting with a plane and continuing with the Shell modifier. Keep
MÖÍËÍËÄ˶ÖWË?aË laying on finer elements and texturing them in ZBrush. The leaves are thin objects, so you should switch on
WÜjjͱ Back Face masking for brushes, including the Smooth brush.
Texturing tricks
It’s time to map and texture our model to bring the creature to life
Create your UVS All
09 If you’re not sure about
Map extraction UVs for the models are created
using UVLayout (www.uvlayout.com).
the final model you can
Before you start Personally, I find this to be one of the best
Before you it’s start
texturing
texturing
good it’s to
practise
tools for creating UVs, as it’s very easy
and convenient to work with. You can find
always make different
good practise
extract
to extract
Displacement
the
a helpful tutorial on how to use this tool on variants and experiment to
the Normal
and
Displacement
maps from
the 3D Artist website at http://tinyurl.com/
perfectUVs.
optimise the result
and Normal
ZBrush. For the
maps from
Displacement
ZBrush.
map I set For the Displacement
Adaptive and DSubPix atmap 1 I set
Adaptive
and extractand DSubPix
16-bit maps. at 1 and extract
16-bit
For the maps.
Normal map I use Tangent,
For theand
Adaptive Normal
Smooth mapUV.I For
use3ds
Tangent,
Max
Adaptive
you must checkand Smooth UV. For3ds
FlipG, because 3ds Max you
mustreads
Max check theFlipG,
Normal because
maps this 3ds Max reads
way.
the Normal
You can also mapsextractthis way. map
a Cavity You and
can also
extract
an Ambient a Cavity map map
Occlusion and to angive
Ambient
a
Occlusion
good base for map to giveChoose
texturing. a goodMask base for
texturing.
by Cavity from Choose Maskmenu,
the Mask by Cavity
then infrom the
Mask menu,
Texture then inthe
Map choose Texture
New fromMap choose
the Newoption.
Masking from Masking option.
It’sgood
It’s good to to
keepkeep in mind
in mind thatthat Ambient
Ambient
Occlusionmasking
Occlusion masking forfor models
models withwith more
than athan
more million polygons
a million polygons takes tootoo
takes much
time. The
much time.program
The program could crash,
could so it’s good
crash,
to it’s
so save thetofile
good savefirst.
theFor
file3ds
first.Max, all maps
For 3ds
extracted
Max, all mapsfrom ZBrushfrom
extracted should be V-flipped
ZBrush
in advance.
should be V-flipped in advance.
Texture with
Spotlight
To texture the tree I use Spotlight. Open
the textures you want to use from the
Texture menu, then bring them in via the
Add to Spotlight button. Turn off ZAdd and
turn on RGB. When the Spotlight circle is
visible you can edit the texture. By hitting Z
on the keyboard you can switch from Edit
to Drawing mode and apply your texture.
Shift+Z will turn Spotlight on and off.
The composition of
your scene has a great
impact on your audience’s
reaction to the piece
Shade skin For VRayFastSSS2 I use a Subsurface Color map, which I make in ZBrush;
13 a Specular map for Specular Amount; and a Glossy map. One of the key settings of SSS2 is
Prepass rate, which defines the quality of the effect to a great extent. How strong or weak the effect
will be depends on Scale and Scatter Radius which are connected with the size of the object. Start
from standard settings and apply them in accordance with the object.
Masks in
Photoshop
The Bump Normal Render
Element can help you to
generate masks for
different adjustment layers
in Photoshop. If you want
to darken or tone the Final touches When I’m happy with how the
bottom of your image, 17 different rendered elements are working together, it’s
choose the layer that’s time to add a background image. It’s always possible to use a
your Bump Normal pass. photo, but I want this final result to look a little more fantastical.
Pick Color Range from the
Select menu, grab a tone I’m going to make my background in Photoshop, first by
that suits the correction adding some basic colours. When I’m content with the results,
you want to make and I add some fog and air particles, also painted in Photoshop.
then choose your This unique background really gives unity to the image and
adjustment layer.
helps define the overall mood. To create fog and air particles
I use Photoshop brushes that I normally make myself. Create
a new document at 256 x 256 pixels and fill it with white. Paint
different spots and particles using a normal brush with soft
edges, but be careful not to go out of the image’s frame. When
you’re ready, select the whole image and pick the Define
brush preset from the Edit menu. All that now remains is to
change the settings of your brush and save it. For air particles
it’s good to increase the Spacing and Scatter size of the brush,
then increase the size and apply a few spots to the image.
Create a new layer and paint a few more spots with different
sizes there too. Now you can start experimenting with different
blends between the layers – rotate them, change their opacity
and so on.
camera?
Concept The main focus is the open mouth. We
The idea behind this want to accentuate the roar. However, in
image was to create a the process of creation, changes can
dinosaur that, despite occur, and the composition might shift
Iliya Atanasov from your original intentions. Therefore,
its scary look, also
Personal portfolio site expressed character. a good rule of thumb is to make your
www.pixelhunters.com This was because in camera frame as wide as possible, so
Country UAE the original animation you can keep the information from the
Software used Maya, (tinyurl.com/ image’s sides if you decide to re-
mental ray, Fusio PixelhuntersRoar) it composite the image later. In this case
Expertise A CG generalist sings Carmen by you can also set up a larger render
who focuses on ideas, art composer resolution, and crop out sections you
direction, lighting and Georges Bizet as it want to focus on without losing any of
compositing roars. the quality.
Master expert
creature renders
Singing with dinosaurs 2013 Maya, mental ray, Fusio
Source files
available
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In this tutorial we will discuss the lighting and mental ray for Maya. There will be several passes rendered,
Learn how to
mental ray
Set up the
01 models
This dinosaur was
Step 11: Create the beauty
PRGHOOHGE\0LNH and ambient occlusion
Semionov in Softimage pass using mental ray
and textured in ZBrush
and Photoshop.
Rigging, animation,
muscle simulations
and particles were
completed by Anton Step 15: Combine your
Gonzalez in Maya. dinosaur passes
After the animation
and simulations were
ÀQLVKHGWKH\ZHUH
EDNHGWRWKHJHRPHWU\
cache so it was easy to
scrub through the Maya Step 17: Brighten the top
timeline. part of the background
Create the
02 environment For the
forest scene we created several
bushes, trees and lianas. We created
the lianas using simple primitives
from Maya, extruding, scaling and
moving the vertices. The leaves are
polygon planes with a few spans
with changed vertices to achieve
the desired shape. We used Bend
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FUHDWHWKHÀQDOVKDSH)RUWKH
rocks, we created polygon cubes
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ÀQDOVKDSH:HXVHG0D\D3DLQW
Effects and Xfrog to create the trees
that populate the scene. Wood
mushrooms were placed on the tree
bark, with shrubs and small rocks
covering the ground. We grouped
the objects and duplicated them
using Transform to populate the
environment with foliage.
The texturing process To create a dinosaur you need several textures, but depending on the render engine and the type of materials, only some of these
03 can be used. The most important ones are the Color texture and the Displacement texture. As we are working with a large render with close-up shots, textures must
be a large resolution – 8k for Color textures and a 32-bit Displacement map for the dinosaur body. From the Color map you can extract the Bump, Specular or even the
5HÁHFWLRQPDS)RUWKHWUHHV\RXFDQXVHORRSDEOHEDUNWH[WXUHVERWKIRUWKH&RORUDQG%XPSPDSV3URFHGXUDOIUDFWDOWH[WXUHVDUHSHUIHFWIRUDGGLQJGLVSODFHPHQWRQ
the tree bark. For the leaves, procedural ramp textures can be used or real leaf textures with an Alpha channel for the transparency. For the ground we used a photo texture
of rocks and gravel.
Body language and composition Dinosaurs have rather large heads but, in
04 contrast, very small eyes. That’s why we’ve rotated the head in such a way so that the eye
area is more visible to the viewer. Remember that good eye contact always makes for a more
exciting render! Later on in the process we will also increase the brightness of the eyes to increase the
impact. You may also decide you want to see more of the dinosaur; not just the head with the teeth. If
this is the case, you can raise the tail to twist behind the head, which gives you a better sense of the size
DQGSRZHURIWKHFUHDWXUH²VRPHWKLQJHOVHWKDWZLOOPDNHWKHÀQDOUHQGHUSXQFKRIIWKHSDJH:HDOVR
need to consider the shadowy, dark forest, and where sun rays will pass through the branches, making
some parts better lit than others. For example, when we come to lighting in a few steps we will increase
the visibility of the tail in order to better communicate the creature’s massive size.
