li ‘SOLA DIGITAL ART PRESENTS ——>»o-< HOW TO DRAW AND PAINT >= ANATOMY GESTURE | SKETCHING How to create expressive figure studies from memory TAG yA DRAW THE HUMAN \ BODY IN MOTION ‘| Master poses, pe and } the boas as ro /] Ske IMPROVE YO u R EO Flexible wrists @ Curvy, strong hips ® Muscular shoulders @ Clothing & folds ® PAGES OF WORKSHOPS Learn essential traditional and digital art techniques to draw and paint the human bodyWasim sot HOW TO DRAW AND PAINT 3-00=—— ANATOMY Welcome... This is the second time we've teamed up with the fantastic artist Ron Lemen to present his workshops on drawing the human body. In this special edition of ImagineFX you'll find Ron's methods for drawing figures from life and then from memory its essential reading for aspiring or professional artists alike, We couldn't resist digging deeper into Ron's amazing knowledge on the subject and sharing it with you here. In this collection of new anatomy tutorials, Ron takes his thinking a step further and explains how the human body moves. In these workshops you'll learn his method for breaking the human body apart into simple shapes, then how they connect through rhythmic lines to draw the body in motion. Like Ron, artist Chris Legaspi has a passion for figure drawing so we've presented his ideas for capturing gesture, as well as rendering. light and shade, when figure drawing, These workshops, found on. pages 66 and 70, complement Ron's deeper anatomy teaching, Ifyou want to take your art a step further, we've also included workshops and guidance from leading illustrators on transferring your traditional art skills into digital using Photoshop and Painter. Full of unmissable advice, they start on page 86. If you've enjoyed this special edition of ImagineFX, check out page 115 for details of the other issues in our How to Draw and Paint series. We're sure you'll love them! From the makers of ‘Claire Howlett, Editor dlaire@imaginefx.com dedicated to fantasy and scifi art, Our aim isto help artists to improve both thei traditional and digital art skis Visit www.imaginefx.com 1 find out more!Master the skills to draw fi it h Put drawing theory into pr 78 82 100 I FANTASY &SCLFI DIGITAL ART PRESENTS The finest artis in the word offer you the best guidance share ther techniques and offer inspiration in our anatomy, figure drawing and mined media workshops Workshops Practical advice from professional artists in 15 step-by-step guides Learn the methods of memorising anatomy 104 Artist Q&A Drawins the back in motion Draw curvy, strona, hips: Drawing the body in motion Mastering drapery in figure drawing ined figures jgures from lite ‘and motion 70 Light and form ractice with these tips ‘The art of drawing: In theory ‘The art of drawing: In practice Learn the secret to painting skin Subscribe to ImagineFX today and save money off every issue! WHEN HAND IS WER EXTENDED Contentsit and figure techniques... We Lauren K Cannon The American painter share her techniques for adding freckles toa face and rendering dark complexions. Joel Carlo Core art terms such assfumato and chiaroscuro arejust some ofthe subjects explore by Joe. Marta Dahlig Here Marta explains how to create lively portraits and add skin tone highlights to your paintings, ree " Varied colour shading in your paints Figures and foreshorening ips are tackled by Cynthia. Mélanie Delon The French artist explores ways to paint realistic flowing hair and facial proportions in profile. Jeremy Enecio ome easy way’ to add textured imospheric effects to vour digital artGallery Get inspired by the legendary artists behind some of fantasy’s most iconic images Frank Frazetta osaythatFankFrazeta, Cat Git iver Warriorand the ‘wih did in 2010, 83 iconic Death Dealer He often Inspiration isto understate regarded himself as panting “by instinct” and would “draw almost unconscious” “slike my mind {sone place and my hands andithefemaleform broughta another” he said. "Somehow ital newrealismandboldnessto——saristocame together” famasyactthateastaninfivence Inthe 1980shisare featured ‘on books comics flim and music. onalbum eves, shies and in Fromthe use Fankhada