2DArtist Issue 054 Jun10

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Concept Art, Digital & Matte Painting Magazine

Issue 054 June 2010
Interview
Robh Ruppel
Articles
Sketchbook of Edwin Rhemrev
The Gallery
Jason Seiler, Min Yum and
Raphael Lacoste, plus more!
Volcanic Monster
Wei-Che Juan finishes our Painting Monsters series by showing us
how to paint a monster for a Volcanic Environment.
Medieval Docks!
Andreas Rocha shows us his interpretation of a medieval dock as we
continue with our Painting Fantasy Medieval Scenes tutorial series.
Futuristic Slum City

Branko Bistrovic tackles the next chapter in the Painting Futuristic
Cities tutorial series and shows us how to paint a futuristic slum.
Making of Diaper Faerie

Branko Bistrovic shows us how he likes to add a little bit of humor into
his work as he explains how he created his image Diaper Faerie.
Contents
Editorial 001
Contents
Welcome to the June issue Whats in this month?
of 2DArtist. We hope you
are all ready for a plethora of
006
Robh Ruppel
Artist
Sketchbook
gripping new tutorials in this 018
months issue. This month
The Sketchbook of Edwin Rhemrev
we are very excited to launch
2DArtist in a great new format
038
The Gallery
10 of the Best 2D Artworks
that offers an abundance of
new features that we hope
052
Painting Medieval Scenes
Docks by Andreas Rocha
you all enjoy. We are always
trying to improve 2DArtist
059
SteamPunk Environments
Chapter 5 Continues Next Month - July Issue 055
magazine so get in touch with
me at simon@3dtotal.com to let me know what you think. This months 060 Painting Futuristic Cities
Slum City by Branko Bistrovic
interview is with the excellent Robh Ruppel. We ask Robh what life is
like since working on Uncharted 2 which cleaned up a host of awards at 070 Painting Monsters
the recent Dice and Game Developers choice awards. Robh also talks Volcanic by Wei-Che Juan
about his childhood and how he got to where he is today, and shares an 078 Dust
epic quantity of amazing artwork with us. Project Overview by Chase Stone
086 Diaper Faerie

We take a jump in a different direction for the second article in this Project Overview by Branko Bistrovic
Go forward and forward

months issue. Edwin Rhemrev is this months sketchbook artist. Edwin
092
has a great illustrative style and creates hundreds of comical characters Digital Art Masters: Volume 4 Free Chapter
from stories and his imagination. Edwin shares with us some of his
sketches that he does on his everyday commute as well as a selection
095 About us
3DTotal.com Ltd Information & Contacts
of images of his favorite subject, Pirates!
Editor Layout Content Sub-Editors

If super realistic marines is more your thing, check out Chase Stones Simon Morse Layla Khani Simon Morse Simon Morse
Matt Lewis Tom Greenway Jo Hargreaves
superb making of. You may remember his amazing image Dust from the
Lead Designer Richard Tilbury
January issue of the magazine, well in this issue Chase shows us how Chris Perrins Marketing Chris Perrins
Claire Hughes Jo Hargreaves
to use references to create an accurate look to your image, and how to
use facial expressions to give your painting a dramatic feel. Scene Andreas Rocha shows us how he painted his impressive scene.
Andreas captures a fantasy landscape that includes a dock, floating
Ok, so on to tutorials, and first up this month is the tutorial for our great merchant vessels and a dramatic looking city that sits by still sunlit waters.
cover image by Wei-Che Juan. Wei-Che or Jason as he is known will
talk us through creating a creature that lives in a volcanic environment. Those of you hoping to see the last part of Chee Ming Wongs
Jason will have had plenty of references for Volcanos if he has been steampunk tutorial will have to wait one more month I am afraid, Chee is
watching the news recently, though hopefully Jasons volcano wont ruin filling the last chapter with so much steampunk excellence that he was
anyones holiday. Jason uses photos to create parts of his image and unable to get his work in this month, but I hope you are ready next month
shows us how to give the image a feeling of immense heat. for the epic final chapter. We have thrown in an extra making of this month
due to the missing tutorial and it really is a great one. Branko Bistrovic
Branko Bistrovic prepares his first tutorial for us this month, guiding shows us how he made his image Diaper Faerie.
us through the process of painting a futuristic slum. Branko uses trial
and error to correct his composition and walks us through painting a This months issue also includes an impressive gallery featuring work from
hologram as he demonstrates how to build a scene from beginning to Raphael Lacoste,Tamara Bakylecheva and many more. Have Fun!
end. On the subject of painting Cities, in this months Fantasy Medieval Ed.
www.2dartistmag.com page 2 Issue 054 June 2010

Contributors
Robh
Ruppel
Robh has designed for video
games, feature films and
animation, publishing, and
theme parks. Most recently
Uncharted 2 took almost every GOTY award and
several for best Art Direction. He has taught at the
Art Center College of Design, Gnomon and Concept
Contributing Artists Design Academy. He has received Gold and Silver
Every month many artists around the world contribute to 3DCreative and awards from the Spectrum Fantasy Art Annual and
2DArtist magazines. Here you can find out a bit more about them! has been published in several other annuals and
If you would like to be a part of 3DCreative or 2DArtist magazine, please collections. When not painting he paints.
contact: simon@3dtotal.com robhrr@yahoo.com
Andreas Edwin
Rocha Rhemrev
Andreas Rocha is a 2D Edwin is a lead concept artist at
freelance artist from Lisbon/ a Dutch game studio, he is 32
Portugal, specializing in years old, and currently living in
environments, be it matte The Hague, in The Netherlands.
painting or conceptual artwork. He studied He loves visual development and especially
architecture in college, but soon found that his character design. Besides game development Edwin
true love was for digital painting. His work includes sees himself working on a big animation production
concepts for games, album/book covers, matte one day, and also teaching visual development
paintings for advertising and editorial illustration would be high on his list.
among others.
http://www.andreasrocha.com http://www.rhemrev.com
rocha.andreas@gmail.com edwin@rhemrev.com

Contributors
Dr. Chee Ming Wei-Che
Wong Juan
Dr. Wong is both a visual Wei-Che, Jason, Juan was
imagineer & director of Opus born in Taichung, Taiwan in
Artz Ltd and has over 10 years 1977. He always wanted to
of creative visualization and get a chance to study at an art
industrial design experience, working with a diverse school but he studied a four-year bachelor degree
range of game & animation developers worldwide. in Mathematics instead. After finishing his studies in
His projects have included The Edge of Twilight, 2001, he decided to pursue and fulfill his desire to
External Enviromental Art Consultant on Bioshock work in art by taking on a different learning path in
2 and Senior Concept Artist and Visual Lead for the the states. It is his belief that in a wonderful painting,
MMO Infinity: The Quest For Earth. each stroke tells its own story for being there.
http://www.opusartz.com
chee@opusartz.com jasonjuan05@gmail.com
Branko
Bistrovic
Color Supervisor in an
animation studio by day, and
a dark and handsome doodler
by night He hopes to one
day achieve the coveted status of concept artist, but
for the moment is happy with bringing to life his own
imaginings for himself, as well as some contract work
on the side of course. Would You Like To Contribute To
3DCreative Or 2DArtist Magazines?
We are always looking for tutorial artists, gallery submissions, potential
http://www.brushdreams.com/brankosfurnace.swf interviewees, making of writers, and more. For more information, please
bisvic@gmail.com send a link to your work to: simon@3dtotal.com

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Its like being in the trenches
during WW1. When the bullets
are flying overhead and the
bombs are going off you dont
know how much ground
youve covered [on a game]
until you pop your head out
at the end and go, wow.
Robh Ruppel has become a familiar name to the 3DTotal team recently as weve been lucky enough
to showcase a number of his amazing images on our site. Intrigued by this rising star, we decided
we wanted to know more about him and Robh very kindly obliged! So read on to find out what
makes this artist tick, how his work and artistic style has evolved and the details of his latest big
adventure: working as art director on the smash-hit Uncharted 2.
Robh Ruppel Interview
Interview with Robh Ruppel
Hi Robh and welcome to the pages of

2DArtist! Now I just have to start by saying
how much I love your website. Its so chocked
full of amazing images seriously, youve
probably got the biggest collection Ive seen on
any artists website! And its not just from one
genre/medium either; there are matte paintings,
concept art, animation stills, sketches, digital
plein aire pieces (outdoor paintings for all of us
uneducated), fantasy art I could go on. So I
guess what Id like to begin by asking is where
did it all start for you? When did you realize
that this was what you wanted to do with your
life and was it difficult to get to where you are
today? up getting a great education but in a very Looks like youve certainly had a well-rounded
As a kid you have a clearer idea of what you roundabout way. I wouldnt say its difficult education! Was it a conscious decision to study
want to do. So the answer is ever since I was to get to the kind of stage Im at as long as various artistic mediums rather than just taking a
four. Now as we go through school we get youre willingly to put in the hours. There are no straightforward artistic path, or was it something
pulled here and there by different interests shortcuts. The hours/years I spent painting and you just fell into? Where there any drawbacks to
and occupations. I studied film making and the sketchbooks I have filled is the hard part such a route? And do you think its shaped how
animation at the High School for Performing that most people shirk away from. The sooner your artistic style has developed?
Arts, and Electrical Engineering, Industrial you start being obsessed with what youre Oh no, it was process of elimination. Most
Design and Illustration in college. I ended doing, the sooner youll get there! people dont know that you can make a living