Decide on materials Since we will render using mental ray, the very best method
05 IRUPDWHULDOVLVQDWXUDOO\WRXVHPHQWDOUD\PDWHULDOVDQGVSHFLÀFDOO\WKH0LDPDWHULDO;
VKDGHU:HZLOOQHHGWRVHWXSGLIIHUHQWPDWHULDOVIRUWKHERG\H\HVWHHWKDQGQDLOV/HW·VVWDUWZLWK
the body. Attach a colour texture to the colour attribute of the shader. Connect the Bump map
WRWKHRYHUDOO%XPSVORWZLWKVPDOOYDOXHRI$GGVRPH5HÁHFWLYLW\WRWKHPDWHULDODW
and a strong Glossiness of 0.654. This will create some nice specular areas over the body of the
creature. Since we are aiming for a darker forest environment, this will help a lot to exaggerate
some of the body scales, especially on the darker areas of the skin. You can try to use a Gloss
map with different dark and white splotches, but your rendering speeds will increase if you decide
not to apply this texture. You can leave the Glossy Samples on 8 for static dark images such as
this, as that will be more than enough. In the shading group node add the Displacement map to
the Displacement mat. Now you are able to experiment with the settings of Alpha Gain and Alpha
Offset. In this case the rule of thumb is to set up the Alpha Offset at a negative value, with the
number itself half that of the Alpha Gain, so in this case you would use the following: Alpha Gain:
$OSKD2IIVHW0DNHVXUHWKDW$OSKDLV/XPLQDQFHLVWXUQHGRQ<RXPLJKWQHHGWRFKHFN
the placement Texture node if it’s necessary to mirror the UVs. It’s also important to note that the
values are very dependent on the scale of the scene. For the teeth material, once again use mia_
PDWHULDO;ZLWKKLJKHU5HÁHFWLYLW\DWDQGOHVV*ORVVLQHVVDWEHFDXVHLQWKLVFDVHZH
ZDQWWKHPWREHVKLQLHU$GGDVPDOO%XPSYDOXHWRWKHWHHWKDWDURXQG)RUWKHH\HVSUHSDUH
WKHVDPHPLDBPDWHULDO;EXWXVHD&RORUPDSZLWKD5HÁHFWLYLW\RIDQG*ORVVLQHVVRI
07 Texture the trees and rocks We are going to use standard Maya
materials for this step. Use a Blinn shader. Set the Bump Map value to 1 and
lower the Diffuse to 0.341 so that the texture is not too bright. Set the Eccentricity to
0.3 and Specular Roll Off to 0.285. Specular Color itself is good with RGB values of
24, 24, 24. This will assure a subtle, bright specular feeling over the cylindrical shape
of the tree trunks. Also, try adding some displacement over the bark. Use a fractal
procedure with Alpha Gain set to 2 and Alpha Offset set to 0. Once again, you should try
playing with these settings depending on how close to the camera the object is. As the
number of trees in our scene will be high, it’s useful to duplicate the material, delete the
displacement connection and then apply it to the trees further from the camera. This will
really help to speed up rendering time. The approach to the rocks is very similar. Use a
Blinn material with slightly higher Specular value than that of the trees: Eccentricity: 0.3,
Specular roll off: 0.203. Again, if you would like to make the ground darker, you could
reduce the Diffuse parameter to 0.5 or more.
Quick
Tip
When creating a stunning
render, you must think like a
true photographer. Imagine
you’re shooting an actual
image of a dinosaur. In this
case you might need to use a
big zoom lens – try it with
200mm. With such a long
lens the head will look very
big, and the neck and rest of
the body will look thick as
well. This will contribute to the
impressive, domineering look
of the character. You can
compare this to the look of
using a 35mm. Using this
type of lens we will get a
sharp foreground element –
the dino head – with blurred
background elements.
Image Based
09 Lighting Following
a test render, you’ll see that
the shadows of the picture
are still too dark. To equalise
this, let’s add Image Based
Lighting. There are two ways
RIGRLQJWKLV7KHÀUVWLVWR
go to Render Settings and in
Indirect Lighting click Image
Based Lighting. The second
way, which enables more
control, is to create a simple
poly sphere, scale it up to
cover the whole scene and
press Attribute Editor. Open
the render stats and turn
off Cast Shadows, Receive
Shadows, Motion Blur and Render in mental ray Open render settings and click Renderable cameras. Check
Primary Visibility. This will
10 the boxes for both Alpha channel and Depth channel. Set up the resolution at 4,957 x 6,500
ensure that the sphere will on 72dpi. Under Quality>Raytrace/Scanline Quality use Adaptive Sampling with Minimum Samples
not block the rays from Level 0 and Max Sample Level 2. You can leave Anti-aliasing Contrast to 0.100 as we are creating a
the directional lights and it FORVHXSSRUWUDLWDQGEOXUUHGEDFNJURXQG8VHD0LWFKHOOÀOWHUXQGHU0XOWLSL[HO)LOWHULQJZLWKD)LOWHU
will not be rendered from Size of 4. This will slow down the render, but you will get sharper results. Under Raytracing reduce
mental ray. Let’s apply a WKHLWHUDWLRQRI5HÁHFWLRQVDQG5HIUDFWLRQVWRDQGVHW0D[7UDFH'HSWKWR7KHPRVWLPSRUWDQW
Surface Material to it and an HOHPHQWVDUHWKHUHÁHFWLRQV(QVXUHWKDWXQGHU)UDPHEXIIHUWKH'DWD7\SHLV5*%$²[ELW
HDRI image to Out Color Changing the colours, brightness and contrast later in compositing is better using 32bit, but for this
parameter. You can use SXUSRVHWKHVHVHWWLQJVZLOOEHVXIÀFLHQW8QGHU,QGLUHFW/LJKWLQJXVH)LQDO*DWKHULQJDQGQR*OREDO
whatever HDRI images you Illumination. As we are rendering a static frame let’s leave the Accuracy setting at 50. As for secondary
prefer, but if the render is too bounces, they will slow down the render a great amount and due to the many dark and colourful
bright, just reduce the Color pixels in this image they will add little, so leave them set to 0. An important parameter to change is in
Gain using Maya, as we WKH)LQDO*DWKHULQJ4XDOLW\WDE7KHÀOWHUPXVWEHVHWWR7KLVZLOOVPRRWKWKHVHSDUDWHVSORWFKHV
want to have a rather dark spots and with a small Accuracy setting we can achieve a nice blur around the edges of the objects.
and shadowy environment. Under the tab Custom Entities you must also turn on Pass Custom Alpha Channel.
Render passes
Create various passes for compositing
Add passes Inside eyeon’s Fusion create a background layer and, using the Merge tool, add
15 the rendered environment background layer. We rendered our dinosaur passes separately from the
background so we could better blur the environment. Use the Defocus tool with Lens Filter and change the
Bloom level to 0.057. There is not a great deal of depth in the composition, which is why we are not using ZDepth
to blur the background. The focus will only vary slightly over the creature, while the background is all out of focus.
Next let’s composite the passes of the dinosaur. First add the beauty pass, then the shadow pass on Normal
with a Blend of 0.4. Now add the SSS passes of the skin – we have both Specular and SSS information in this
pass, so put them on screen with a Blend of 0.3-0.5. If you need to you can take out some of the speculars or
parts of the hands with masks, as they were also thin tissues and might also have a reddish tint from the SSS. Use
the Boolean Channel tool to enable extra channels, enabling you to plug the foreground Z-Buffer from the beauty
SDVVWRWKH%RROHDQ&KDQQHOWRRO=%XIIHU='HSWKLQIRLVLQFOXGHGLQWKH,))ÀOHVZHUHQGHUHG$GG'HIRFXV
and Depth Blur to the dinosaur so the focal point will be the eye on its head, while the tail at the end will be slightly
EOXUUHG$GGDQRWKHU0HUJHRQWKHEDFNJURXQGWRSODFHWKHFUHDWXUHRYHULW
Landscapes
Create huge fantasy worlds
108 Paint a colourful terrain
112 Paint a fantasy snowscape
130 Create a fantasy matte desert
landscape painting
130
118 Compose a magical 138 6FXOSWDQHSLFVFLÀWHUUDLQ
mountainscape 144 Create fantasy landscapes from
124 Create space art photos in Photoshop
144
118
112
Paint a surreal
fantasy
snowscape in
Photoshop
124
It’s important to base your
fantasy landscapes on the real
world or careful reference study
108
WorldMags.net Fantasy Art Genius Guide 107
www.dohoafx.com - Chuyên trang đồ họa & nhiếp ảnh
Landscapes
WorldMags.net
colourful
amazing artwork
Artist info
terrain Joe Cummings
Personal portfolio site
cummingsillustration.com
The Warrior’s Country UK
Software used Painter,
Source files
available
Sketch, value study
Try modelling
05 The dwellings on the
rocky outcrop are quite small
and the architectural shapes
could simply be suggested
with a few brushstrokes. But
it only takes a few minutes
to construct something
appropriate in Google
SketchUp or, in this case,
Braid Art’s GroBoto.
Painting rocks
03 With my main rocky
structure defined within my
canvas on its own layer, I
locked the transparency and
then painted in the rocks on
04 Use Painter’s brushes I opened
the file in Painter in order to utilise its Framed by trees I placed the 3D
top, remembering to reduce superior Bristle brushes. I used the Variable
06 image in the Painter file and continued to
the brush size as the rocks Round Oil option that has a nice bristle density blend in all the elements. The twisted, sinuous
receded. This was simply and can be easily tweaked via the Feature tree was painted in to add variety but it also
a base for further painting adjustment. I continued to paint in highlights helps to frame the city and floating islands, and
where I would add highlights and shadows, paying close attention to the draws the eye to what is, at this stage, the main
and shadows. values for foreground and background rocks. point of interest.
Colour
09 adjustment In
Painter I began to build upon
the colours, adding texture
and detail to make a more
natural-looking landscape.
The colours in the foreground Painter’s nozzles I made a nozzle for the Image
Complementary hues Roger Dean liked to stick needed to be warmer and 10 +RVHIRUWKHÁRZHUVWHPV7KLVLVGRQHE\SDLQWLQJ
08 to a simple colour palette, generally comprising one stronger in value, with those in several stems, each on their own layer, and then grouping the
or two closely related hues and one complementary colour. I the background being much layers. From the Nozzle panel’s drop-down menu, select Make
chose mainly yellow and orange, and jumped straight across to fainter, picking up the ambient Nozzle from Group and name it. The select a brush from the
the other side of the colour wheel for blue shadows. The saved VN\EOXHDQGWKHUHÁHFWHGOLJKW Image Hose category and choose Load Nozzle from the drop-
gradient can be used and adjusted on other layers. from the sea. down menu.
Quick
Tip
If you struggle to select
colours for use in your
painting, try a gamut mask.
Final details With all the hard work This is simply a way of
Treetops Although the tree is in the foreground, the 15 FRPSOHWHGWKHÀQDOVWHSVDUHWKHPRVWIXQ7KH masking off large parts of the
14 leaves can be painted loosely with the custom brush on inclusion of a tiny horseman gives the whole image a
colour wheel to reveal a few
harmonious colours. A
a few separate layers, coloured and blended accordingly. I can sense of scale and, like all good fantasy landscapes, brilliant free online tool can be
then use an eraser to sculpt out a pleasing shape. The tree trunk suggests a story. A few more fantasy motifs – such as found here: www.
livepaintinglessons.com/
also needs texture to give it volume and enhance the twists. the daylight stars – and it’s done. gamutmask.php.
Eduardo Lopez
Mustaros
Personal portfolio site
@edlo747
Country Mexico
Software used Photoshop
Lopez is a profesional matte
painter and art director
working at Epics FX Studios
in Mexico City. He now has
two European movies under
his belt, plus several TV
shows.