films Unfinished sketches sod loose yetbold anddramatiessyle, for thousands athe original In 1965 Frank painted hecover of — Conan painting for milion Robert HowarlsConan The “Trazttarevitalied fantasy at Adventurer. twas visceral, ganic witha fesh sense ofthe ieanie anvdexploded the preconception image, drt fom his own vivid of what fantasy art shouldbe “dont se detail justacerain atmosphere. he once tld us, was unig alent who tween 1965 and 1973, Frank bridged the gap between the produced most of his more Golden Ageand the moder ea famousillustations including, ep /bey/ CP ‘ut theyre usualy st very ‘Simple Scenes."I think I'll be remembered for my imagination, drama and not being afraid to take a chance TE!X Presents Anatomy geGallery Jon Foster fi s ‘on Fosters done covers for some ofthe biggest comic book series out ther, ncaing Faaman, Star Wars, lien Vs Predator and Buf. The Vampie Sayer, t0 fame afer. isa word where fan expectation isimense, and because ofthe money involve the at tietion and commercial resures canbe daunting “ites make it more challenging itdoesn make it mow intresting” ssyston, “There's huge expectation fo the Fans’ par forthe character to Took a certain ay ad expecially if isan aces lke Sarah Michelle Gollar=she can havefinal sy" Body language sa main interest, esas. "The quit itl ways that ‘you can hold yrhand oe that a Shoulder istippe, ora head cooked fo¢ moved, or one shoulder up and ‘ome shower down, What interest te most show to make tse a Tite les stati ite les pene” He comes up with poses and compositions by drawing numerous thumbnails leas searching for something diferent Fr reference images hel often set the timer on his liga camera and pose himself. Today, iustrating cavers for books aimed at ehilren and young, als ison fsourite ind of woke That, and storyboarling amare he's become fascinated with she fees hegetstousehis storytelling skills ‘whilecreatng alot of are ina Short space of ime Learmte quiet down your mind, especially thelet temporal lobeSON One mcticacane UsiteCMeymt ly camera) oung adult books — with adult Oem nee tnt a ite otc ~Donato GiancolaDonato GiancolaGallery John Howe ‘of Tolkien, on book cover posters, calendars anal then in the Peter Jaokson fl. “tt perience —very pads of hard rsa Jon it was very, very diferent to week with a huge tam of talented people fon a colosal project. There, twas really ikebeinga smal eogin a huge ‘machine to help make tall sundle chainmail armen To render it propery sel to know how it we ot litle more acess to hing convincing John now ack n New Zealand orking onthe lm of The Habbi, fis verte sil in ful trie@ I can't say enough Flea sico unl ae (aes STCOne weal meco ant ae extraordinary tale of disaster and woe 9 DP ceiith no formal raining, Lucas Gracin began pining caricatures at local theme parksin San Diego Aer winning malipe asa athe 21002 National Cariatist Network competition, he was directed towards the Watts Atelier to hone his Arasing sls, Since tring professional the asad have kept coming, bu of them al assays entry ino Spetrum forthe st time fearlyonin his career tl ranks asa ‘moment to treasure “Tabeen callcting that book fora longtime and knee itwas the book to get your wos int," says Leas, ashe recalls the moment he heard the food news. remember my fiend, EM Gia, broke the news tome ‘cassone night had a sie on my face forthe es ofthe evening” ‘Move acolades followed, Including 2 Chesley Awardin 2010 fochispinsing Svereing, or Sony Online Enertainment Legends of [Norrath video game. “Oh man that win as unexpected! There were some major contenders foc that sear exclaims Lic. ‘Although healsa works in the vdeo games industry, Luca is one ‘ofthe few artist the fel who sill works traditionally is background in draveng and ‘cational at echniques ensures his paintings havea tong, rounding oul Meas around “Tetriveto push the quality of my werk in composition, rendering and storytelling” says cas. Novw teaching aswell as felancing, Las has one manta f aA ie hen a @ Build as so! could bepiekingup the ans Puy. SeCiesiys een mull M coop a volt more stable down Make sure you have a strong the road 9 portato. Guay s beter than ‘quantity when comes to ‘yur patilLucas Graciano/JP Targete JP Targete regain todoyour own brand {antasy art, dot like no other Put I'm seein; the real world as a giant library of sight and feelingGallery Jeff Simpson = ‘ontvealbased arts Je Simpson isnothingi not passionate abouthiseat Form, digital paintings about bing decorative it’s about lambing the murky depths of his imagination imonlerto challenge the viewer Many ofhis mouraful vacant, often ‘oaturet-ooking po representations fe always prefer a photograph to base ikon hesays.