Interview Robh Ruppel
as an illustrator or concept artist. Nowadays its Fred Fixler at the California Art Institute. It most on Uncharted 2: Among Thieves. I checked
more prevalent and in the media, but just a short definitely shaped me as an artist because of all out the games Wikipedia page and its won a
while ago (think Blade Runner) there werent the varied fields of study! bucketload of critical acclaim, culminating in
teams of designers specializing in this kind of sweeping the boards at this years DICE and
area. Electrical Engineering led to Industrial Now youve been involved in a pretty high- Game Developers Choice awards. What was
Design which led to studying figure drawing with profile project recently: working as art director it like working on such a project? Did you ever

dream it would become as successful as it has; are flying overhead and the bombs are going our game is looking really good in comparison.
was there a moment when you thought, Yes, off you dont know how much ground youve I wont say which game, but we were so focused
this is going to be something special or was it covered until you pop your head out at the on perfecting what we doing that it wasnt
all in a days work? end and go, wow. My first inkling was when I until later that we could truly see what we had
The best analogy I can give is that its like being played the follow up to very a popular game that achieved.
in the trenches during WW1. When the bullets had a huge following and went, wait a minute,

In a practical sense, what was your involvement
with the project? Were you designing any
aspects of the artwork yourself or was it more
of a case of managing a team? And looking
back now, are there any parts youre particularly
proud of, or is there anything that you would
change?
Therere tons of things I would like to change,
but most projects are like that. Hitchcock used
to say he got about 50% of what he envisioned.
And Im much more of a hands-on lead. I try not
to have much to do with Excel sheets. If you
get a chance to thumb through the new Art of painted/rendered images. We said it would be Is there anything on the horizon for Broadview
Uncharted 2 by Ballistic Publishing youll see a so much simpler if we had a flat graphic style Graphics or is it all over now that youve
ton of my art, from full blown tight concepts to so I started experimenting. Ive always loved established that flat graphic style you were
design sketches and matte paintings. film noir and Raymond Chandler so I invented after? Are we going to see your detective fiction
my own line of detective fiction. The best thing gracing shop bookshelves any time in the
Hitchcock used to say he I got out of it was it forced me to be a much future?
got about 50% of what he better designer. By working so flat youre A story exec who I respect a lot approached me
envisioned forced to really design the silhouette shape and to develop it into a pitch. We hammered out a
you become very aware of designing shape really nice watertight story. We pitched it around
Ive just got two words for you: Broadview for shapes sake. That is just as important in but its pretty different so no takers. I was then
Graphics. Whats it all about and how did it painting but it tends to get covered up by the talking to a publisher about doing a digital
spring into life? modeling. Basically if its interesting in black and painting book and they saw the Broadview
Thats an interesting story. A friend and I were white with no form itll stay interesting as you stuff and wanted to do a book on that. I spent
lamenting how long it takes to make good, fully layer on all the details. thanksgiving and Christmas writing out the story

and painting new pieces. A week before I was opportunity they missed! Now moving on to the Indians like it was yesterday [Laughs]. But
to turn everything in the publisher cancelled more personal subjects, your blog profile reveals seriously, I would have trouble naming my top
which was disappointing to say the least. One some interesting facts about the man behind the 100 films there are so many. I just listed a few
day. art your age is listed as 253 typo or truth? that came to mind. Good art is everywhere and
And your favorite films include Sean Connery as much as I like sci-fi Im in awe of filmmakers
Im really sorry to hear that, Robh I hope you 007 films, The Incredibles and The Piano quite like Ernst Lubitsch, Hal Ashby, Brad Bird,
go on to enjoy more success with your detective a range there! Any thoughts on that? Andrew Stanton, Pete Docter, Coppola, Kubrick,
fiction and that silly publisher realizes what an Ah yes, I remember the first Thanksgiving with Hitchcock, John Ford, Orson Welles and



the list goes on and on. Im leaving out about
90% just because there isnt the space here.
Also painters varying from Morgan Weistling,
Frank Bramley, Stanhope Forbes and a few
newer guys like David Jon Kassan and Robert
Ferri. Plus all the known quantities like Sargent,
Payne, Caravaggio, Church etc.
Working from life is the best

trick there is
Youre obviously a total film-buff so Im going
to be mean and put you on the spot now:
which film do you think has been the biggest
inspiration to you in terms of your artwork?
For pure design inspiration its a toss- up
between 2001: A Space Odyssey and Blade
Runner. 2001 because photographically the
effects, for the most part, still hold up. Theres
a reality to them and while digital effects now
are far more sophisticated, sometimes there
is a lack of visual unity to them. Sometimes
but not always. Blade Runner was just so
groundbreaking. The visual design of the overall
is still, to this day, breathtaking. They are
composed and lit like master paintings and that
is one reason they still look timeless.
I talked earlier about the variety of images in

your gallery and I even remember spotting a
few iPhone sketches on your blog and they
were pretty damn good! So when most artists
tend to stick to one or two styles, you seem to
have dabbled in a bit of everything at one time
or another. It seems youve been focused pretty
heavily on concept art recently though could
you tell us a little bit about the techniques and
tricks you like to use? Like the Sight-Size
technique whats that all about?
Sight size has been around for awhile. The
idea is you set your canvas and the subject
a distance away from you and then judge the
shapes and values side by side. Sargent worked
this way and thats why his paintings have such
immediacy to them. Its truly reproducing the
optical illusion in front of you. Therere a couple
of good websites and books about this subject;

I found Darren Rousars books to be really real light. See what real values are. Learn how easy to get discouraged I do but you cant
insightful as well as Richard Whitney, whom I to group and separate them from the millions quit. It has to mean that much to you.
meet in New Hampshire when I lived there. that are in front of you into about ten distinct and
five main values. Thats where youll discover Robh Ruppel
Love what youre doing, your authentic self and develop the way you see For more work by this artist please visit:
work really hard, be nice the world. http://www.robhruppel.com/
and dont give up Or contact them at:

Okay one last question before we wrap this up: robhrr@yahoo.com
As to tricks, I think working from life is the best if you had one piece of advice that you could
trick there is. Thats where the real answers offer aspiring artists trying to break into the Interview by: Jo Hargreaves
are; not in copying some concept guy whos industry, what would it be?
copying some other concept guy. Get out there That would be the same for any profession.
and struggle. Its not easy and Ive flung many Love what youre doing, work really hard, be
a canvas out, but it really is the answer. Look to nice and dont give up. Art is hard and it is so

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I love to sit outside and do
quick pen studies of people
and environments
This months sketchbook artist is the exce

llent Edwin Remrev. Edwin shows us some
of
his great illustrative sketches and tells
us how he draws inspiration from the thing
s he
sees round him, particularly on his comm
ute to work. Read on to check out his uniqu
e
style and excellent sketches.
Sketchbook of
Edwin Rhemrev
About
Im Edwin Rhemrev, 31 years old, currently living in The Hague, The
Netherlands. Im currently employed as Lead Concept artist over at
Triumph Studios, the game studio responsible for the PS3/XBOX360/
PC games Overlord and Overlord 2. I started out as an concept intern
many years ago, and basically never left.
Education
I have a Masters Degree in International Business and Languages. I
studied these subjects before realizing that I wanted to pursue art as
a career. After getting my degree, I quickly found out I wanted to do
something with my art, and decided to enroll in Graphic Design and
Visualization, which took me another three years to finish.
Inspiration
Besides games and art, I really love animation and everything to do
with it. A big inspiration remains the many making of books Ive
collected over the years (70+ and still ordering more), with Disneys
Tarzan and Mulan as my all time favorites.
An art book I learned a lot from is Dream Worlds by Hans Bacher, which
revolves around visual storytelling and how to evoke certain emotions
and moods by mere composition of shots.
Pen Sketches
When developing a character or environment, I always start out by
doing thumbnails in pen. It forces you to really think about the lines
youre about to drop on paper, and makes you work faster and keep
more focused. Or it does with me, at least.
Working directly in pen somehow makes my characters seem more

lifelike. When drawing directly in ink, you cant go back. If a pose
doesnt work, you have to redraw the whole pose again.
In pencil I would just keep erasing and redrawing one particular leg
or arm or neck-tilt, sometimes so many times I ended up with eraser
holes in my paper! Doing life sketches in pen helped me develop more
natural poses, and learn to see the action lines within each movement
of the body.
Although I dont do it as much as I should, I love to sit outside and do

quick pen studies of people and environments. A good example is the
sketch journal I kept on my travels through Thailand, where I met a lot
of interesting people and saw a lot of inspirational locations (Fig.01).
Here are some studies I did of people
on my way to work (Fig.02) .
Personal work
As most of my art done at Triumph Studios is for
production purposes only, itll never be released.
Though this is a pity, it does motivate me to work
more on personal projects; stuff I can show to
family and friends.
Especially character design; this is something I

love doing. Theres nothing more fun than putting
pen to paper and seeing characters come to life.
Cartoon Blog
Im not a writer, but do love to tell stories through
my art. As an experiment Ive recently started
a cartoon blog, featuring cartoons about myself
and what goes on in my mind. Kinda like a visual
twitter. Check http://pensketches.blogspot.com
if youre interested (Fig.03).
Character design
A good character design sketch to me
is a character that has a unique and
recognizable silhouette, drawn in
a pose that immediately brings their
personality and attitude across.
I firmly believe you have to get to know

your character first before you can nail
this one signature pose.
When I need to develop a new

character for a game, I usually start
out by doing loose and quick thumbnail
sketches. I try to avoid drawing
characters that just stand there and
prefer to first flesh out the in-game
experience of a character.
Instead of focusing on the exact design for their

clothing, hair or weaponry, I visualize how
the character comes across while playing
the game; how the character moves,
attacks, spawns, dies, etc. After Ive
visualized all stages of the character,
and feel like I know the character a
little bit better. Only then will I start
working in detail.
Childrens book
project
One of my many personal side projects
is to develop a childrens book. Here are
some of the pen sketches I did of some of
the characters (Fig.04 05).
Some that I have created so far are a

giant who doesnt really understand
why his clothes dont fit him; a bunch of very
handy critters (my personal favorites), and
the girl with the ponytails, which I took from
my Wizard of Oz girl sketches.
I especially like the gritty feel I got by the

crosshatching on the giants, giving them
a nice ugly appearance.
As I had just discovered sketching

directly in pen, I decided to try the
same with environments for this book (Fig.06).
Edwin Rhemrev Sketchbook
The focus was to experiment with compositions, and see how I could I also took out my brush pen here, with which I created some cool grass
keep scenes as readable as possible. Thumbnails are about 10 x 3cm. and tree effects.
I still plan on turning some these layouts into final illustrations, like this
one (Fig.07).