Source files
available
Tutorial images are
supplied on the disc
Working
Progress
Base image to render
Paint a fantasy
snowscape
Surreal landscape Photoshop
Progress 1: Extract images
Let us transport you to the furthest, coldest elements will create a foreground presence, which you
places with this fantastic matte painting can then use as a composition tool to build up and add
tutorial, which shows you how to create a to the base image. You will also learn to detail your piece
digital illustration of a frozen bay in a surreal and refine your painted sections to minute detail.
landscape. This tutorial will show you how to manipulate On the disc you’ll also find stock images and the
images over a base render to build up your scene using original PSD file which will help you to compose your
painting techniques, and then use a graphics tablet to scene. You need a strong knowledge of Photoshop in
paint in the detail on the ice. You will use masks and order to complete this tutorial to the standard seen here,
adjustment layers extensively to blend the different but don’t be afraid to try out the techniques whatever Progress 3: Create
images and achieve photoreal, dramatic results. Different your level.
Build up the
01 foreground
The first stage is to find all
the images needed for the
scene, but we’ve already
taken care of this for you by
supplying them on the disc.
These include the mountain
JPEGs and ‘bay.jpg’. Your
job is to extract the sections
you need and start placing
them roughly on the base
image provided to find a
good composition. Make
sure that the different sections
are placed in a realistic
manner and you don’t have
weird mountainsides going
nowhere, or in a position that
doesn’t agree with the overall
illumination of the scene.
Layer Masks A brilliant tool at your disposal is the use of layer masks to quickly
03 cut out sections and make them sit on the image, to give you a sense of the look and
composition quickly. However, as these masks are non-destructive, you can edit and refine
them as much as you need without worrying about having to go back and extract the same
image again, or about little mistakes in the extraction process. Instead, be creative and use the
masks without fear of messing anything up.
Quick A non-destructive workflow allows you to create your artwork freely without
having to worry if the next step will be a problem further down the line. It also
Tip means that you can decide later if you need to adjust or readjust any aspect
of your image, rather than having to make decisions on the spot. With
non-destructive editing, creativity and experimentation are always welcome.
Quick
Tip
Solid colour layers in different overlay modes
are a great way to add drama and contrast to a
scene, giving you the freedom to mask and
reduce the opacity as needed, and even
combine them to get interesting results. Don’t
hesitate to experiment with them.
Mountain highlight and boat You Mountain reflection You now need to duplicate all the layers for the background mountains and
13 will now use the technique you used earlier
14 then flatten those layers to use them as a reflection in the water. Once you have done this, flip it upside
to paint some highlights onto the background down and place it as a mirror image below the mountain range; then when it is in position, once again use a
mountain. Make sure they are in keeping with the mask to get rid of everything that is not over the water. Reduce the opacity of the layer, and adjust the Color
direction of the scene’s light source and do them Balance so it has a colder hue.
on a layer in Overlay mode. Then extract the image
of the boat from ‘boat.jpg’ to add a bit of action to
the middle of the bay, and again use a couple of
adjustment layers to shade it and adjust the tone to
match the image.
Final look To finish the matte painting off, add several colour and toning layers on top to add more
15 drama into your image. Cool off the shadows and increase the warmth from the sun so you have a nice
contrast of colours and shades to frame your scene. On each layer, use a soft brush and masks so the effect is
applied only where you need it. Be sure to take a look at your PSD file and study each layer setting.
Source files
available
A selection of stock
images on the disc
Compose a magical
mountainscape
Magical snowscape Photoshop
Create a lord of the rings-inspired scene using
photocomposite techniques
Tobias Roetsch Digital artist
The following techniques will teach you to footage for your mountains in order to avoid repetition. By
create a moody and ominous fantasy reading this tutorial, you’ll learn how to combine different
landscape. The world of J. R. R. Tolkien (author of photos to create new mountainscapes and add that little
The Lord Of The Rings and The Hobbit) easily provides bit of magic to your scene. Special focus is given to
inspirational context for countless images of this sort. The working with composition and how to create depth of
only things you’ll need are Photoshop and the field, using Photoshop gradients and the right cloud and
opportunity to take your own stock photos. Third-party haze effects. Last but not least, you’ll learn how different
images almost work as well as your own photos, but adjustment layers help to push your image to a whole
might limit your possibilities in certain situations. Before new level aesthetically. It’s also beneficial but not
you start with your image, think about the key elements absolutely necessary for you to use a drawing tablet
that should be present. Be sure to have enough stock when performing this tutorial.
Tobias Roetsch
Personal portfolio site
www.gtgraphics.de
Country Germany
Software used Photoshop
Roetsch has been focusing
on space and science
fiction-based images as
long as he’s been doing art.
He improves his skills
step-by-step with a lot of
patience and effort.
Scattering
smaller
clouds
between your
mountain
layers is a
great way to
Step 15: Finishing touches
add depth
Get started Create a new document at 7000 x 4375px with a white, Place the foreground Open ‘IMG_6423.jpg’ and ‘IMG_6402.jpg’
02 solid background. It’s useful to work with sky colours in the background, 03 and add both to a new layer in your image. Transform (Cmd/Ctrl+T) the
so it’s easier to combine your mountain stock in the next steps. Add a new layer IMG_6402.jpg image layer and enlarge it by 240% of its original size. Move it to
and use the Gradient tool. In the Gradient Editor, set three colour stops at 0%, 50% the bottom-right corner. Repeat this with the other IMG_6423.jpg image layer
and 100% with the colours #05355a, #115992 and #64a2d0. Place the gradient and transform it to a size of 155%, flip it horizontally and place it in the bottom-left
from the very top to the very bottom of your layer. Now you can start adding your corner. Now take the Lasso tool (L) and make a selection of the parts you want to
stock images. cut out in both of these separate layers.
Create a
06 Midground The other
mountains are created using
the same techniques as were
used in Steps 3 to 5. Open up
the file named ‘IMG_6405.jpg’,
flip it horizontally and place it in
the middle-left of your image.
The other mountain photo stock
supplied, ‘IMG_6413.jpg’, is quite
a good choice for the right side.
For organisational purposes,
move both images to a folder by
selecting the layers and pressing
Cmd/Ctrl+G. Now, remove the
sky and undesired trees like
before and carefully work with
the Clone Stamp tool to extend
your mountains. Freely define
your mountain shape. Copy and
paste parts you like and cut out
parts you don’t.
07
First improvements When your initial
midground layers are complete, merge them
Quick
by selecting both and pressing Cmd/Ctrl+E. Now Tip
it’s time for your first colour and contrast edit. Go to It’s essential for your artwork
Image>Adjustments> Brightness/Contrast and set to work with the right material.
You can download countless
Brightness at -50 and Contrast at 50 with Use Legacy resources from countless
deactivated. Press Cmd/Ctrl+B for Color Balance and websites. At the end, it’s the
set Shadows to -20, -5, +25; Midtones to 15, 0, -5; and quality of the resources, next
to your own abilities, that
Highlights to 20, 0, -5. For a softer edge, make a selection of decides the final quality of
your layer (Cmd/Ctrl-click layer), choose Select>Modify> your artwork. Two good
websites for an early resource
Contract at 2px then Select>Modify>Feather at 2px. Invert hunt are www.deviantart.com
your selection (Cmd/Ctrl+Shift+I) and then press Delete. and www.cgtextures.com.
Quick
Tip
When it comes to adjustment
layers, less is more. Color
Balance, for example, should
be used with only minor
changes. If you’re overdoing
it, the image immediately
looks fake. Deactivate and
reactivate adjustment layers
individually to check if they
add something to your
Final mountains It’s time to
09 replace your blue background. Open
scene.
Sebastien Hue
Personal portfolio site
www.shue-digital.com
Country France
Software used Photoshop
Sebastien Hue is a
self-taught artist who
started using Photoshop
when making logos. He
rapidly turned his attention
to sci-fi environments and
matte-painting techniques
that let his imagination
run wild.
This tutorial is going to show you how to create textures and blending modes to enhance contours and
a space scene using elements traditionally composite 3D elements to augment our image’s realism. Source files
associated with Sci-Fi. You’ll be combining Layer Style options are essential when producing available
asteroids, planets and spacecraft to create a truly dynamic believability, while Inner Shadow, Inner Glow and Outer Glow On the disc we have supplied
and unique composition. will all also feature. personal stock and 3D renders
and you can download
We’ll be exploring how to use Photoshop to create all of Here you’ll also discover how to build an entire nebula free-to-use stock from http://
visibleearth.nasa.gov.
these assets and essentially an eye-catching spacescape from scratch by working with textures in Photoshop, then
full of depth and awesome lighting. The Photoshop tools letting your own creativity and intuition do the rest. This
we’ll use to do this are pretty standard and we’ll personalise workflow will enable you to experiment and produce
the exposure by painting effects manually. We’ll utilise interesting shapes and ultimately an epic sci-fi scene.
Working
Progress
The concept stage From empty space to a
sprawling scene
Consider your backdrop and environment in initial sketches
Sketch your composition It’s always good to figure Add in a planet Create a new layer at 4,000 x
01 out a decent composition by sketching your ideas in several
02 4,000px 300dpi with a black solid background, then
layers. Try to remain flexible throughout the process and play define the centre of your document by applying two guides.
around with your elements, especially any included planets. Use a We’ve imported and used the high-definition texture file
hard round brush with Brush Presets>Shape Dynamics activated fontenellefire_ali_2012186_lrg.jpg from http://visibleearth.
to vary the opacity control of your Pen Pressure. Outline your nasa.gov. Hold Shift+Opt/Alt and apply the Elliptical
composition roughly in greyscale, including the main elements, Marquee tool from the centre to the border to get a perfect Progress 3: Boost effects
then define the scale, depth and light. circle. Next, apply Filter> Distort>Spherize twice, at 100%.
Quick
Tip
Take your time to clearly define the light source in
your scene, as it’s a crucial element when creating
believable worlds and will save you a lot of time in
the later stages. This essentially directs the
orientation of a planet in accordance with its light
and shadow.