“liketo havea realise syle” Though le ssylhas developed invarious directions, the sense af acces that pervades hie sings present rom a eaty age. “Moir works were mich ‘more voted in fantasy os, but ‘sual eth a very macabre ‘lement”This wa args dven to the fat that he Rated is job atthe dso channelled this frustation int creative energy. ‘While he generally keeps is commercial work, hich nels the video game Assassins Creed Revelations and personal wore separate he says ihe ater that realy defines him aan artis, “But eh my personal work became ry actal work, would e happy ‘man, Maybe it would completely ruin for me but tike find out formyelffint” Tut rhere does he ge the inspiration farhis unig outlook? ima fan of rit, postapoealpie Junk punk” hesays. “get. play ‘with rusty metalictextures and clot. ik things that lok live ins layeroistory eked ont things” The things we find scary or inexplicable are more interesting: they invite us to think, wonder and question. I've failed if a work is simply pretty emake loess moreinteresting ‘youve extracting, interpolating “and cresting information rom artistically without resh sources”I'm very fortunate to work on products which let me evoke the fantastical 9°‘was 1970s comics Coma, Tarzan and the Hulls that got Jasin Set into at = as ‘hat did realy have a sperposser bur ere just tough gus "he says Adjunioe school Iistin and fiend crested their ov roleplaying ‘ame, called Treasures and Traps We played D&D and of thing, and we ended 0 daw our sharacterse explains. But then American football ook contol of hispassonsforsixyearsHatening opeents ike an ut-oFcontrl ingernaut asbeyond asin ‘wight class, but he di make some progress. “Tbegan to figure out hat itmeant to be aggressive whatit reant not to hesitate and think "ve brought that with me through nny ateerinart."hesays If something catches im “it gets every bitofboc in me ‘When sate fr college art was back onthe agenda ind, emer the nex ive yeas, ust developed an interest in spontaneity and mood, ‘Most ofthe stiyou da a 3 comet artist an realy Sinshe ‘explains asin, so my styles always quckand spontaneous” Tins eal involves a crossover betwen mea “Myrbeter digital stuf ike watercolor ina, Tecate it hasthat same quik and rushed contol. When you mix spontaneity with deliberateness in the ight balance itcan ell. ita dite one otal about,” he say. could paint about though “The computer iso cheap to diam. The goed comic book arts rom way back, such ‘ebm Buscema "al thoes guyt really knew how to aa”ImagineFX subscription offer FANTASY SCI-FI DIGITAL ART magine lnscie Ant Pipe lLX SUBSCRIBE TO IMAGINEFX AND GET FOR JUST ‘Subscribe today and get your first three issues for just £5/$10, plus continue to save, with 13 issues per year delivered to your door for just £13.49/$31.25 every three months. That's a saving of up to 40 per cent off the shop price! Get three issues for £5/$10 2 g and continue to save! The latest on news, trends, painting techniques and digital art products Every issue delivered direct to your door - FREE! Word-free covers that are exclusive to subscribers UK: 3 issues for £5, then pay £13.49 every 3 months Europe: £65.49 a year Rest of the World £74.79 a year" US/Canada: 3 issues for $10, then pay $31.25 every 3 months UK, Europe and Rest of the World readers, please visit Alternatively, call 0844 848 2852 and quote ifxxld EU/RoW readers, call +44 (0) 1604 251045 and quote ifxxid US and Canada readers, please visit Or call toll-free on 1-800 428 3003 and quote 2022@ Remember that figure