Wizard of Oz
To keep myself occupied on the train rides to work,
I gave myself the assignment of redesigning the
characters of The Wizard of Oz (Fig.08 10).
As with the life sketches, I used a 0.2 ink pen, and

then Photoshop for the digital color. Drawing with pens
somehow streamlines my thought process, and forces
me to think more clearly about what I want to get on
paper. If youre an artist, you should definitely give it a
try sometime!
Designing Dorothy proved to be quite challenging, as

you can end up with just some random kid quite easily. I
eventually stumbled upon the pigtails to the side, which
create a strong silhouette and give her attitude at the
same time.
I have got to work on my personal Wizard of Oz project

some more. On the next page are the thumbnails for the
Tin Man, which is such a great character to explore! A
big inspiration was the Blue Sky Studios movie Robots;
for those who havent seen it, go watch it now!
I tried to keep the Tin Mans face as human as possible

(except for the TV head), so itll allow for a wide range of
expressions.
Sketchbook Edwin Rhemrev
Tech sketches
Another thing Ive been working on. These are props I started developing after I got stuck
with a character design that featured an inventor. Knowing what kind of inventions my
character does enabled me to continue with the character design process, and made it more
focused. Im still tweaking the character design itself; youll have to keep an eye on my blog
to find out how she looks.
Props and characters that are set in the 50s are a very interesting area design-wise (Fig.11).
To get into the right mindset, I started out with quick

style study sketches of 50s furniture and tech (Fig.12).
With what I learned from my studies, I started

developing these tech sketches. My approach was
to see what technology like a laptop, Wacom tablet
and internet would look like if they were invented
in the 50s. I tried to keep things recognizable by
incorporated old monitors, joysticks, antenna, big
buttons, light bulbs and even a lightshade.

Pencil
Sketches
I admit it, I like pirates! Here are some
sketches I did for fun, trying to come
up with a wide variety of personalities
and expressions. I especially like how
the pirate fight sketch turned out,
which I ended up giving away as a
present to my girlfriends dad
(Fig.13 15).


Im not a very tidy person. Therefore, my house
is quite a mess... which inspired this drawing
(Fig.16).
I looked around my living room, and started works that way. This, combined with the fact I like drawing parades. This was another one of
wondering what it would look like if all my that I also like drawing kids and flying beds and those drawings that started out as a doodle, and
clothes, furniture and other stuff would wonky stairs, meant the drawing came out pretty evolved from there. It now hangs on the wall at
suddenly come alive... I know, quite an well - enjoy! my parents place (I give away quite a lot of my
unusual thought, but I guess my brain just art as I dont do much with it myself) (Fig.17).

Here is a colored version of the messy monster workspace, situated at the start of the escalator day out. As I took a peek through the blinds,
sketch. I revised it and painted over it for an at subway station Spui, The Hague. I was overwhelmed with a feeling of sadness;
online art competition (Fig.18). a rather old man was sitting behind his tiny
Fig.19 is dedicated to the man under the screen, boxed in by walls. That feeling of
Escalator man escalator! I didnt notice it for weeks, probably sadness and isolation Ive tried to capture in
Each day I go to work by subway and as I exit like most of the thousands and thousands of these location visuals.
the subway station I pass by this oddly located commuters that pass by this guys office, day in,

I added the palm tree poster to give it some
more story (life happens when you are
making other plans sort of speak), the
empty planning board and yellow ticket box
were actually there in real life as well.
A subtle visual joke is the vertical blinds,

which I set up to resemble prison bars,
making him look like a captured animal in
the zoo.
Heres a contribution I did for a comic project called Fairytales in the Future. I could draw
whatever I wanted, so I thought Id do my take on a futuristic Peter Pan, where Hook seriously
upgraded himself to finally catch Peter (Fig.20). This was done with Photoshop and Painter.
Edwin Rhemrev
For more information please visit:
www.rhemrev.com
Or contact him at:
edwin@rhemrev.com

PMS COLORED
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404 U
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TM
This Month we Feature:
Ignacio Bazan lazcano
Tamara Bakhlycheva
Lorenz Hideyoshi Ruwwe
Jama Jurabaev
Lin Bo
Min Yum
Jason Seiler
Tiziano Baracchi
Serge Birault
Raphael Lacoste
The Gallery 10 of the Best send us your images! | simon@3dtotal.com
Blasphemous Dreams Space Journey

Tiziano Baracchi Jama Jurabaev
http://thaldir.cgsociety.org/gallery/ http://jamajurabaev.daportfolio.com/
tiziano.baracchi@gmail.com jama_art@tag.tj
(Above) (Below)

Ominous Wind
Lorenz Hideyoshi Ruwwe
http://www.hideyoshi-ruwwe.net
lorenzruwwe@freenet.de
Raptor
Tamara Bakhlycheva
http://firstkeeper.deviantart.com/
tamara.salatova@gmail.com
Railway Centaur
Ignacio Bazan lazcano
http://www.neisbeis.deviantart.com
i.bazanlazcano@gmail.com
Baba Yaga
Min Yum
http://www.minart.net
minyum@gmail.com
Hunter
Lin Bo
http://blog.sina.com.cn/7rambo
7rambo@gmail.com
Terry Goodfind - Phantom
Raphael Lacoste
http://www.raphael-lacoste.com
raphael.lacoste@gmail.com
Splosh
Serge Birault
http://www.sergebirault.fr/sb/index.php
serge.birault@hotmail.fr
Image Title Image Title
Artist Name Artist Name
Website Address Website Address
eMail Address eMail Address
3324 North Carolina

Jason Seiler
http://www.jasonseiler.com
jseiler@jpusa.org
This series of tutorials will be split over six separate chapters, all sharing the common Chapter 1 | Market - Jan 2010
theme of a fantasy inspired medieval scene at its heart. Each will be undertaken by a Chapter 2 | City on Stilts - Feb 2010
different artist and draw upon a wealth of experience and skills perfected over years of Chapter 3 | Slums - Mar 2010
industry practice. The authors will discuss their approach to digital /concept painting, the Chapter 4 | Excalibur - Apr 2010
tools and brushes they employ and treat us to a valuable look into their artistic process. Chapter 5 | Mountain City - May 2010
The six installments will cover a different environment each month based upon the above Chapter 6 | Docks - June 2010 - this month
theme and encompass a multitude of professional tips and techniques.
The importance of researching topics through to sketching and exploring ideas will
feature alongside methods used to build and refine detail. These will form an integral
part of the series and through comparison we shall be afforded a comprehensive insight
into the world of the digital artist.
Painting Fantasy Medieval Scenes Chapter 6: Docks
Painting Fantasy Medieval
Scenes Chapter 6: Docks
Software Used: Photoshop
The brief to paint a medieval fantasy scene

depicting a dock did not have any specific
elements besides having to be just what the
description asked for. This was great of course,
as it meant I could paint anything that popped
into my head. Since Lisbon is my hometown I
drew a lot of inspiration from there. However,
for my main inspiration I went a little further East
to Istanbul, a city very similar to Lisbon but with
a much more oriental feeling. I have actually
never been there but imagery retained in my
mind from books and the internet influenced me
a lot.
Being a fantasy medieval scene I tried to

spice everything up by exaggerating the scale
of the architecture and coming up with different
designs based on real ones. To complement the
scene I wanted a dramatic sunset, to bring in
warmth and soft contrasts. The final ingredient,
something inherent to maritime scenes, would things. It also gives you the ability to add the After doubling the resolution to 2000px I
be the reflections on the sea. I love the contrast highlights after the lower range of the values introduce lighting by working the values. I work
of defined forms above the sea and washed are established. I usually go for fast thick lines with larger brushes at medium opacity. This
blurred reflections below, which are gradually first when quickly sketching in perspective. My way I can slowly develop the forms and also
lost into one dark value. main concern is to get a nice composition by gradually hide the line work beneath. The main
achieving a balance between all the elements: aim here is to place the sun behind the portico,
I start off in Photoshop with a 1000px wide grey a giant archway, a busy city, a castle on a hill making it backlit, which in turn creates more
canvas. Starting in gray has the advantage and a platform in the lower right of the scene contrast and makes it the focal point of the piece
of not introducing too much contrast in the (Fig.01). (Fig.02).
line work, which makes it easier to change
Still developing the grayscale, I start to paint
with large soft edged brushes and apply
gradients with the Gradient tool (100% black to
transparent). I use this to darken the lower and
the right third of the image in order to draw even
more attention to the archway. As you can see, I
also gradually work with smaller tipped brushes
to start developing all the details. Its important
to do this over the entire image and not
concentrate on just one part. Try not to zoom in
too much keeping the whole image visible most
of the time (Fig.03).