Apply a 3d effect Add a vector mask to create a textured circle, then insert a new layer and apply
03 a horizontal gradient from right to left, with a black-to-transparent style. Next, highlight the left borders
with your selection still active and use a soft white brush to simulate a horizon lighting effect. With your selection
still active, create a new solid black layer above your planet layer, set to Screen blending mode. Add a cyan
(#bbe6f2) Inner Shadow Layer Style at 40% Opacity, with Distance set to 40px, Size at around 250px and
Angle at 170 degrees. Next, apply a bluish Outer Glow at 65% Opacity, with a Size of 50px and a Range of 55%.
Add a bluish Inner Glow at 75% Opacity, with Size between 100 and 120px.
Essential
software
To make your composition even
more realistic, interesting and
original, you can use cross-
platform software. Study and
understand the capabilities of
such software to augment your
own process and the results of
your work. 3D packages, such
as 3ds Max or CINEMA 4D, are a
great starting place to get to
grips with creating CG assets
and understanding the working
of the third dimension. You’ll
become less restricted to a
single plate photograph, where
drastic perspective changes
become quite difficult. After
Effects is also an interesting
application, as it comes with
many plug-ins that could serve
your 2D images, like the Optical
Flares plug-in used here to
enhance the Sun.
Refine the ship Any spacecraft to be Add adjustment layers Use a Hue/ Final sharpening Import the supplied
11 included deserves special care, so we’ll want
12 Saturation layer with Saturation at +45, then
13 ‘SUN FLARE.psd’ and set this new layer’s
to draw the viewer’s eyes to it by moving towards a Brightness/Contrast layer on top with Contrast set blending mode to Screen. After including a couple
our sunlit focal point. Add surface details with metal at 45 and layer Opacity at 60%. Paint hints of purple of red comets in the background and adjusting
texture stocks, sci-fi textures, or any other royalty- (#d293d2) using a soft round brush to a new layer all the layers, we can start sharpening. Flatten
free stock applicable, then warp them like in Step beneath these adjustments. Apply with a soft round your image by hitting Cmd/Ctrl+Shift+Opt/Alt+E
5. Ctrl-click your layer and select Create Clipping brush set to Color blending mode, at a low Opacity then select Filter>Sharpen>Smart Sharpen. Set
Mask, then paint in typical sci-fi lights using a soft of around 10%. Add a Curves layer, setting the RGB Amount to 70%, Radius to 0.6px and activate More
white brush. Just as in Step 3, add an Outer Glow Curves Output to 65 and Input to 95. Set the Green Accurate. Duplicate the layer and select Other>High
with 100% Opacity, 0% Range and 12px Size set to Curves Output to 55 and Input to 80. Last, set the Pass, setting the Radius at 3px. Set this new layer’s
Overlay mode. Blue Curves Output to 90 and Input to 60. blending mode to Overlay at 50% Opacity.
Texture in 2D
Create the illusion of 3D space using two-dimensional photo stock
The difficulty when working in three dimensions is
understanding how your three axes are actually defined in your
scene. However, your favourite 3D program will normally work this out
for you, which is very convenient. The program will usually calculate
everything according to your XYZ axis and once you apply the texture to
your object, the perspective will readjust wherever you move your object
or camera.
However, what if you’re applying outside of a 3D program? Problems
can occur when you try to translate a 3D object into 2D space. Never
fear though, because luck is on your side if you’re at least starting with a
3D-rendered object, such as our spacecraft. This render will give you
clues as to the actual perspective required, but it’s still up to you to
define it correctly, corresponding to the proper perspective when
painting or texturing stock in post-production. Here we show you the
best ways to tackle this creative conundrum and get plausible effects.
Before After
Use a perspective grid Activate the Add blending modes Once you’re
14 Line tool set to a red and apply vertical lines, Apply texture accordingly Take a
16 satisfied with your transformation, reset the
holding the Shift key to approximate symmetrical 15 cool sci-fi texture that has defined shapes Opacity of your texture layer to 100% and experiment
spacing. Hit Cmd/Ctrl+E to merge all your line with clear angles, then apply a low Opacity value. with different blending modes according to the
layers, duplicate your layer and rotate it 90 degrees Distort this using the Transform tools, matching your effects you want. We advise sticking to the Overlay
to fashion a square grid. Merge these two layers and grid lines while transforming and making sure you’re or the Soft Light types, which are very effective for
select Edit>Transform>Distort to define perspective, compliant with the correct perspective. This may soft texturing. Finally apply a layer mask to erase the
matching the lines of your spaceship. take time, but worth doing right to get the best effect. areas you don’t want.
Eduardo Lopez
Mustaros
Personal portfolio site
www.edlostudio.net
Country Mexico
Software used Photoshop
Ed is a professional matte
painter currently working at
Epics Fx Studios in Mexico
city. He started a couple of
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industry and now has two
European-Turkish movies
under his belt plus several
TV shows for the History
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channel.
Source files
available
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stock images used are
free to download, please
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links to each individual
image referenced in the
steps.
Create a fantasy
matte painting
Desert Photoshop
Learn how to work with images to achieve a matte painting,
using the process of cutting, painting and blending
Eduardo Lopez Mustaros Digital artist
In this tutorial we will embark on a matte-
painting adventure to achieve a fantasy image the same results. However, bear in mind some items and
setup in the desert. We’ll start with a basic image, settings might have different names. As you progress, it’s
then paint detailed rock structures and use several images recommended that you go through the videos to catch the
to convert a simple background to a fantasy environment, all action and details, as they can provide a better
while maintaining realism. Here we will need to use a pen understanding of what is being done and clear up any
tablet, since there is quite a bit of brushwork involved. You doubts you might have before tackling the steps.
can try to use a mouse, but the process will be much more In order to successfully complete this tutorial you’ll need a
GLIÀFXOWWRDFKLHYHWKHUHVXOWVZHQHHG strong practical knowledge of Photoshop, since basic
The tutorial is completed with Photoshop CS6, but you operations like accessing a menu, utilising the Brush palette
can use almost any version from CS2 onwards to achieve or using a layer clipping mask are not explained.
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Quick
Tip
Painting, whether digital or
not, is a process that takes
several stages to get the
right effect. Whatever the
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the overall shape. See how
that looks, then add furhter
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zoom and decreasing the
size of the brush.
Bring in shadow
13 blur and highlights
A new feature in Photoshop CS6
is the Field Blur. This is a brilliant
tool if you want to control the blur
over distance or shape using
anchor points. In this project we
need less blur close to the tower
structure and more further from
it. Set the layer mode to Overlay
and reduce the Opacity to 75%.
For the highlights, mask off the
Levels layer with a 1px brush to
reveal the original brightness
that, in direct combination with
the main Highlight layer set to
Overlay, will give us a far more
dramatic result.
Insert the background mountain Download and insert the Extraction and adjustment layers We will extract the statue
14 back mountain image from the link on the disc (‘1234175’) and paste 15 ZLWKWKH0DJLF:DQGDQGUHÀQHWKHVHOHFWLRQWRFUHDWHDPDVN)ROORZ
it onto a new layer. Now we’ll again use a mask to carefully extract the main a process similar to the foreground tower, using the mask to hide the bottom
mountain, so we just keep what we need. Now, as with the buildings, apply section following the mountain shape so it sits nicely on top of it. Next add Levels
Color Balance, Levels and Hue/Saturation layers to make it match the overall and Color Balance layers so it blends with the mountain and landscape at that
ODQGVFDSH6WDUWZLWKWKHOHYHOVRIWKHLPDJHDQGÀQLVKXSZLWKVRPHGHVDWXUDWLRQ distance. Add a new layer, also clipped, then set it to Overlay and start painting
to blend nicely. the highlights.
Cut the statue We will now cut some pieces off the Enhance the sand Now we’ll paint in some sand that piles up to the mountain.
18 statue to add to the ancient look we want, then add a new
19 Find the mountain layer and create a new layer on top. With the Chalk 23 brush, at about
layer where we can paint in some volume and highlights that 1-2px size, start painting in sand over the lower part of the mountains. Remember, we always
correspond to the missing pieces. Continue using the small Chalk do our painting with Transfer enabled, controlled by Pen Pressure. Follow the shapes of the
brush and just sample colour from the statue itself. Remember how PRXQWDLQVDQGSLOHXSPRUHVDQGRQWKHÁDWWHUVXUIDFHV
you have painted these volume and highlights so far and always
keep the light source in mind.
Adjust the shadows Once we have the shadow where we want it, Complete the mountain Once we have the shadow, we’ll repeat
21 we will adjust the Levels layer to change the hue and depth so they match
22 the process on the mountain itself so both the landscape and the rocks
the rest of the image. We will accomplish this by adjusting the levels of the colours have matching shades of shadow. We’ll create another Levels layer for the
separately. So, if we go into the Yellow channel we can play with the blue/yellow mountain and repeat the same process of masking and carefully adjusting the
amount our shadow has and if we go to the Green channel we can adjust the levels so that both shadows are the same. We can paint some more sand in the
JUHHQPDJHQWDLQÁXHQFHRQWKHVKDGLQJ shadow area on a new layer, sampling colour from the closer shaded areas.
Include live elements To add some new elements to our image Placement and shading 2QFHZHKDYHWKHÀJXUHVSURSHUO\
23 we will use another of the image links found on the disc. Download, open
24 H[WUDFWHGJRDKHDGDQGDSSO\WKHOD\HUPDVN:HZDQWWKHPLQD
XSDQGLQVHUWLPDJH¶·7KHÀUVWWKLQJZHKDYHWRGRLVH[WUDFWWKHPWKH VHSDUDWHOD\HUVRFXWDQGSDVWHWKHÀJXUHWRKLVRZQOD\HUDQGNHHSWKHFDPHO
VDPHZD\DVZHKDYHGRQHZLWKWKHUHVWRIWKHHOHPHQWVXVLQJDPDVNDSSOLHG in the original layer. We will then scale them into position and apply to each our
with a selection or a combination of both. We only need this camel and man for technique of adjustment layers to bring the colour on par with the rest of the
RXULPDJHVRJRDKHDGDQGH[WUDFWWKHPERWKRQWRDQHZOD\HU LPDJH7KLVWLPHD+XH6DWXUDWLRQOD\HUSOXVD/HYHOVOD\HUZLOOGRWKHWULFN
Concept
The concept was initially
created on a sheet of paper.