drawing should be learned from life 9° Ron Lemen, page 29 ATecturerin anatomy ‘and figure drawing, Ron Lemen is passionate teacher and here he shares his techniques. and methods for ‘draming accurate human figures from memory. Workshops How to draw human anatomy 22_Draw the shoulders ee eee a Pe and symbols to mal fe easier and how to apply them, <,_ 28 Drawing and posing the back = How to construct, pose and draw the human back. 34 Drawing the wrist in moti Diss the echniquso dese how the wrist. Draw curvy, strona hips eae ee eee how to draw strong, realistically proportioned hips. 46_Drawina the body inmotion Discover how to make ‘move with line art and anatomy tips. 52_ Mastering drapery _, infigure drawing A Draw clothed figures and how to ‘understand the anatomy beneath. EN aes How to draw = Tera rstone cee from memory and the imagination.Ron Lemen’s anatomy Por Four Learn how to make one ts of the more difficult ae easy to decipher and to Fee7 *S draw, with Ron Lemen ) ng areas of the human form © Once these positions have been observed we can see the places to connect other shapes together 99 Thescenigbeleycomponentior | of he scl (8) a theme act en, ag ped invhatpostion theyein based upon | These landmarta do nota theirshapeand theactiontaken is | because body weight and invaluable, Once h have | activity and pose taken been observed, the hapes | poston. Regardless of “entified wecansee the places 0 seen ar no they exist and have a place in connect many othershapes together. | space Wewantto find these landmarks These landmarks ofthe shoulder arethe | sowecan put theres ofthe body together ‘scromial shelves or edges (AS) thespines | with eascand sped,e Draw the shoulders ‘Wecan estimate pd find, widest part ofthe skal seasurementsfgin ideal proportions | same sédth as the distance between the asasaring pollito any pose. There | scapula. The height ofthe sapula is aesewraldiferentapproachesio | soughlyhalfthe height ofthe sbcage ‘measuring but allofthem involve | This makesthe space between the fomderand memory. desliinghasaset_| scapulasand the sie ofthe saps foftools that can be memorsed, rougly a squareunit of measure This although you haveo learn and sls thee its of measure across ‘memorsethisby drawing fromlife | from acromion process to acromin and.notjustlearningformulas. The | proces. rom thisideal you can then figureswillabvaysendupsifand | tweakthe width ofthe shoulders to formulaiifyou don'trelatethemto | accommodatea male orfemale ago realtyand eam howto distort and | orgaddess ero or oa, weak or push the deal into soidtikeness. | powerful The pectoraisis connected ‘Theeadistworthrdstheheight of | to wo-thids the length ofthe clavicle theribcage From ourideal ofthe skull | and thedeltoiisconnected othe 35223 ratio, wecan establish aheight | farthestonethird fits own length, _and with ofthe skull The width ofthe | reaching out its acomion proces. = Hoin the square unit of measure established above, ‘wecan divide his square diagonally nha and. thisis ou dal shape and space for thescapla ‘From seroma shelf to meal edg, tp tobottom. Now the scapula isnot perfect square unit of ease, however, to confidently dia sucha ‘complexspace we need astaring point This diag othe righ that shows the proces for designing scapula fiom asquare, A Riythns ocurin every ay within our pres af king rm shyt tating abstations to ‘the ths we design forthe folds in the skin Everything we raw relating the human for will Ive somerythmical association been the pars in every action we conscious ake. Movements ing the inking rhythmic line can make constructing dhe human form om memory easier, »Ron Lemen’s anatomy 5. SHOULDER MOVEMENT SIMPLIFIEl “Thescapulaisa vg fluid are of the body and atfets how aher parts move for example the farms Knowing how the seapula moves and Interacts, learning its pattems an mexions, wll enable yu to daw other body sections, such ‘rms more esi. Thiscan even offer more insight fnoforeshortening Breet, sein nang noungeccpan na eosipl dette ees ‘fam cnnaer os conan owngatsour mater he SuncareDraw the shoulders roel: © The deltoid can be seen as | an inverted