Chapter 6: Docks Painting Fantasy Medieval Scenes
I also build some perspective guidelines on

a separate layer using the Line tool. It is very
important to follow a rigid perspective structure
as the human eye can easily detect flaws.
The next character that comes into play is

color to help emphasize the mood already
established with value. I introduce new layers
in various modes (Overlay, Soft Light and Color
Dodge) and use large soft edged brushes with
low saturated colours. This helps me slowly
build up the effect while retaining the overall
look of the previous step without making drastic
changes (Fig.04).
I resize the image to the final 4000px

resolution. I keep slowly defining the edges
of the silhouettes which still retain a lot of the
rough sketch from the initial stages. I also start
introducing more intricate details like windows,
ropes and small spires. I want to point out that
this whole image was slowly developed over
several days, which gave me a lot of intervals
where I could evaluate the preceding step
before I continued painting. The more pauses starts taking longer to develop the image. That by direct light from the sun. Even if you are
you take the more it will help you to achieve a more or less defines my painting process (and not developing all the details of what you are
successful piece (Fig.05). probably that of most artists): fast and brutal in portraying, if you can focus on the main ones
the beginning, slow and delicate at the end. then the viewer will complete the rest in their
The changes made to the image are getting Notice how I start to bring in the detail in the mind (Fig.06).
smaller and less obvious. However, it also structures on the hill by lighting the planes hit

Painting Fantasy Medieval Scenes Chapter 6: Docks
This step may look like a step backward, but I
have to simplify things by washing out the detail
in some areas that I want to develop further.
First I create a clean base to start introducing
the elements that will go on top in the near and
far dock platforms. I also rework the placement
and scale of the ships in an attempt to balance
the composition. Now that I look back at it, I
probably should not have erased one of the
ships in the background; it added more depth
and made the three ships look too evenly
spaced out. This is a good example of when
a pause can help you evaluate a painting and
point out the flaws (Fig.07).
Next I use a Color Balance Adjustment layer to

boost the contrast and saturation. I introduce
colder hues in the shadows and warmer ones in
the highlights. I continue developing the planes
hit by direct light and introduce more details to
the whole scene like the floating debris in the
water for example (Fig.08).
In this step I introduce a lot of intricate detail

to the dock platforms. They dont have to be
completely defined, just as long as they give an
idea of what might be happening there. I do this
mainly by painting just the area of the objects hit
by direct light and not worrying about the areas
in shadow (Fig.09).
Almost there! This is a cleaning up stage where

I wash out some of the areas that I dont want to
draw attention to. I also introduce more contrast
by using a new layer in Color Dodge mode and
paint to enhance the light hitting the objects.
Remember to use dark saturated colours first
and then slowly use lighter ones without burning
the image too much. I believe this glow effect
can be very successful in areas of contrast like
the edge of the backlit dome of the archway
(Fig.10).
A final evaluation of the image makes me

remove some highlights in the shadows and
introduce some sun rays. On a new layer I make
selections with the Polygonal Lasso tool that

radiate from the sun. Then I gradually build up the
effect by using a soft edged brush at very low opacity
(Fig.11).
I hope this tutorial will help you in trying to come up

with your own fantasy medieval scenes. Remember
not to be disheartened - I started this painting three
times before getting to the one you see here...
Andreas Rocha
For more from this artist visit:
http://www.andreasrocha.com
Or contact them at:
rocha.andreas@gmail.com
Five Ages of Steamworld encompasses the five interconnected districts of
Chapter 1: DAutomobilis
Neo-Victorian Era - epitomised by Victorian transport - railways, architecture, culture, way of life
Chapter 2: DVinci
The medieval/ high renaissance period of Steampunk
Chapter 3: DMetronomus
Epitomised by Clockwork Steampunk as the main visual theme
Chapter 4: Diesel
Epitomised by late Industrial Revolution where diesel powers everything
Chapter 5: DInginis - Continues in the July 2010 Issue

Final leg of tour looks at both the heart of realm of DMachinis & Inginis - meaning Machines & engines respectively.
This tutorial series will be made up of six chapters exploring the creation
of Futuristic Cities. Each chapter will be tackled by a different artist, who
will use their boundless skill and experience to guide you through all the
necessary aspects of creating your Futuristic City. Our artists will guide
you step by step through the process, starting by sketching and creating
your ideas, they then will show you how to incorporate the specific themes
of their topic chapter to show a different aspect to the Futuristic City.
Chapter 1 | Issue 052 Mar 2010 | Wealthy City

This is more a mood piece
Chapter 2 | Issue 052 Apr 2010 | Docks
Chapter 3 | Issue 053 May 2010 | Skyscrapers and flying traffic
thats meant to tell a narrative,
Chapter 4 | Issue 054 Jun 2010 | Slum City not really something for a
Chapter 5 | Issue 055 Jul 2010 | Bazaar/ indoor market place modeler to build from
Chapter 6 | Issue 056 Aug 2010 | Arial shot over a city at sunset
Painting Futuristic Cities Chapter 4: Slum City
Chapter 4 - Slum City
Software used: Corel Painter 11 & Photoshop
Futuristic slums? Sound almost like an

oxymoron. Nonetheless, its fair to assume
that one day they might very well be a reality;
unless we achieve some glorious hedonistic
society, the chance is that a large portion of the
earths population will be living in them. Cheerful
thought I know, but I doubt itll be as bad as it
sounds. We human beings have an uncanny
way of adapting and personalizing the space
which we inhabit. The people living in these
slums might not witness digital streams of cash
flow in to their bank accounts, but they will be
human beings who work, dream, produce and
play. With this piece, I dont want to simply bang
together the idea of a slum and the future;
instead I want to create an environment of the
future that looks as if its been lived in. One that
suffers from poverty but nonetheless is alive
and has its own charm. A place where higher
members of society would not want to live, but
might visit if they were feeling adventurous.
So lets see if I can pull it off!
My first objective is to establish an interesting

composition, one that will engage the viewer for
more than a millisecond. Thats why sketches
are so useful. Keep them broad, keep them
messy, keep them however you like, just make
sure not to take too long on them. Remember,
this is mainly to establish the bare bones of your imagine this as government housing that is built window in Painter (this is where you can adjust
actual piece (Fig.01). to vast proportions and sort of all piled in a semi- the grain) go to Window > Library Palettes >
pit to literally keep the refuse out of the higher Show Paper (Fig.02).
I decide I want to aim for a somewhat levels. The only official way out of this area is
oppressive setting by both pushing the scale through heavily guarded tunnels. Note: Ill give you a heads up when I switch to
and also utilizing the borders in order to make Photoshop.
the viewer sort of feel pressed in upon. I Alright, as you can see this is the sketch I end
up with after mixing it with a few of the other Using some great resources from 3DTotals free
sketches. As I said, just keep it loose and texture site (http://freetextures.3dtotal.com/)
sketchy. Im painting in Corel Painter 11, using I then create a black and white collage that
a regular hard edged Airbrush and pumping resembles rundown huts. I do this very quickly
up the Grain, varying the grain size depending because this is only intended as a place mat to
on how close I get to the foreground (Grain expand on and paint over later until its been
larger the closer we get). To access the Papers pretty much eradicated (Fig.03a 03b).

Chapter 4: Slum City Painting Futuristic Cities
I then bring the collage into the final sketch,

placing it on its own layer. I position it over the
mid ground tenement and set the layer it was
on to Overlay. From there, I fiddle with it until
Im pleased with what Ive got. I then flatten the
layer down (Layers > Drop) and continue to
paint over the tenement until Im happy.
Things are looking a little dry, so I decide to

extend the composition horizontally, thus giving
it a wider format and cinematic feel. I also add as a whole it all makes enough sense to be muck of the place, as a result establishing a
machinery and buildings to the side foreground, believable. unique atmosphere (Fig.05).
further pushing the depth and hopefully
increasing interest (Fig.04). Next I start to think about the color pallet. Still For color, I paint on a new layer and vary the
sticking to the Airbrush and varying between blending of the layer between Normal, Multiply,
Its not important to make sense of all thats hard edge and soft edge, Im thinking of a Overlay and Soft Light, depending on what best
there. This is more a mood piece thats meant somewhat polluted setting, with high contrasts suits my needs. Always feel free to experiment,
to tell a narrative; not really something for a of light and shadows, as if everywhere you look especially in your own pieces because itll help
modeler to build from, so dont feel you need there is either a blinding glare or a dusky murk. remind you who you are doing this for in the
to explain everything. Just make sure that Im hoping itll sell both the vibrancy and the first place: yourself. Itll also let you enjoy the
process that much more!
Okay, you are going to see a lot of this as

the project evolves; me fiddling with the
composition, shifting, changing, balancing,
re-balancing. In this case I enlarge the mid
ground, and continue to work on the colors. To
the background horizon, Im thinking of soaring
skyscrapers that loom over the whole area, like
great sentinels blocking out the sun yeah,
happy days (Fig.06)!