I later took a photograph
and continued working on it
digitally. At first I thought it
would be a horizontal work,
but it turned out that it
would look better in a
vertical position.
sci-fi terrain
Artist info
Secret place 2012 Photoshop, Zbrush
Work exclusively within ZBrush to build all the object Tomasz
Strzałkowski
elements, then move on to Photoshop to perfect your render
Personal portfolio site
Tomasz Stralkowski Digital artist www.tomstrzal.com
Country Poland
Software used ZBrush,
The idea for this project was to create an In this tutorial I will explain how to create an Photoshop Modelling,
texturing, lighting and
alien landscape. One evening I was making otherworldly landscape using only ZBrush. With this one rendering.
sketches on a sheet of paper when I came up program you can complete the modelling, create your
with an idea of a deserted spaceship, or maybe only its own alphas (used to model the scene by texturing),
engine. In fact, it looks like a skeleton of a gigantic, create materials, set up the scene, choose an effective
extinct animal. Was this animal specially adapted for the perspective and lighting, and even make your final
creation of a huge machine or was it a product of render. The compositing and colour correction will be
evolution? Or maybe it’s something else? I prefer viewers finished up in Photoshop. Read on and follow the tutorial
to make their own minds up. to find out how it’s done so you can create your own.
Duplicate models
06 to check scale
When we have the shapes
we want, it’s time to copy the
objects and put them in a scene,
taking the perspective, camera
and layout of the objects in
relation to one another into
consideration. This enables
us to tell whether the applied
changes are good enough and
if the main shapes are close to
what is needed. This is a good
habit to adopt, particularly when
making epic scenes like this.
Detail, composition
and the right view
In all my work I keep all the used elements, such as alphas
modelled in ZBrush, which I can use for future works. I also
create the alpha and brush bases. I try to put together the
scene as quickly as possible and do the rendering so I can see 07 Model detail and create more alphas Now
how particular shapes look. This way I can also see the details the main shapes are sorted, it’s time to apply more detailed
in the composition as a whole. In the early stages I try to put modelling. Alphas that we can extrude in the object will be very
the camera in the right position and choose the best helpful. You can make them yourself very easily within ZBrush. All
perspective in such a way that I can see how much work is
needed for each element. Frequent rendering helps me see you need to do is model a suitable shape: go to Projection Master,
the whole picture and enables me to decide whether I’m going use the MRGBZGrabber tool and you will have an alpha ready to
in the right direction. add to your main model.
Connect the wide terrain Despite having quite a precise idea about the work
10 as a whole, we should still look for the best shapes and details. Constantly make tests
of your progress to ensure every element is working. A good example is the elements on the
edges of the exterior objects or the details of the terrain joined to the base of the construction.
Adding a few figures at the base of the object can show off its scale in an impressive way.
Always
Roots ZBrush, Maya, Photoshop test the
project
2009, Photoshop
O In this image he continued the idea
of Tree with a combination of
mechanical and organic shapes, but
with a different point of view. This main
model was created in Maya Frequent testing in the
target environment and the
climate of the work is key. It
means arranging and
rendering layers with the
lighting, shades, depth and
colours in Photoshop. You
also need to find the right
climate. It’s often the case
that even the smallest
changes have a very big
influence on the whole
work. When I am
approaching the end of a
project, I often take a long
and careful look at the
image, trying to find
mistakes and thinking
about how I can improve it.
Any changes made from
now on are very thoroughly
thought over. It’s a difficult
Tree Branches ZBrush, Maya stage of the project Modify materials Now we’ll begin selecting the materials. The
2010, Photoshop because you have to know 13 materials of the main structure, the terrain, some technological elements
O Tomasz had many parts and models when to stop and finish it,
from Roots that he wanted to use rather than forever making inside the main circle and on its edges are all a little bit different. In order to
again. Here he used the same
techniques that he learned creating hundreds of small increase the details, add noise on the terrain in the foreground and try to select the
Roots changes. right values, such as Specular, Ambient or Light Cavit.
Move to
16 Photoshop for
the compositing
Final thoughts
Photoshop enables you to put
all those different layers into
As is often the case when creating original
one final picture. Manipulation images, I came across many problems, and while
of the layers gives you a I was looking for solutions I learned a lot of new
range of great composition techniques. If you want to achieve a desired
possibilities. You can also effect, you have to go for that goal whatever the
problems – technological or inspirational – you
create and add a background, may face. With the right amount of work and
fog effects, as well as correct involvement, most problems can be solved and
the colours. This is the stage each and every obstacle you overcome will teach
when the work acquires the you something new and increase the range of
your skills. I hope you’ve enjoyed the tutorial and
right climate, and is finally
take some inspiration from it.
refined and finished off.
Jennifer Cirpici
Personal portfolio site
www.breaking
canvas.com
Country Netherlands
Software used Photoshop
Jennifer is a self-taught
graphic designer and
illustrator from the
Netherlands. She studied
graphic design, has worked
for several big agencies like
Saatchi & Saatchi and Leo
Burnett, and is currently a
freelance digital artist.
Create fantasy
landscapes
from photos
Fantasy World Photoshop Source files
available
Jennifer Cirpici takes you through the process of creating this Use the photo set to
Hollywood-inspired environment create fantasy worlds
Working
What you will learn in this tutorial are several
basic but essential techniques like blending,
combine real and painted elements (the essence of matte
painting) in depth. Progress
colouring and painting over a scene comprising Over the course of these steps we’ll also look at how you
multiple photos. This workshop is fundamentally inspired can blend stock easily and how essential colouring is when Use coloured layers to
build up vibrant art
by the lush mountainous scenery in the movie Avatar. The it comes to setting an atmosphere. This guide will not only
Zhangjiajie Mountains, located in China, inspired the makers help you to create these Avatar-esque floating mountains,
of Avatar to create the floating Hallelujah Mountains; they but also to improve your future photomanipulations. Unlike
also inspired us for this tutorial and we used stock imagery the scenes created for the film, we will only be using
of this range to create this artwork. We’ll go into how you can Photoshop to achieve these effects.
Stock search The first step is to find some high-quality Bring in some colour For a green tint, create
01 mountain stock images to begin your piece. The sky is white
02 a new layer filled with #f6f6e5 and set to Multiply.
in our image and we want to add some clouds, so we search for Now create a new layer set to Multiply, but fill this with a bluish
good sky photos, paste them over the landscape, then blend using gradient at 36% Opacity. Use Curves to up the contrast and
layer masks as well as the Overlay, Multiply and Normal modes. tweak the greens with a Color Balance adjustment. Step 17: More mist
03 Mountains and birds We now add in some mountains from another stock photo.
Set the layer’s blending mode to Multiply with an Opacity of 68%, then make the mountains
a little greyer so that they all blend well together. Blur the mountains using the Gaussian Blur filter
set to a Radius of 5px because they are further away and this will create a greater sense of depth.
Finally, find some nice bird images and paste them into the composition, using the Edit>Transform
options to match the scene’s perspective and scale.
Add some plants In Avatar, the floating islands have long vine-like plants to help
09 people move from one island to another, and we’re also creating these in our scene. Take a
hard brush and draw some simple lines to get the basic plant forms from one mountain to another.
Then, with a green colour, add more lines over the first set and then a final group of lines in a lighter
tone for shading. You can also set some of the lines to Overlay.
12 Mountain
edges
Because we could
never have rendered
the rock in a way that
made the plants at the
edges look good too,
we need to add our own
flora to the mountain
edges. This will better
blend the mountain into
the sky and reduce that
copy/paste feel. Again,
you don’t have to paint
Additional highlights We come again to a point the plants or leaves very
11 when we’re adding more highlights – you can never get realistically as they’re
enough of them! The more you have, the more detail there will in the distance and
be in your scene and the better it will ultimately look. We’re also shrouded by mist. Make
adding a bit of green here and there with a hard brush. By doing sure not to use
this we are giving it a more digitally painted feeling, but don’t one colour – always add
forget to make sure that everything blends well together, with no in highlight and
one area stealing the show. shadow tones too.
15 Rainbow effect
Waterfalls can often
be seen with a rainbow near
them due to light refracting
through the moving water.
Create a subtle rainbow with
your hard brush, as per the
screenshot, lowering the
Opacity to 80%. Change the
14 Waterfall details With a soft brush sized around layer to the Soft Light mode
500px, brush once more into the waterfall, but lower the and apply a Gaussian blur so
Opacity to 28% and set the blending mode to Soft Light. For that the rainbow doesn’t draw
details, zoom in and use a hard brush to make a couple of small too much attention. With the
strokes and then, on a new layer, add a series of lines. If they look soft brush set to the Soft Light
too hard, you can blur them a bit. Add vertical lines until satisfied mode, add a little more mist
then apply some smoky mist underneath the cascade. coming off the waterfall.
17 More mist As one of the final steps, we are going to add yet more mist
around the floating mountain and make the vegetation around the edges
a little greener. The mist will help the mountain merge seamlessly with everything
else in the scene and it also enhances the surreal and mysterious mood we want
the image to have. Never make your mist too white, though. Instead use a colour
in the same shade as the background, so in this case give it a green tint. Switch
the mist layer to the Soft Light blending mode and set the Opacity to 30%.