softRon Lemen’s anatomy 7. ANATOMY Themuscesofthgghoulderar:the * dod the spinatus the inftaspinatus te ees major andthe tersmino These mules wae alg, | ale exieig oo te ‘with thelatisimus around the am, and the ltsimus isthe al coracobrachialis andthe tricep | end extending onto the ribeage. complicating mates in cesiging she Tow isalsoa diagram to show the space when drawing the figure essed stretching movement of the ‘Onthis page atesomeimages:o help | deltoid, These are for drawing big butted simplify acomplexarea When the arm is | hero types always keep the anatomy fullyextendedtothesideofthebody, the | correct when drawing supetberoc. angle that bridges the arm 1 the boy is ‘made up ofboth the ltsimas andthe teres major The eres majors the INFRASPINATUS -TERES MAJOR varnsmuscoest LATTISIMUS DORS! MAL 080 . LaTsiius 00881 DELTOID PECTORALIS ce (Frowr) aisha Fern arms ACROMIAL ors Give) FSruows © Keep the anatomy correct when drawin; 4 superheroesDraw the shoulders PRO j |\LTIPs ’ | | ‘The din loodey slides ove the muscles bones | | and tendons. itis attached by fascia ran the deli tattend niet the erm Th | | nderaer tats connectedo theses of frontheadpulheamforedand | Fa eeteaterieeal reaesitinvan while thebackesd | | "When tearm ae active the skin onthe pee eer | stuliesstesedeendngupn te acon utr The sanpa ithe em ani dco, The kin ls perpen Taeralyand es wth the oad tothe und bes the ar dawn back, rotation, This muscle is also buried under | || the shoulders will stress and folds will foem. the trapezius and attached tthe top of the humerus. The infaspnatus rotates “These fds can be drawn using apr, the | more intense the spiral, the more drawn back the arm laterally and extendsthe raised | the arm il ook am Thisisattached tothe top ofthe | | “When thearm life above the shoulder humerus The tres minor pullsthearm | line the skin ols ever the acromia shelf and inandrottesitoutwar,whiletheteres | the actomion process. This creates a crease ‘major pulls the arm towards the body and | hats sare out generating abostike rotate itinwank lowering the raised arm insertion into the del muscle emsimarus “The backcan be broken down into a series ofthree anger planesin bots horizontal and verti! tection. The mid ofthe bak ‘will ot have the angles thatthe ‘muscles take when ft sketched, just thre simple lat planes help wisualize the bigger faces fo stronger eltable proportions, before the details digs the ‘nce these planes are built out, we ‘hen subdivide the surface into smaller facets. The scapula, the spinal muscles and the spine al get their own surfaces ase can sc inthis diagram, The line drasengs are cos section drauings ofthe planes to beter visualize their tlimension and depth. EXERCISERon Lemen’s anatomy Figure drawing should be learned from life - to understand the process, memorise the formulas and posesPosing the back DRAWING AND POSING THE BACK The back is a complex space, so breaks it down into conceptual formulas to make drawing and posing it easier aa 1 this workshop im aiming PROFILE confusion the back. 2 complex area ofthe body can sometimes cate us artist Ive lao Included sep process and some exercises that hope youl rm ging ‘ogo ower to diferent techniques that [find are ential in so many way, andiet each finds something very Jimportan in igure drassing tha thinks soul Fndimeresting ‘After eading this tora ~along wth the shoulders Workshop (se page 22) = ‘hope you understand where im going with all ofthis and can use new techniques and thought processes your savatage. Remember that Figure draeing shoul be leaened fron ie, To beter understand the process, memavise the formulas and poses, and werk through rigorous repetitious proceso fly develop ourskilsRon Lemen’s anatomy Fintof slookatthemuncesandcomepwithsomesimple | eee eee Sinpestofelp rere what hey look Hkeand how thy ogee. | | staesand the bodys wo exept, ‘Theback musa group mice wears ae eres nae eee ee eter alied theshombh rapes tims drs eternal olqus andthe shape shad he rhe in sacrospinalis group | perspective and overlap them with ech ‘The muscles of the back are broken up into groups. Combining