So as promised earlier, Im continuing to fiddle
with the composition. Ive also decided to start
bringing in some of the human charm, placing a
neon sign to the left, itll be some sort of a one
man fish shop being run from a junk heap of
machinery. Actually it looks like two turbines
well whatever, I like it (Fig.07).
Currently I am trying to keep my lighting focused

to the centre right; hopefully this will continue...
Here there is further cleaning up, and additional

colors added. I get rid of the foreground tunnel.
I think it did a good job of adding depth and
some dynamic, but I feel that I need to expose
the courtyard to some sky otherwise it feels a
little too depressing. Its difficult to stick with
your initial ideas sometimes; I was appreciating Ive outlined in separate thumbnails the some broken up diagonal lines, Im hoping these
that tunnel, but I just couldnt make it seem breakdown of how I decide to paint her. will sufficiently indicate the kind of holographic
somehow more uplifting than an open sky (even images were all familiar with - the ones that
if it is now populated by two fat silos) (Fig.08). First I start with an off-blue, white and semi hard are kind of grainy and all broken up by static
Airbrush. I want to make her look provocative (Fig.11).
So what would a seedy part of town be without but not straight up slutty (Fig.10) .
at least one billboard of a scantily clad female?! And then on a new top layer set to overlay I add
In this case, since its the future, its a scantily Now, on an underlying layer, I sketch out some the final glow, really saturating the blue, making
clad hologram of a female. Bask in the sweet flowing hair, erasing it out a bit just to make it it glow (Fig.12).
progress of technology (Fig.09). feel a little sketchy. On an overlay layer I make

There you have it. Later on I might go in and
further punch up the brightness, but thats
still to be seen depending on how the piece
develops. I didnt take very long on her; didnt
want her feeling to well refined, I think it might
work against the holographic sort of airy feel Im
going for.
I decide to accentuate the girl with some

neon lights, trying to establish a mood here of
entertainment as well, even if it might be seedy
entertainment (Fig.13).
Also I add John to Johns Fish Emporium. Little

human beings can really bring life to a piece.
Use them wisely though. They can also detract
from a finished environment, if they draw the
viewers attention more than the environment
itself does.
Finally, Im defining the back buildings, making

them slant in so as to give a feeling that theyre
pressing down upon us. these buildings are lived in. It reminds me of Okay, Now Ive transferred over to Photoshop
cooking and the aromas that accompany such CS4, mainly because when it comes to many
Okay, now I add some smaller detail and add memories, which will hopefully allow the viewer layers I find Photoshop handles the load better
haze to the Entertainment District simply by to relate to the piece better and make it more than Corel Painter. On the other hand, I do feel
bringing the Airbrushs opacity to 20% and tangible for them. The smoke also allows for a that Corel Painter is superior at mimicking the
choosing a soft edge. Then feel free to glaze greater sense of atmosphere. visceral qualities of traditional mediums, so yes
to your hearts content until you think youve they really do have their own pros and cons. Its
established enough of an atmosphere (Fig.14). Finally, I use the black and white collage from up to you to decide which better works for you
Fig.03 and apply it liberally to the background (Fig.15).
I use this same process for bringing in the skyscrapers, using the same method as
smoke emanating from the tenements, before. I then paint it further after dropping the Anyhow, time for a little more charm in the
except this time I raise the opacity to 60%. layer down, making them look rundown but form of a giant metallic arm!
I feel the smoke drives the point home that structured.
Not sure what exactly it is but I want to bring
some quirky menace into the piece, so I throw
this arm coming off top of the screen to visit
Johns Fish Emporium. I make sure its reflecting
the light from all of the surrounding sources well
enough to stick out. Things are getting rather
cluttered and its becoming a balancing act
between detail and clarity for me.
I also include happy patrons at Johns; obviously

one of them has seen the arm, but whether or
not hes ridged like that because hes pooping

himself with fear or if in fact hes simply resentful have on that particular layer. In this case, I can
of the machines sterile coldness, well never now paint right into the windows but cant paint
know. outside of their borders (Fig.16) .
Its easy enough to bring drama even to a small So now its all refinement. I paint in much more
scale like this when you utilize harsh lights and of the populace, making sure to give them
shadows. A much grandeur example of this can shadows to ground them. Of course I have to
be found in Baroque paintings where sometimes include flying transports because in the future
the greatest of tension was caught by just using you always have to have flying cars; its a staple
one light source appropriately and letting the (Fig.17).
rest be enveloped by dark shadows. A great
example of this is Caravaggio, the tennis- Also, I decide to make the metallic arm more of
playing-ruffian-master-painter. a figure; creepier like that. I suppose this about wraps it up folks. The
piece is resolved well enough. It tells a story
I further spruce up the lights around the I also change the buildings on the right because and hopefully is engaging enough to hold the
hologram (same technique as before - Overlay Im thinking theyre too cluttered so I simplify viewers attention for at least a few seconds.
or Soft light layer on top and paint!) them and give the suggestion of a window.
Theres still some other things Id like to do to it,
I also forgot to mention this earlier, but I added The final significant phase for this piece is to but isnt that always the case?
some purple lights to the left of the screen as create a new layer, make sure its on the top
well, to tie in the two sides of the painting a little of all of the mid-ground layers and, using the Anyhow, hope you enjoyed and if you have any
better. Its a simple technique if you feel your Airbrush tool at about 15% opacity and a soft questions feel free to drop me a line. Beaming
piece isnt unifying well. edge, glaze over the mid-ground with yellows out!
and oranges to give it some atmosphere and

I refine the background buildings by creating a help further divide it from the foreground. Branko Bistrovic
simple repeating square pattern and overlaying For more from this artist visit:
it over the shapes of the sky scrapers. Then Following that its just a case of continuing with http://www.brushdreams.com/brankosfurnace.
I choose the option Lock Transparent Pixels minor refinements until I arrived to the finished swf
from the top of the Layers window in PS. This work you see here! Or contact them at:
constricts me to paint only within the shapes I bisvic@gmail.com