18 Final touches
Now you can play
with Brightness/Contrast,
Levels and Curves
adjustment layers. To
get focus in this artwork
you can also create a
black-to-white radial
gradient on a new layer
set to Soft Light and 30%
Opacity. The white circle
goes wherever you want to
draw focus. Create a new
Concept
Compose magical scenes
152 Build fantasy architecture
158 Concept art for a heroine
182
character
164 Create dramatic lighting effects
170 Sci-fi concept art
176 Build videogame concept art
182 Build matte paintings
188 Design robot mechs
The viewer
should be
convinced that
the world could
actually exist
176
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Guide
Art
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152
Source files
available
Tutorial files on the disc
Build fantasy
architecture
Blood Temple 2012 Photoshop, Painter
Alexander teaches you how real-world references can inspire
your fantasy buildings and scenes
Alexander Thümler Digital artist
In the field of entertainment design and styles. As long as the elements hang together in a way that
illustration, you are almost always faced with is physically possible (even if the physics are based on
the prospect of creating virtual worlds that magic), the viewer has to believe that what he or she sees is
include some kind of architecture, or even whole real – even if it is not. Natural patterns, random abstract
infrastructures. Whether it is science fiction art or a classic shapes or objects you might never have thought of using as
medieval fantasy image, from the very first second the building blocks before can also inspire a scene, but
person looking at this kind of illustration should be nonetheless physical functionality is the most important
convinced that the world he or she is observing could aspect of making fantasy scenes seem possible.
actually exist. Even if there is magic going on or you can see In this illustration, we take inspiration from exotic ancient
floating buildings in the air, if the artwork contains a architecture. Old, lost civilisations like the Mayans and
consistent visual style then every kind of architecture in every Aztecs can be truly inspiring when it comes to creating your
kind of environment will work. own fantasy architecture. Explorers are still finding
That is why it is so important to be inspired by actual undiscovered ruins to this day, and the fact that we know
civilisations, both ancient and modern. Fantasy architecture, little to nothing about their use makes the Mesoamerican
for example, is often inspired by gothic elements like castles motifs that they use a visual shorthand for mystery and
and cathedrals. You can create a new fantasy scenario by magic, while allowing us to integrate fantasy elements into
combining more than one civilisation and their architectural something that’s conceivably from the real world.
Artist info
Alexander Thümler
Personal portfolio site
www.minzketchbook.com
Country Germany
Software used Photoshop,
Painter
Alexander is a concept artist
and illustrator, studying
design in Nuremberg. He
does live paintings with an
audience or on the internet
via Livestream.
Mirroring
During the process of creating your digital
painting, it often happens that you get too
used to your image and overlook mistakes
in the composition. It’s important to flip the
canvas horizontally and vertically as often
Mirror Start sketching in more details of the architecture and the plants growing around the structure
as possible during the whole working
process to get a renewed perspective of
04 to work out the scene. Flip the canvas horizontally and vertically in order to check out the composition
the painting. and the general tilt of the image from time to time.
Line art Now that the architecture and perspective are roughed
06 out, you can draw a simple perspective grid with one, two or even three
vanishing points and begin to draw the architectural line art on a separate layer.
Constructing three-dimensional objects is not easy, so take your time.
Colour In this step you have to think about the atmosphere and general
07 lighting of the scene to figure out how these things affect the material the
temple is made of. Once you’re happy with your idea, start painting in the basic
colours of the temple and the shadows underneath the line art.
Saturation Light direction Now, drop the line art onto the canvas and start to
08 paint over it. Always keep the angle of the light in your mind to prevent
To maintain balanced values, it’s important to hide the colour of an
image from time to time and see it completely desaturated. The mistakes from occurring. Create some rough brushstrokes as a raw base for the
perception of tones is often influenced by colour overstimulation and foliage of the trees and bushes growing around the temple. A low-lit, evening
the colour contrast. angle for the lighting adds mystery and menace.
Make use of
lighting angle and
perspective to
enhance the eerie
atmosphere...You
want the viewer to
wonder what has
happened here
Step back
It’s often easier to improve the composition
of a painting by looking at the image in a
very small format. Because there is a loss of
information due to the scaling on the screen
and the fixed number of pixels, it’s
advisable to view the image on the whole Build up the story To help the viewer get into the scene, add some story elements. Here,
screen and step back from it. In this way, 12 explorers are shown making their way into the dark doorway at the heart of the image. We put them in
even the smallest details contribute to the
overall image. with the image flipped to check that they read correctly.
Working
Progress
Use coloured layers to
build up vibrant art
Artist info
If you want to succeed in creating a good To create such visual appeal you have to know what the
design for a female videogame heroine that character is about, her role in the story and her skills and
appeals to all, there are some important function in the game. Another important aspect is that your
aspects to keep in mind. First, she should look strong and design isn’t too difficult to translate into a 3D model in order
capable of dealing with any obstacle. Second, she should to be animated. Thus it shouldn’t incorporate too many
be beautiful and sexy, though you should avoid trying to protruding and detached accessories like flowing ribbons, Simon Eckert
achieve sex appeal through too much naked skin. Strength feathers or long cloaks. The latter are particularly
Personal portfolio site
and capability paired with a beautiful, stern face don’t need unfavourable for figures mostly seen from the back during www.holysquid.de
a chain mail bikini to create a sexy and believable design. Of the game, as they obscure any shape that might make the Country Germany
course, she’s still a heroine, so may well possess a character unique. Software used Photoshop
superhuman physique or otherworldly beauty. Key features for the heroine in this piece are as follows; I’m a freelance illustrator
More important than her physical appearance is that your she will be a professional thief or mercenary, hunting and concept artist with a
background in graphic
character has a unique look that makes her memorable and treasure and rare artefacts in the catacombs beneath the design. I live and work in
outstanding. That look should primarily be achieved through surface of a steampunk-inspired world. She’s tough, agile, Berlin. My expertise ranges
from creating illustrations for
a distinct and interesting silhouette and via engaging design ruthless, a little bit flamboyant and of course a radiant board games and
of her clothes and weapons. The audience must be beauty. She uses a master-crafted multi-barrelled handgun, role-playing games to
convinced at first sight that they want to play as that which needs to be loaded with power cells. With those key graphics for browser games
and character concept art
character to draw them into the game. features set, we can start designing. for MMOs.
Draw the
06 line art
Though the digital
medium is great for its
versatility and is ideal
for most colour work, it
is a good idea to make
a traditional pencil
drawing before starting
to paint. By using this
digital-traditional-digital
workflow you are more
likely to achieve an
individual and dynamic-
looking piece. Having
the sketch printed in
blue will give you a solid
basis for a clean pencil
drawing of the details.
Scan your
08 drawing
Using a The final drawing
Style
School Some classic
Art genres in
a nutshell
CG heroines
These classic games heroines
demonstrate the visual power
of a female protagonist
Male protagonists are common in videogames, but
Shapes and selections
10 Create a new layer under the line
some of the most well-known and loved gaming
Transparent line art Go to the characters are female. Whether they’re the main player
09 Channels window in Photoshop and check in art layer and use the Lasso tool to select
character or the driving force behind the story, these
which of the three (RGB) the image looks cleanest. the shape of your character. Save the
three characters demonstrate how an iconic design
Select that one and remove any remnants of the blue selection (Select>Save Selection) and
combined with individual beauty and a sense of
print using Image>Adjustments>Levels. Now copy fill it with grey. In this manner, you can go
personality combine to create memorable and much-
that channel into the other two. Create a selection on selecting and saving the shapes you
loved characters.
by clicking on the RGB channel while holding Cmd/ think could be useful later, for example the
Ctrl. Invert that selection (using the shortcut Cmd/ main colours of the clothes, to create a
Name: Princess Zelda
Ctrl+Shift+I) and fill it with black on a new layer. complete (if basic) value study. Game: The Legend of
Zelda series
Date: 1986 – present
Games Company:
Nintendo
ONamed after novelist F
Scott Fitzgerald’s wife,
Princess Zelda has
appeared in different
incarnations across the
LOZ series. The classic
blonde, blue-eyed elven
Quick beauty started out as a
princess who needed
Tip rescuing and has
developed into the brains
Use the Elliptical Marquee behind the throne of her
tool to create geometric kingdom, with sideline
things like the gun barrels. careers as a ninja, pirate
Such objects need to look and even, on occasion, as a goddess.
correct in regards to
perspective or they will not be
convincing.
Render the character Now with Brush techniques Create a new layer
14 all the information set, you can start 15 over your basic colours. Use the round Painting surfaces Differentiate between soft
rendering the image. This is the most time- hard-edged Airbrush tip (with Opacity set to 100%) 16 and reflective surfaces by painting harder highlights
consuming part, but a fully rendered artwork to render most parts, and the soft-edged Airbrush and more contrast into metallic or shiny parts and softer
will make it easier for the modellers to translate set on low opacity to smooth down areas where rendering for skin or leather. Avoid using pure white or black
your ideas into 3D and is also much more a softer look is wanted. Try to keep your strokes – you can always emphasise shadows or highlights later on.
convincing to look at. A poor design with a as dynamic as possible in your line art and pick When I use custom brushes or textures, they only provide the
boring shape and confusing colours won’t get colours from your image, especially the halftones basis for further painting, as they tend to make the artwork
better no matter how well it is rendered. created by the line art over the colour sketch. look too digital. Merge everything down again.
Clean the
18 outlines
Make a selection from
the path, invert it,
duplicate the image
and delete everything
around the character.
Invert the selection
again and fix any small
flaws that you notice on
the silhouette. You now
should have a smoothly
rendered character
with transparent
background on one
Select with paths With the main rendering done, we can make a layer and a background
17 final selection to separate the character from the background and define layer below.
the final shape. This wasn’t done earlier to retain the ability to alter the silhouette
until the design is finalised. Use the Pen tool set to Paths to get a smooth look.
Paint the
19 background
Character concept artists
Key techniques
01 Designing details I stuck to the
wing theme throughout the design; you
can find it on her clothes and even on the
pistol holster. Putting thought and effort
into such intricate details is something very
enjoyable and ultimately leads to a more
convincing result.
Create dramatic
lighting effects
Vibrant Flight Photoshop
Learn essential brush techniques to create dramatic Source files
available
lighting and vibrant colour On the CD, you will find
Marco Nelor Concept arist all the brushes needed to
replicate the effects learnt
in this tutorial. Simply
upload the advanced
Fantasy paintings are ever so popular, with Of course, this is all made possible using Photoshop tools photoshop.abr file by
many digital artists plying a profitable trade and options. Custom brushes have been supplied on the double-clicking it
from a range of different styles. With the right skill disc so that you can make the marks seen in this tutorial.
set and techniques, you too can create concepts for multiple You’ll also discover ways to layer these new brushes, using
parties within the entertainment industry. This tutorial aims to
give you a head start.
the power of Photoshop’s blending modes to produce
exciting lighting effects.
Working
You’ll begin with the sketch phase, drawing out some
rough ideas in Photoshop, then you’ll discover essential
Brushes are used to paint texture and detail, with Lock
Layer and clipping mask controls letting you shape your
Progress
ways to add colour, detail and cohesive lighting to your final design exactly as you want it. Ways to introduce tonality Use coloured layers to
images. Special effects will breathe further life into these and colour temperature, again enhancing atmosphere, are build up vibrant art
designs, mainly through the use of dramatic lighting effects also taught. By the end of it all, you’ll be able to tackle your
that enhance atmosphere. very own distinctive fantasy paintings.
Getting started
sketch within photoshop
Start your sketch Begin sketching
01 the figure very loosely inside Photoshop
on a new layer. This is so that you can visualise the
Progress 1: Rough sketch
proportions and composition you need. A three-
quarter view of an owl moving towards the viewer
has been chosen here. This example is the best
design from a set of thumbnails, as it made sure all
of the needs of the piece were met early on.
Progress 2: Add
background
Form shadow Getting comfortable Paint feathers It’s time to start painting
Create atmosphere It was decided 07 with the Selection tool? Good, as you’re 08 feathers. To do this, select the brush labelled
06 that the head would read better if it were in about to practise that same technique here by ‘700’, which closely resembles the hackle you can
front of the far wing, so you need to add a little bit of carefully selecting the legs of your owl. Now press find in owls and other birds. Take care to not add
atmosphere. Using the Marquee tool once again, Cmd/Ctrl+Opt/Alt+I to invert your selection. This strokes too wildly. Instead, apply in a uniform manner,
select an area outlining the owl’s face and a portion effectively lets you paint behind the selected area. tracing the existing contour in your owl’s form. This
of the wing behind it. Select a rounded brush with soft Use another soft brush in order to paint in some means you’ll create a more authentic appearance.
edges and begin stroking in the lighting from the top shadow behind the legs. Again, take care not to paint Studying a real-world reference to get the right look
down, as your light will likely be a top-down lighting. your marks too dark. isn’t cheating.
Detailed blueprint
Lay the foundation for focal points, texture and form
Add blacks Up until this point, the image Hide selections You’ll have made Build feather textures Continue
09 will be rather grey. But this is fine, as it has
10 quite a few of these by now and they can be
11 painting your bird and refining your form and
allowed you to make sure that the focal point is yet distracting. With an area of your painting selected, shapes. Uniformly paint the wings, slowly building
to be decided. Usually, you’ll want your focal point to in this case the eyes from the previous step, press colour until you create solid-looking results. Try
be your subject’s face. So it’s here that you’ll apply Cmd/Ctrl+H to hide your selection. Sometimes to stay within the appropriate tonal range. Do this
your first solid black to create the owl’s eyes. Use a doing so will help you see what you’re doing more on a new layer (Cmd/Ctrl+Opt/Alt+Shift+N). The
Selection tool to draw out a good shape for these, clearly. With your selections hidden, you can begin smoother you keep your forms now, the cleaner your
then fill your selection with a solid black. This makes detailing the eyes, which is done using a soft grey painting will be later. It’s not until the very end, when
the eyes the darkest point of your piece and therefore brush on the outer area and a sharper white brush for bringing all your painting marks together, that you
your point of focus. the reflective highlights. start to fashion feathers with your strokes.
Copy and paste feathers Using Break up repetition Build upon the Uniform lighting Now that you’ve
14 what you’ve learnt about the Marquee tool 15 last steps by repeating their processes,
16 created your feathers, you will need to add
and the duplicate technique, you now implement a painting and placing feathers in the owl’s opposite larger shadows. First, merge down your owl layers,
combination of the two. Remember the long gradient wing. Make sure you follow the right direction for an then make sure that this new layer is locked by
feather you just painted in the last step? Well, now authentic look. To break up the monotony of some clicking on the Lock icon located at the top of the
you’re going to copy and paste this into a new layer of these feathers, erase parts of the edges in some layers tab. Now, apply a large, dark grey, soft round
and slightly enlarge it. Place it so it overlaps the of your layers. Also elongate some of them slightly brush and lightly add some shadow to the rounded
original large feather layer. Continue to copy, paste and skew the shape of others a bit. This allows you parts of the top of the wing. This makes sure your
and place a few dozen times until you have a long to create the beginnings of a very interesting wing wings are being lit by the same light source as the
row of feathers. pattern for your owl. rest of the image.
Quick
Tip
Now that your major elements are completed, go
over everything you’ve done and detail your brush
strokes and lighting. Keep taking a step back to
check your progress. This will ultimately help push
the piece to final completion.
Source files
available
All textures used and the
complete PSD can be
found on the disc. The
PSD contains extended
layers, showing how the
different elements can
be used
Christian Hecker
Personal portfolio site
www.tigaer-design.com
Country Germany
Software used Photoshop
For the past few years, I
have focused on creating
environmental concept art
and illustrations using digital
matte painting techniques. I
learnt everything in an auto
didactic way, and I now
build my own techniques to
create fantastic landscapes
for practically everything,
from book covers to games
and movies.
Channelling the sky Next, open the Channels palette. If not active Fixing the mask Near the horizon, you will see a few small holes in
03 already, it can be found via Windows/Channels. Hold Cmd/Ctrl and click 04 the mask. First, release the selection. Hit M and click somewhere on the
the small preview thumbnail of the Sky channel. A selection should appear. Switch picture. With the mask still active, use the Eraser (E), Ctrl/right-click and select a
back to the Layers palette and click the Sky folder. To apply the selection as a small standard round brush to fix the areas. The colour white closes the hole and
mask, click the square and circle icon at the bottom of the Layers palette. Notice black opens areas in the mask, and you can easily switch between them using X.
that the mask is inverted. Just click the mask thumbnail next to the folder and Masks are perfect tools for non-destructive work and allow you to go back at any
correct it with Cmd/Ctrl+I. time to fix or adjust things.
Replacing the sky #1 Click on the Replacing the sky #2 Toggle Sky_b
05 eye symbol left of the Sky_b layer to toggle it 06 visible and do the same as before, but move Blend the sky With the mask selected,
invisible and select Sky_a. Since it’s far too big, use the right side more into the picture. Now set Sky_a to 07 use the Eraser (E), Ctrl/right-click and take a
Cmd/Ctrl+T to transform it. Make the bottom part of Vivid Light at 66% Opacity and place the layer above soft round white brush at 277px and 0% Hardness.
the image align with the horizon. Go to the upper-left Sky_b. This gives a bit of extra texture to the clouds. Now add some aerial perspective by painting along
point, click, and move it to the upper-left corner of Now, set the Sky folder to 70% Opacity to make it the horizon line as well as softly reducing the impact
the workspace. Do the same for the right side. Use blend a little more with the overall scene. To fix areas of the overlaid photo textures around the sun. Be sure
squashing and stretching to make the sky fit the around the sun and horizon, click on the Sky folder to have Opacity set to Pen Pressure, under Transfer
perspective and sit nicely in the scene. mask again. in the Brush settings (F5).
Quick
Tip
To add a little bit more detail to your brush strokes,
open Brush Properties (F5). Check Scattering and
set it to 133%. Transfer should also be active, with
the Opacity set to Pen Pressure. This is an easy
way to suggest more detail when painting simple
things, especially if using a tablet.
Looking for detail Now it’s time to Painting detail Painting highlights onto City background extension
08 focus on the city. While there is great depth 09 the edges of certain structures adds more 10 Create a new layer via Cmd/Ctrl+Shift+N
and nice silhouettes, it could still do with a little more detail and depth, but accuracy is not too important and name it ‘Back City’. Now create a hint of city far
detail. For orientation, open and import ‘specular. right now. First, make the Specular layer invisible, in the distance by sampling (Opt/Alt) a darker colour
jpg’. Hit Cmd/Ctrl+A, switch to the Move Tool (V) and hit Cmd/Ctrl+Shift+N to create a new layer and from the foreground. Again, use a hard round brush
use the buttons in the tool bar to align it horizontally name it ‘Painting’. Use a round brush at 6px Size with a size of 22px. Hold Shift while painting short,
and vertically. Rename the new layer ‘Specular’ and and 90% Hardness and start to paint along some of straight vertical lines into the background. These
set the blending mode to Screen or Color Dodge. the edges of the buildings. Hold Opt/Alt to switch to don’t have to be accurate, since you only want to
This will give you an overview of the areas (marked the Color Picker and sample highlight colours right suggest detail. Last but not least, set the Opacity of
white) that need a little extra detail. off the picture. the Back City layer to 75%.
Build videogame
concept art
Troll Photoshop
Learn how to paint a Skyrim scene using Photoshop tools with
Ray’s easy-to-follow tutorial
Ray Lederer Concept artist
ray lederer
Personal portfolio site
www.raylederer.com
Country USA
Software used Photoshop
Ray is a concept artist at
Bethesda Game Studios in
Rockville, Maryland USA.
He began using Photoshop
professionally in 1998 for his
first videogame job as a
character modeller/texture
artist/animator. Since then
he’s learned to use
Photoshop as an
indispensable illustration
tool for the entertainment
industry, as well as books
and other projects.
Get started Sometimes in concept art you are asked to do a paint Block in forms Begin with your source image pasted on its own layer
01 over, which if you haven’t guessed already is a painting over a pre- 02 separate from the backdrop, leaving the Background layer neutral. Start
existing image to further visualise an idea for the rest of the team. Photoshop is roughing and blocking in your subject with your choice of brushes. Here we’re
the perfect tool for this kind of work as it enables you to iterate on top of source using a round brush set to 60-80% Edge Hardness with Opacity set to 80%. You
images to create anything you like, without some of the headaches of having to can use the lighting in the scene to guide your tonal choices or come up with a
start from scratch. new scheme.