VFS animation & ViSual eFFectS alumni creditS include 9 Mike Dharney, Animator 2012 Jamie Bowers, Texture Artist
Zeke Norton, Previsualization Supervisor | Anuj Patil, Senior Technical Director | Christine Peterson, Digital Compositor 50 cent:
Blood on the Sand (VG) Giorgio Bertolone, Creature Technical Director aliens in the attic Rex Ahn, Pre-Visualization
Lead | Craig Calvert, CG Supervisor | Julianna Kolakis, Character Designer | Ben Sanders, Supervising Animator | Rommel Shamoun,
Compositor | Noel Wright, Digital Compositor | Adam Yaniv, Animation Supervisor alvin & the chipmunks: the Squeakuel
Nicholas Augello, Technical Animator | Christopher Downs, Technical Animator | Amy Lu, Animator | Adam Yaniv, Animation
Supervisor amelia Armando Velazquez, Digital Compositor | Clement Yip, Animator americas army 3 (VG) Matthew Turner,
Artist angels & demons Craig Calvert, Pre-Visualization Artist | Jessica Wan, Lead Rotoscope Artist | Noel Wright, Digital
Compositor armored Riley Benard, Digital Compositor | Yuta Shimizu, Visual Effects Artist astro Boy Andreas Hikel, Layout Artist
Kim Ooi, Animation Director avatar Michael Cozens, Lead Animator | Tamir Diab, Technical Director | Aaron Gilman, Character
Animator | Alfredo Luzardo, Layout Technical Director | Ben Sanders, Animator the Beatles: rock Band (VG) Mike Krentz, UI Artist
Brtal legend (VG) Marke Pedersen, Senior Artist case 39 Riley Benard, Digital Compositor | Craig Calvert, CG Supervisor | Matthias
Lowry, Visual Effects | Fion Mok, Matchmove Artist | Teh-wei Yeh, Matchmove Artist cirque du Freak: the Vampires assistant
Nicholas Augello, Technical Animator | Julianna Kolakis, Character Designer | Ai Saimoto, Lighting Lead cloudy with a chance of
meatballs Andrew Lawson, Animator | Arun Ram-Mohan, Senior Color and Lighting Technical Director coraline Brian Demoskoff, Animator
a christmas carol Kirk Chantraine, Motion Capture Technical Director | Joel Pennington, Motion Capture Technical Director | Shraga
Weiss, Character Modeler | Brent Wong, Character Modeler district 9 Neill Blomkamp, Director/Co-Writer | Jelmer Boskma, Modeler | Robert
Bourgeault, Lighting Lead | Freddy Chavez, Visual Effects Compositor | Dominic Cheung, Lighting Technical Director | Paul Copeland, Visual Effects
Artist | Anthony Di Ninno, Animator | Brian Harder, Creature Rigger | Bernhard Huber, Effects Animator | Brett Ineson, Motion Capture Supervisor
Steve Johnston, Render Wrangler | Patrick Kalyn, Animator | Bernhard Kimbacher, Visual Effects Data Coordinator/Compositor | Julianna Kolakis,
Creature Texture Painter | Adam Marisett, Visual Effects Artist | Nikolai Michaleski, Compositor | Brendon Morfitt, Digital Artist | Fernando
Pazos, Animator | Dan Prentice, Visual Effects Artist | Mike Rhone, Visual Effects Artist | Cesar Rodriguez Bautista, Digital Paint & Roto Artist
Cynthia Rodriguez del Castillo, Digital Paint & Roto Artist | Marc Roth, Visual Effects Artist | Derek Stevenson, Matchmove Lead | James Stewart,
Creature Supervisor | Richard Sur, Lighting Technical Director | Anna Tonrungroj, Digital Compositor | Shawn Walsh, Visual Effects Executive
Producer | Joey Wilson, Modeler/Texturer | Samson Wong, Matchmove Artist drag me to Hell Thomas Schelesny, Visual Effects Supervisor dragon
age: origins (VG) Bobby Bath, Character/Creature Artist | Ryan Lim, Lead Creature Character Artist | Herbert Lowis, Artist | Brian Sum, Concept Artist
Nathan Zufelt, Cinematic Animator escape from Planet earth Giorgio Bertolone, Creature Technical Director | Anthony Di Ninno, Layout Artist | Craig
George, Head of Story | Gary Hendry, Layout Artist | Nicholas Smolyn, Layout Artist eureka Anuj Patil, Lead Compositor | Mike Rhone, Visual Effects Artist
Fast & Furious Ben Dishart, Texture Artist | Armando Velazquez, Digital Compositor the Final destination David Yabu, Animator G-Force John Iskandar,
Lighting and Compositing TD | Ken Kaiser, Animator | Hyun Chul Jung, Animator | Andrew Lawson, Animator | Phan Wiantrakoon, Animator Ghostbusters: the
Video Game (VG) Giorgio Bertolone, Creature Technical Director | Winston Fan, Compositor | Harry Liu, Junior Motion Capture Editor | Jessica Mih, Modeler | Maya
Zuckerman, Visual Effects Artist Gi Joe: the rise of cobra Jelmer Boskma, Modeler | Patrick Conaty, Digital Compositor | Ben Dishart, Texture Supervisor | Aruna
Inversin, Digital Compositor | Julianna Kolakis, Concept Artist/Modeler | Sean Lewkiw, Visual Effects Artist | Tom Piedmont, Digital Artist | Jeremy Stewart, Senior
Animator | Jeff Tetzlaff, Lead Modeler | Jessica Wan, Lead Rotoscope Artist Grey Gardens Armando Velazquez, Digital Compositor Halo 3: odSt (VG) Bartek
Kujbida, Cinematic Animator Harpers island Steve J. McLeod, Digital Compositor Harry Potter and the Half-Blood Prince Harry Mukhopadhyay, Lead Effects
Technical Director | Pietro Ponti, TD Generalist | Gia Sadhwani, Digital Effects Artist | Kieran Tether, Digital Artist | Teh-wei Yeh, Lighting TD ice age: dawn of the
dinosaurs Scott Lemmer, Animator | Thom Roberts, Animator | Brent Wong, Modeler invictus Christopher Ahrens, Lighting Lead | Geoffrey Hancock, Visual Effects
Supervisor | Sean Lewkiw, Digital Effects Supervisor | Jason McKeeman, Lead Technical Animator | Farhad Mohasseb, Compositor | Michelle Skrzyniarz, Matchmove
Artist | Jose Yapor, Animator Killzone 2 (VG) Andrea Arghinenti, Technical Artist King of the Hill Michael Loya, Director Knowing Tim Rowlandson, Rigging
Technical Director | Richard Sur, Lighting Technical Director land of the lost Nicholas Augello, Massive Technical Director | Tony Etienne, Lighting Supervisor
Amy Lu, Character Animator law abiding citizen Freddy Chavez, Compositor | Veronica Marino, Compositor | James McPhail, Effects Animator | Jacob Curtis
Miller, Matchmover | Jay Randall, Visual Effects Supervisor | Derek Stevenson, Matchmover | Shawn Walsh, Visual Effects Executive Producer the league
of Super evil Daphne De Jesus, Compositor | Barry Karnowski, Animation Supervisor the lord of the rings: conquest (VG) Michelle Lam, Lead
Character Artist the lovely Bones Michael Cozens, Previs Animator monsters vs. aliens Jiyoung Lee, Texture Artist night at the museum: Battle of
the Smithsonian Rex Ahn, Previsualization Lead | Nicholas Augello, Technical Animator | Christopher Downs, Technical Animator | Joshua Herrig, Lead
Lighter | Zeke Norton, Previsualization Supervisor | Ai Saimoto, Lighting Lead | Ben Sanders, Supervising Animator | Derek Stevenson, Previsualization
Artist | Joey Wilson, Previsualization Artist | Adam Yaniv, Animation Supervisor orphan Francisco Moncayo Moreno, Digital Artist | Shawn Walsh, Visual
Effects Executive Producer Paul Blart: mall cop Riley Benard, Digital Compositor Planet 51 Sandro di Segni, Senior Effects TD | Jorge Kirschner Torres,
Modeler | Gianfranco Valle, Effects Animator Prototype (VG) Harry Ahn, Lead Cinematics Animator | Bobby Bath, Lead Character Artist Punch-out!!
(VG) Nelson Garcia, Concept Artist Pushing daisies Scott Dewis, Visual Effects red Faction: Guerrilla (VG) Dilber Mann, Project Manager resident
evil 5 (VG) Jacob Palmer, Animator rock Band unplugged (VG) Mike Krentz, Artist Sanctuary Julie Bergman, Animator | Mladen Miholjcic, Visual Effects
Artist Shorts David Yabu, Animator Sorority row Mike Rhone, Visual Effects Artist Star trek Aruna Inversin, Digital Compositor | Tom Piedmont, Digital
Plate Restoration | Kieran Tether, Digital Artist | Teh-wei Yeh, Digital Artist Stargate universe Daphne De Jesus, Digital Compositor | Julianna
Kolakis, Character Designer | Daniel Osaki, Lead 3D Modeler | Anna Tonrungroj, Digital Compositor Supernatural, Daphne De Jesus, Digital
Compositor Surrogates Anthony Di Ninno, Animator | Joshua Herrig, Lighting Artist/Look Dev Artist | Matthias Lowry, Digital Compositor | Laurie
Powers, Compositor | Teh-wei Yeh, Digital Artist tales of monkey island (VG) Jason Findley, Character Artist terminator Salvation Geeta
Basantani, Digital Matte Painter | Teh-wei Yeh, Lighting Technical Director transformers: revenge of the Fallen Allen Holbrook, Animator | Aruna
Inversin, Compositor | Stephen King, Animator | Henri Tan, Creature Technical Director | Kieran Tether, Digital Artist | Teh-wei Yeh, Digital Artist
the twilight Saga: new moon Dominic Cheung, Lighting Technical Director uncharted 2: among thieves (VG) Mike Yosh, Lead
Animator underworld: rise of the lycans Pearl Hsu, 3D Artist | Lon Molnar, Visual Effects Production Executive up Bill Watral,
Visual Effects Artist Warhammer 40,000: dawn of War ii (VG) Ian Cumming, Senior Artist | Allan Dilks, Artist | Nathan Hocken,
Lead Animator | Christine Hubbard, Artist | Claire Roberts, Artist | Jefferson Takahashi, Artist Watchmen Ori Ben-Shabat, Compositor
Jelmer Boskma, Previs Modeler | Freddy Chavez, Compositor | Dominic Cheung, 3D Artist | Ben Dishart, Texture Artist | Ty Duperron,
Modeler | Pearl Hsu, 3D Artist | Bernhard Kimbacher, Digital Artist | Sean Lewkiw, Technical Head of 3D | Matthias Lowry, Digital
Compositor | James McPhail, Digital Effects Artist | Jacob Curtis Miller, Digital Artist | Lon Molnar, Visual Effects Supervisor | Harry
Mukhopadhyay, Lead Effects TD | Cynthia Rodriguez del Castillo, Digital Artist | Derek Stevenson, Matchmove Artist | Shawn Walsh,
Visual Effects Supervisor | Samson Wong, Compositor Wheelman (VG) Laura Gorrie, Senior Animator Whiteout Armando Velazquez,
Digital Compositor | Clement Yip, Animator Wolfenstein (VG) Jason Martin, Modeler X-men origins: Wolverine Geeta Basantani,
Digital Matte Painter | Rommel Shamoun, Compositor | Jeremy Stewart, Previs Artist Zombieland Mike Rhone, Visual Effects Artist
VFS student work by thiago martins

Color and composition are
the first things people see
when they look at an image,
and the silhouette is the key
to defining a creature
This series of tutorials will be split over six separate chapters all of which will be
dedicated to painting monsters suited to a range of habitats spanning jungle and
aquatic to mountainous and subterranean. Each will be covered by a different author
and will discuss their approach to digital /concept painting, the tools and brushes they
employ and culminating in a final image. We shall gain an insight into the thought
processes of each of our industry professionals and the ways in which they develop
an idea from concept sketches through to a finished work. In particular we will be
shown some of the considerations that are necessary to designing both imaginative
and fantastic creatures that still remain plausible and abide by anatomical and
evolutionary laws observed in nature.
Each tutorial will focus on a specific environment as its theme and therefore result in
a varied collection of monster designs, providing a well rounded look into the world of
the digital artist and the numerous tips and techniques used by proven individuals.
Painting Monsters Volcanic
Chapter 6 - Volcanic
Software used: Photoshop
Kirin:
To make a convincing creature, good anatomy
and a good dynamic pose will help a lot. In
this tutorial Im going to cover eight steps that
explain the different stages of this painting. Im
working in Photoshop for this design, which has
the great advantage of the Brush Panel and
while the program cant handle hard and soft
edges at the same time, you can combine two
or more strokes to achieve the same thing.
Step 1:
Color and composition (if it is for a creature it
will be silhouette) are the first things people see
when they look at an image, and the silhouette
is the key to defining a creature or monster There are two types of brushes involved in the
early on. A good way of doing this is to create sketch (Fig.01b). One has texture and a rough
several different small thumbnails and pick one edge and one is the regular round default brush
from them, which you will see many concept which is good for blending and soft lines. There
artists or illustrators doing. Its a good idea to is no detail or much lighting as the silhouette
keep working in grayscale at this stage, since should have enough information to indicate what
it is easier to deal with form, lines, and shapes the creature looks like and give an impression of
(Fig.01a). its movement.
Step 2:
Keep refining the silhouette until it looks right
(Fig.02). I add more details and define the face
and feet more. It is very important to place all
the parts in the right perspective. Rotate the
canvas, or even turn it upside down; this will
help you to get a fresh look at the image and the
problem areas will show.
This image and the concept remind me of the

ancient Chinese creatures called Kirin and one
of the types of Kirin lived in volcanic areas, so I
start to research some reference images of Kirin
to help me define the detail and shape more.
I find some interesting things from reference
photos, such as how they define the scales
on the Kirins skin, and which color they apply

Volcanic Painting Monsters
on the surface. However I wont start the color Justa couple of simple perspective lines help
version just yet, so for now I continue with to make the space clearer. Lighting is all about
the sketch, correcting some proportion and rendering skills and the only way to get better is
anatomy problems. I also keep the creature on to do more long pose drawings or paintings from
an layer which is separate from the background life, which can be still life or human figures. By
since this will make it easier for me to paint the doing more drawings and observing life you can
background later. make the lighting in your work more realistic.
The perspective lines also show the right leg of
Step 3: the creatures was off in Fig.02 so I fix that too
Besides the shape and design of the creature, (Fig.03).
lighting and value are the focus of this step.
Step 4:
This step focuses on the background and for
this background I create a special brush. The
base image of the brush is a cloud, and so I
call it the Cloud brush. Since the environment is
supposed to be hot lava and smoke, the Cloud
brush is perfect. In this step the image flow and
composition are what I really care about, since
this will change the whole painting dramatically.
No matter how good the silhouette is, if the
background is not handled well the foreground
creature may become lost in its environment.
This step basically defines the whole look of

the final images. The only missing part now is
the color, so color is the next thing Im going to
focus on (Fig.04).
Step 5:
Like traditional painting, before moving on to the
processes like under-painting etc, the first step
is to fill the color without modifying the value too
much. The majority of the color will be black,
dark blue and red. A good fire color involves hue
changes, which are from red and purple to light
yellow (dark to light) (Fig.05a).
I also add scales onto the Kirin. I do this by

using a reference image of a crocodile (Fig.05b)
which I took from a museum in Chicago. The
High-Pass filter in Photoshop can filter out large
color and value changes and keep the small
details, and this is perfect for overlay. In the left
side of the painting I also add the dark blue sky
and some landscape shapes which can help the

Painting Monsters Volcanic
depth of the scene and also help the scale of
the painting.
Step 6:
Here is another way of using layer blending
and Lighten (Fig.06a). Since the painting is
very dark, any fire reference photo can be used
directly on top of it and the fire will be seen
and anything darker than the painting will be
ignored. The fire layer is another big change
for the whole painting since the hue and the
brightness are very intense. This will change
the composition of the whole painting again. It is
always good to compare what you are working
on to the previous incarnation of the painting,
and Fig.04 is a good reference image for me if
I choose to adjust the composition back to the
way it was (Fig.06b).
Step 7:
The fire added in Fig.07 changed the
composition a lot, so in this step I focus on the
fire itself (this is kind of similar to Step 4, apart
from the fact that in Step 4 it is in black and
white). In this stage, red, yellow and dark blue
are the major colors involved. Sometimes it is important areas, such as the eyes and the big portion and loses the volume of the main
hard to see the color and value at the same scales in the highlight area. One thing that is object. Here I can see that the detail which Im
time. Specular is also another cool technique easily ignored when people start to put detail painting on the creature is making the Kirin
for the final touches which cannot be used on is that when we put detail on highlights or become a little bit flat so I brighten the center of
everywhere, but can be used for the most shadows, sometimes it changes the value of a body to make the creature look more solid and
more 3D.
Step 8:
Usually I wont go back to the final touches
phase, but with this image I found details
everywhere that lacked interesting shapes and
details, such as the background, the scales on
the shoulder and the Kirins face. Putting higher
contrast lines in works and more rendering work
on the face enhances the face of the creature
and I also flip the image upside down to make
sure the elements I just put in actually help.
For me all the processes I did here and there

were more like a balance game and the more
elements I put into the painting, the harder it
was to make everything balance (Fig.08).

Wei-Che Juan
For more from this artist contact them at:
jasonjuan05@gmail.com
G ET P E R S O N A L
I t b e g a n w i t h re n d e r B OX X , t h e g o l d s t a n d a rd
o f d e d i c a t e d re n d e r i n g.
It continued with ROW: RenderFarm On

W h e e l s , t h e wo r l d s f i r s t t u r n - ke y d e d i c a t e d
solution.
And now. . .
BOXX will change the way

you render forever.
THE RENDERING AUTHORITY

t thumbnail,
rawing the firs racy,
When d orry about accu sition
I dont w or even compo
anatomy
ade his
u s h o w he m
s with ow he
S to n e share u s th rough h
Chas e nd talk
s life-like
a g e Dust a a n a m azingly
nt im image
excelle give his ot the
ces to w he g
s e d re fe re n
d is c u s ses ho cial
u e also ters fa
ra n c e . Chas g th e charac
appea by usin
image
t fe e l for the
righ
sions.
expres
Dust Making Of
Dust
Software used: Photoshop
With this project, the thing I was most interested

in was painting an image with a dark, moody
atmosphere, much of it in shadow, and a bright
spotlight to illuminate key elements. I was
inspired by the work of the great Renaissance
painter Caravaggio. I was intrigued by the idea
of illustrating a very modern subject in a more
classical style.
I used a few different brushes in this project,

but most of the time I stuck to the good old
Chalk brush, with pen pressure on and shape
dynamics off (Fig.01).
I started off with a very rough black and

white sketch (Fig.02). When drawing the first
thumbnail of any image, I dont worry about
accuracy, anatomy or even composition. In the
beginning, whats most important is getting the
gist of the image in my head down on paper;
allowing myself the freedom that helps me to
articulate my vision and develop new ideas. I really determined his pose for me. I knew that shape of an arrow pointing toward the foremost
decided I wanted the spotlight coming from the I wanted him edge lit by the spotlight as well soldiers face, to better guide the eye towards
right in order to illuminate the foremost soldiers and for that to happen he had to be standing, him. I giddily realized that, in doing so, I could
face as he looks around the corner, and also to peering over the side of the tank. pick up some of the spotlight on the front guys
create an air of mystery; just what exactly is he hand and rifle (an exciting discovery)! I also
looking at? Initially, I wasnt sure how to pose I started over and drew up a second, more added a secondary light source from the left and
the second soldier, but sometimes one element refined sketch (Fig.03). I decided to adjust the mapped them both out (Fig.04).
helps to define another. In this case, the lighting angles of the rifles to make them suggest the
As I continued working, I didnt deviate
much from the color in my initial sketch. A
monochromatic look, I decided, would best
convey the gritty, war zone feel I was trying to
get across, though in the end I wish Id deviated
just a bit more color-wise.
With the composition, lighting, and poses

roughly mapped out, I began to finish the
piece. For me, there are two ways to complete
a project keep things zoomed out and
work on everything at once, or zoom in and
finish it section by section. I jumped into the
latter perhaps a bit too early. Normally, I try

Making Of Dust
to start the final rendering only after nailing

down the sketch. But I still wasnt 100% sure
about what I had down, and as a result each
figure underwent a few variations (not without
frustration) before I was finally satisfied.
The first part I began working on was the front

end of the tank. Ive always felt that reference
material is important, but with real-world
mechanical objects, I find that references are
particularly important. I happened to have a
model of an Abrams on my desk, which I lit
appropriately and directly referenced (Fig.05).
With my model as a visual guide, this section
was the most straightforward to complete. hit his face. Knowing the expression in his eyes reference can become stiff. I referenced his
was the single most important element the eyes pretty closely, but painted the helmet and
As mentioned above, the soldiers went through key to the projects success I got a friend to goggles largely from my imagination.
a few variations during the painting process. act it out and snapped a few reference photos
Originally, the foremost soldier was going (Fig.07). Using your photos as references is The second figure was the most time consuming
to bend forward a bit more, with his face a simple way to ensure accuracy. You should element in the piece, mostly because I just
uncovered (Fig.06). However, I wanted more strive to avoid copying photos pixel for pixel and couldnt make up my mind. His head was
emphasis on his eyes, so I scrapped this angle definitely avoid tracing them. The reason behind especially problematic; first I wanted his face
in favor of a pose that allowed for more light to this is that an image too dependent on a photo uncovered (Fig.08a), but I found that to be too

Dust Making Of
personal, so I went in the opposite direction and

made him completely anonymous, covering him
up with a balaclava and making his goggles
opaque (Fig.08b c). That made him feel
too disconnected from the primary soldier, so
I split the difference and made his goggles
transparent and that brought things together for
me (Fig.08d).
Soldier number three was, thankfully, fairly

straightforward. He went through some
variations as well, but nothing very drastic
(Fig.09). With the three figures completed, the dusty background. The best way to paint rubble I believe it should be painted kind of randomly
background fell into place rather quickly. What I is to lay down shapes without thinking about too. After getting those basic shapes down a few
wanted was simple rubble fading away into a them too much. Real rubble falls randomly, so minutes of quick noodling will wrap things up.