Make loose sketches Try drawing your figure naked and then
05 drape it with clothes. This will give you the topology to know where
clothes fold and fall away from the body. Understanding anatomy is essential to
achieving realism, especially if you’re working from your imagination. Try using
Photoshop to display all of your reference images on a second monitor, so as
to leave your primary monitor free to paint with. You can arrange your images
separately or within a single layered file to maximise your workspace, without
sacrificing space for tools.
Commit to a shape Once you have Apply selections Select your canvas, Work out the details Now it’s time
06 gone through several iterations of figures, it’s
07 hold Ctrl then press the left arrow key once.
08 to become a leatherworker, armourer and
time to decide which is going to work best. Now you This will snap your selection around every pixel on seamster. We want to sell the world of Skyrim as a
can start lighting and detailing your figure. Create that layer. It will also move everything over one pixel tangible experience for the player, so it’s time to start
a new layer to paint on top of so you can make to the left. While still holding Ctrl, press the right arrow painting details. Once the basic forms are laid out
mistakes freely. It’s advisable to keep your layers key once to return everything to its original position. you can start focusing on the details like studs, fur
minimal, as it’s easy to get lost and forget which Now you have just the pixels of that layer selected and engraved designs. Use a combination of hard
layers have what information in them. Failing to to do whatever you like with. This may sound round and chalk brushes with varying opacities and
organise layers will result in more maintenance and a complicated but after repeating the method you’ll Edge Hardness settings. There’s no right way to do
prolonged painting process. quickly adapt. this, so just experiment.
Add tones to the figures Now it’s time to start colouring the figures. If you have crushed down Paint details Get in tight and start
12 the B/W paintings into single layers, you can use clipping masks to paint on top of your individual B/W
13 fleshing out details on the troll. Try to hint at
layers. Clipping masks are extremely powerful and you can layer many of them on top of a single raster layer. If blood vessels around the soft thin skin, particularly
you’ve never tried it, simply create an empty layer above the layer you wish to paint on, Ctrl/right-click that layer in the eyes and mouth. Using clipping masks, you
and select Create Clipping Mask. Set your clipping mask layer to Multiply (or whatever suits your needs) and can paint roughly around the edges and not worry,
start painting on top of your B/W layer. because you’re under painting will act as a mask.
17 Final touches Now it’s time to commit. Flatten your image, copy and paste it onto a separate
layer and paint any tweaks or experiments with Dodge & Burn for even higher-contrast highlights and
Quick
shadows. This is also a great way to get even more subtle lighting cheaply onto your picture. You can paste a Tip
flattened version of your image on top, then change its Hue/Saturation or any other values to create hotspots Flip your canvas often to check if your composition
or focal points by erasing away pieces of the altered top layer. is working. If it feels balanced when reversed, it’s
likely a good composition. You can set this up as a
hotkey using Actions. Go to Window>Actions and
create a new Action, press the Record icon at the
bottom of the Action window, then open
Image>Image Rotation>Flip Canvas Horizontal.
Toggle the recording off by pressing the Stop
button at the bottom of the Action window. Assign
a hotkey to that action and you’re good to go.
Clipping masks
Crush the B/W paintings into single layers so you can
use clipping masks to paint on top of your individual B/W
layers. You can layer multiple clipping masks on top of a
single raster layer. Create an empty layer above the layer
you wish to paint on, Ctrl/right-click on that layer, select
Create Clipping Mask and start painting on top of your
B/W layer. You can treat your clipping mask like the layer
beneath and it’ll mask any other layer you create.
To make an
impressive
island you
need to know
what it looks
like in terms of
shape, texture
and colour
184 Fantasy Art Genius Guide WorldMags.net
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WorldMags.netGeniusFantasy
Guide
Art
05 Group the shapes With the structure of the rock built, hit the
04 Work with Hyperblobs The next stage in the new version of Vue Hyperblob button. This will group your shapes and create a blobby
is building with Hyperblobs and Hyperterrains. You can stack these in shape, one that looks closer to an actual rock shape. Double-click the Material
any formation and any configuration of simple geometrical shapes and then Editor and hit the Bump tab. Select the ball and another box will open, which
simply select the Hyperblob tool. Pick the right Bump map and you have yourself offers options relating to which Bump map you can use. Here we’ll use Complex
a realistic-looking rock structure. Any material can be added for an even more Sedimentary Layers, although you can try all the options if you wish. With your
photorealistic feel. You don’t have to follow this shape exactly to build the rocks, Bump map applied, change the scale so the arch appears larger and closer to
but make as close a match as you can. the scale we need.
07 Apply materials The centre of Neverland has a mountain with snow that goes down to
grass and rock using a mixed material. You can play with which material you want to be used
most. Here I made one island that I then used for various areas of the main island, meaning I didn’t
have to populate the main terrain with an EcoSystem and slow down the render. I named this island
‘Neverland Cove’ and saved it as a separate scene so when I need it, I can merge it into the main
scene. Be sure to delete the Sun and ground that won’t be needed.
06
Shape the mountain Start adding terrain from
the Terrain Library. When you’ve brought one into your Painting with plants
scene, double-click the object and a new window will open
where you can edit the terrain model. Click the left-hand buttons, If there are certain areas that need to be populated with plants, you can just paint
them in. Painting the flora will create a separate layer so it won’t be attached to the
jumping from dunes to mountains until you get a good shape.
terrain. Hit the Eco Paint button and choose which plants you want to paint. You
In the EcoSystem editor I also added three default plants – date can change the size of the brush and the scale of the plants to suit. The brush
palm (25% Presence) old eucalyptus tree (25% Presence) and a paints directly on any areas of the terrain, no matter its shape. This is a great way to
coconut tree (50% Presence). add exactly what you need, where you need it.
Render time Now we’re into the final stage of the Vue
10 process. To keep the render time down to a minimum, turn
off anything you don’t really need, as well as anything that can be
completed in post-production using Photoshop. Try to maintain a
good balance between keeping render times down, while hanging
on to everything you need.
Final touches
Input the finishing elements and move to post-production
Add Hook’s ship For the pirate ship I added a model Take the image into Photoshop Now you can bring in the image rendered
11 of The Golden Hind from Poser. You can use any ship from
12 out from Vue and do some retouching in Photoshop. First let’s play with the levels to
Cornucopia 3D or Poser, or any 3D model you have access to. bring some of the blacks in and help with the contrast. Desaturate the image a little, about 25%,
I brought it in with textures and baked it, so it was compressed, then add a bit of colour back, mainly the blues. Following this, add a dark vignette around the
then placed it in the cove. This is the only element in the scene that image to add some depth and make it feel like it’s out in another universe. All this will help sell the
wasn’t created in Vue. It can also be added later with Photoshop. fantasy element of your image.
40hours
Place more elements Since we can see planets
creation time
13 Resolution:
surrounding the island, we also need stars in the sky,
which will be reflected in the ocean. I have a personal collection of 5,500 x 3,700
starfields, but you can grab plenty for free online or paint them in
yourself. I recommend you download a few and try them out. Pop
them in the file and screen, then add a layer mask and paint out any
stars over the island and the planets.
The first thing I always ask myself process, my hero goes from a human or a cyborg at the book Mechanika by Doug Chiang, one of
when creating a sci-fi illustration is to another big mech controlled by a human my favourites for this subject.
how I can make this stand out from inside, and the enemy appears in different sizes, Looking at how other designers solved
the other work that’s out there. Mixing two too, with the bigger version more intimidating. problems like joints and weapon integration is
themes is a great way to create something familiar There are different possible moments of action useful as well. Classic Japanese mechs are a big
but unique at the same time. For this sci-fi and storyline here. Did the attack over the town inspiration for this particular piece, but they have a
illustration I’m going to add robot mechs to the start first, so we can see people running away? very unique style so I also look at mechs from the
Wild West. Both of these genres are popular at Or are the two robots fighting and the town’s just West to make sure my image has a unique twist.
the moment and both have strong good-versus- unlucky enough to be in their way? I prefer a For the final illustration I start the sketch by
evil narratives. deserted street anticipating the action as this looking at my favourite composition thumbnails.
When I think about Western movies, the classic creates more tension so the viewer can imagine To add more dynamism, my composition has a
scene where the good and the bad (and what is going to happen later. rotated horizon so the verticals are rotated too. I
occasionally the ugly) face each other before they Once I know what I want for the illustration I keep the grid on a layer to check it if necessary
pull out their guns comes to mind, with plenty of start the research for the mechs. I know I don’t and I even rotate the image to bring it back to
tension and expectation. But another inspiration want anything too stylised with curves or organic horizontal if I find the angle of my composition too
for this piece comes from the classic sci-fi scenes shapes, as I want to keep them a big mass of awkward to draw something correctly or in a way
of giant robots fighting or a huge creature metal with straight shapes and old, rough that’s comfortable. I then quickly add some more
attacking a city – think of Transformers, Godzilla textures. To understand the functional part of the values at this stage too.
or Thor versus The Destroyer. robots, it is very important to look at the real world. For the hero design I go with a light body,
I have three main elements then; the hero, the Segmented insects or other animals can provide humanoid on top but with an animal aspect to the
villain and the town where the action takes place. great references for the way robots and imagined legs to make it more interesting and robotic. I add
First I paint thumbnails in Photoshop to explore machines might move. A spider excavator, for the holster for the gun on the right leg. For the
different compositions. During the development example, is a fantastic reference. I also take a look head I draw a shape to remind the viewer of a
I draw some mech sketches, giving them a Western look, sometimes even Composition studies are sometimes drawn as just linework, but I find that using values
pursuing a direction I didn’t have in mind initially makes them easier to read
Israel A Carrion
Personal portfolio site
www.isrartistic.com
Country Barcelona
Software used Photoshop
I live in Barcelona but
frequently work for
companies in other
countries, specialising as a
concept artist for the
entertainment industry or as
an illustrator telling stories
through my work.
Make it work
In order to understand how to build a robot
and make it functional, it’s good to think in
the most basic shapes – cubes, cylinders
and spheres.
Push the design I look at old
Once it works you can add designs to 04 locomotives and include iconic
those shapes. Action figures or model kits
can be helpful, too, as they can help you to elements like the cylindrical shape and the
understand how they are articulated. lights. I add the cables to create scale.
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