With everything painted I adjusted the overall
brightness and contrast on adjustment layers
and applied a very subtle noise grain to the
whole thing just to give it a tiny bit of texture
(Fig.10). And thats it! Hopefully this tutorial
proves helpful and many thanks to 2DArtist
magazine!
Chase Stone
For more from this artist contact them at:
chasesc2@gmail.com
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Interviews
David Dunstan
Articles
Sketchbook of Jon McCoy
Tutorials
NEW!!! Concept art for Games
Chapter 1: Environments
NEW!!! Painting Futuristic Marines

Chapter 1: Evolved Future Marine
Painting Futuristic Cities

Chapter 5: Bazaar/ indoor market place
NEW!!! Custom Brushes For Sci-Fi

Chapter 1: Asteroid Belt, Stars, Star Field, etc.
Making of
Its a new world
by Vinod More
Galleries
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Image by Thomas Pringle
I looked for the positives in
adoption and came up with
quite a few good points,
although only one that was
chuckle worthy, depending
on the age of the child you
adopt- no diaper changing
or potty training! Just look
into the hollowed eyes of any
individual who just changed
a particularly gruesome
diaper and youll see how
right I am...
Intro Text
Free! Custom Brushes

Diaper Faerie Making Of
Dust
Software used: Photoshop CS4
I tend to paint a lot of gruesome and somber

subject matter and it suffices to say that at times
it all begins to sort of feel stale and repetitive.
So, there come days when I feel I need to bring

a little more humor to my work, and this, fellow
readers, is the result of one of those days.
The idea of a Diaper Fairy first started to take

shape while both a friend and a colleague were
expecting new additions to their family ranks.
One was adopting, the other going about it the
old fashioned root. Discussing their experiences
with them, I found myself weighing in the
pros and cons of the two options. Granted,
many would immediately point out the obvious
psychological predisposition to rearing your own
flesh and blood, but playing devils advocate I
looked for the positives in adoption and came up
with quite a few good points, although only one
that was chuckle worthy, depending on the age
of the child you adopt- no diaper changing or
potty training! Just look into the hollowed eyes
of any individual who just changed a particularly
gruesome diaper and youll see how right I am...
Now on with it!
made the background dark, because I wanted mini grumpy dwarf in diapers with angelic wings,
Note: Ill be working in Adobe Photoshop CS4 to give the impression that the faerie was sort changing a kids stinky diaper while holding back
throughout this painting. of doing this in the cover of night while no one tears. On reflection maybe I should have called
was around to witness his humiliation. The dark the piece Diaper Dwarf (Fig.02)
I pretty much visualized in my head from the get also gave me a sense of claustrophobia, adding
go what I wanted in this piece and having the to the idea that the duty was unbearable. I then Okay, getting down to refining the shapes,
idea already established allowed me to work made some quick gestures deciding where Id deciding how big to make the head in proportion
at a significantly quicker speed. I immediately place the faerie, the baby and the perspective of to the body, and also the baby in proportion
the ground (Fig.01). to the whole faerie. I wanted to make it look
ridiculous but still somehow feasible; its a
I continued the block in, keeping it very loose, pretty difficult balance mostly because its so
giving the Faerie its wings and really only subjective. While working on the piece I actually
focusing on the silhouettes and placement of had someone suggest I make the head bigger,
the subject matter. An accidental indication of but before I got the chance to do so someone
a beard gives me the idea to make the Faerie else chimed in that it should be smaller, I
a Dwarfish looking one. Weird and confusing I suppose in the end (if its a personal piece) its
know, but it made me smile thinking of an old most important to go with what you feel works

Making Of Diaper Faerie
best (unless of course the crit is valid in pointing

something you missed.)
Here Im also starting to establish the lighting

at mid-ground, although Im holding off on the
foreground mass to the right (baby) for now, just
until I know how bright Im going to go with the
mid (Fig.03). I know that the gesture will sell the piece, if it using the hard round brush that comes as stock
isnt right then there will really be no impact to with Photoshop, varying its hardness between
At this point, the direction of the light is pretty the viewer, unless of course someone likes to 30-100% depending on the edges I want to
much decided upon for the whole piece. So, its look at pretty wings and nothing else matters, put down. Generally speaking, harder edges
been added to the foreground as well. Starting in which case I can just paint the wings pretty demand our focus while softer edges allow
to clarify everything, wings, foreground baby and that would be it. Although, as we all know, for our eyes to take a glance. Although, its all
clump, shape of Faerie head and body. Wing Lovers are the shallowest of individuals about contrast of course, if you have a panting
(Fig.04). with just hard edges and then you introduce
At the same time, Im also focusing heavily on a prominent line with a soft edge, that line will
the gesture of the Faerie. I want him cringing Well, as you can see Im starting to near the jump out at the viewer. Try it yourself. The mind
and repulsed, as if this is as low as low can get. detailing stage. At this point, Ive been primarily is a funny monkey. Its probably just a painterly

Diaper Faerie Making Of
convention of mirroring how we actually see,
sharp edges represent things we have in focus
and therefore worthy of our attention, while
soft edges either represent things too far off,
too close, or on the edge of our periphery, to
really be discernable and therefore not in our
immediate attention. Thats just a hypothesis, if
you know the answer feel free to drop me a line!
(Fig.05)
Now Im going in and adding the hopefully

adorable detail (Fig.06). Im looking to make the
Faerie cute, yet hairy and sort of grimy. Hey,
hes got a tough job to do, the kind that puts
hair on your chest! (Not literally of course
otherwise wed have many scruffy ladies walking As always, this final stage, the refining of And here you have it, the finished piece
around). everything, is by far the most time consuming (Fig.08)! I zeroed in on the wings and face
step and it can be quite demoralizing when primarily, tried to give the piece some motion,
Next I try to focus on anatomy, and the facial things seem done but somehow not quite where even though looking at it now some parts of it
expression, along with the flow of the hair, wings you want them to be (Fig.07). At such moments feel over rendered. I decided in the end to have
and the strands of the towel that covers most of frustration, my best remedy is to take a step him look heavenward with a teary glisten in his
of the ground. I made a new brush to use for back, get some fresh air (maybe cry a little eye and multicolored fishes on his diapers.
the hair on the beard and also the wings. It has in some alley) then return to the painting and
some texture applied to it, but just lightly so that hopefully discover what is missing. Looking back on this piece I can see some
it breaks up the digital feel. serious issues with the anatomy, the pectorals

Free! Custom Brushes
are way off and dont insert properly. The veins are not
great, I really have to practice my veins, but I do like the final
expression and the way the ear/beard came out. The wings
are okay as well, but they dont seem quite as fluffy as I had
intended.
This was pretty much a piece which I whimsically began but

then decided to see all the way through. Now that its done
Im happy to have at least put a foot past the comfort zone
of gruesome and somber. I think at times its important to
vary your subject matter; even if it isnt something entirely
different itll still challenge you in new and unexpected ways.
If anything, it at least refreshed me a little for whatever piece I
was going to tackle next!
Branko Bistrovic
For more from this artist visit
http://www.brushdreams.com/brankosfurnace.swf
or contact
bisvic@gmail.com
With the release of 3DTotals latest book,
Digital Art Masters: Volume 4, we have
some exclusive chapters for you...
This book is more than just an artwork

book. Not only does it feature
full-colour, full-page images, but each artist
has given a detailed description, in their
own words, of the creation process behind
each piece of published artwork. And
theyve done it especially for this book!
This month we feature:
Go forward and
forward Lord
by Ryohei Hase
The following shots of the Go forward and forward book pages are featured here in full-resolution and can be read by zooming in...
Digital Art Masters:

Volume 1, 2, 3 & 4
Now avaliable from the 3DTotal shop: http://www.3dtotal.com/books/
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3DTotal presents the new issue of 3dcreative
magazine: a downloadable monthly magazine for
concept art, digital & matte painting for only 2.75 (approx $3.78 - 2.93)
visitwww.3dcreativemag.com
to download the free lite issue, the full issue, subscription
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3DTotal About us
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amongst our growing number of products for CG
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Concept Art, Digital & Matte Painting Magazine

Futuristic Slum City

Making of Diaper Faerie

086 Diaper Faerie

Go forward and forward

Editor Layout Content Sub-Editors

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Features 50 of the finest digital

Buy the book to see just how

Digital Art Masters is getting

for more products in our range visit http://www.3dtotal.com/shop

Hi Robh and welcome to the pages of

www.2dartistmag.com page 7 Issue 054 June 2010

www.2dartistmag.com page 8 Issue 054 June 2010

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Hitchcock used to say he I got out of it was it forced me to be a much future?

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Working from life is the best

I talked earlier about the variety of images in

www.2dartistmag.com page 14 Issue 054 June 2010

work really hard, be nice the world. http://www.robhruppel.com/

and dont give up Or contact them at:

www.2dartistmag.com page 15 Issue 054 June 2010

Los Angeles Convention Center Los Angeles, California USA

FOR COMPLETE DETAILS: SPONSORED BY ACM SIGGRAPH FOLLOW US ON:

This months sketchbook artist is the exce

Working directly in pen somehow makes my characters seem more

Although I dont do it as much as I should, I love to sit outside and do

Especially character design; this is something I

I firmly believe you have to get to know

When I need to develop a new

Instead of focusing on the exact design for their

Some that I have created so far are a

I especially like the gritty feel I got by the

As I had just discovered sketching

www.2dartistmag.com page 25 Issue 054 June 2010

As with the life sketches, I used a 0.2 ink pen, and

Designing Dorothy proved to be quite challenging, as

I have got to work on my personal Wizard of Oz project

I tried to keep the Tin Mans face as human as possible

To get into the right mindset, I started out with quick

With what I learned from my studies, I started

www.2dartistmag.com page 28 Issue 054 June 2010

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A subtle visual joke is the vertical blinds,

www.2dartistmag.com page 36 Issue 054 June 2010

modo is for artists

3D image created in modo by Luxology. Credit: Gelmi

Blasphemous Dreams Space Journey

www.2dartistmag.com page 39 Issue 054 June 2010