the | | other, we can apply them to any figure lela thigh sid othe body tgehertocetetesapes we wil | | wesc orimgine the kit pals be sng to design thback wih These the bas shapes oo toda pon seas im the inatve Fe tieeee aie eereeteetet antes pron we sck with base ine with ed on the chars provide. | | construction concepts, the most complex | fdsigscan besimpiy drawn gai and Pests nea eapseaeiaicen sage | ste compe ete nescan | successfully be applied. Once you ave . | practised the paces enough, then | Hopefly youl in wayto make the | | eons ienative and your own = orrer | than eiking every sep, youl nd Coe | hee eae ai aaa | Vv A | @@ Everything can Vv oa be broken down. TwAene cums reese | into basic shapes Ronee | and the body is aoe: | CO) /no exception “Thay ere sider muscles and they | Rostoraceaceenancin Sacrospinalis =e =e ares ae ease 2 Sachedoi dows ay | OW! oetiave ed Latissimus « dorsi poeeenenns cece coms nena Seaeaeee Seeccnen: | eer, Trapezius Satonmctobewmnne beet ontopatah ester backmases ‘Revtge thaccermnce ony arcarmes esnplesto te uthearmfonsarsthecharme Spineanstedit Thayer Emdengemaccnsyoma Tuncay ul esxpals ‘Saomacseencstinshetigs or (eh srutrauedrard zainathe” besaedartieinestepa eet eee eo aePosing the back Thetorso cartbe gestured in usingashape shape make bot halves ofthe bent side resembling pillow the top two corners equal inength The figure abstraction is representthe acromion processes, or the similar, in that itfinds the top and the litleburps onthe shoulders. The bottom ofthe oes, usingtriangles to bottom fo corners represent he greater connect the sme points of anatomy trochanters or the imps thatsickout Theneck sa par ofthis abstraction, and ‘oncuirthigh bones Thecresse inthe fom the font the nipples are mapped pillow indicates which dreton the body ito he lines fom the back the {sbending, and also represents the scaplas. The key to either ofthese too bostam ofthe ribcage When drawingthis concepts working wellsanimation, The fist step inthis draveing process isto tart with a geste iawn, lose and hythmcal Thisisa ough rendition ofthe ose allowing sto play with the action and the gravity before investing ime in measuring and shading, The geste shoul resemble the finished dawn, tsingall the tools we will be liscussing but wth no deliberate imention ofmaking anything solid anal dimension ae, Sen ertene a eee a seers itis can ato Sinihentodudadteresrerpeche 'Shading form ‘Scigeemesmpiynatie mae ek pocament idsmoestacne Darton eee Smal oop aon itesantpepattonRon Lemen’s anatomy perfect square and including the space between the sapulas, te ack isthiee ff these sguaes rom shoulder to shoulder The scapula are oughly one hall the eight ofthe ribcage fom the C7 (wher the bottom of the neck meets the MEASUREMENTS TO MEMORIZE Oblique ‘ost visible underthe kin ~ ‘we cal these subcutaneous Tsndmars, Frm the back these points athe C7 of the spine, the aromion process, the spines or wings ofthe scapula, the inside edges ofthe scapula, and the dimples ofthe sacrum, © We also place a few measure, especially across the the bones are most figure forsymmetscal eaceeetid skin - subcutaneous Iz =e WGEAAEIX Presents AnatomyPosing the backRon Lemen’s anatomy DRAWING THE WRIST IN MOTION Drawing the wrist can be surprisingly hard to get right. Get under the skin of this tricky body part as Ron Lemen shows how to draw it in motion hewritmaybea smart | undetand she west neds aaa ae CRS a eee pe de eee are Peete ee ep othis part the | buy ow nsercnnects wh be 1 | parts, and break it up into simple shapes, misters eee Ismade up oftwo bones theradius and the un. The tuna ified while thera oats around it a8 the name suggests. ana ula to form the writ joint. Bacniais AThe wrist in motion thn decine fs) these R Sees stra eich phalanx (section) ofthe fnge is tworthinds ofthe length ofthe previous ‘Phalanx. Remembering these simple ‘atos will sve you alot of grief wien rain ges. There are handy tricks, like the golden ratio, that helpgyou when drawing the arm “Theshythms of he forearm are onnected te muscles inthe upper ‘arm. To begin wacking the ehythms, the arm hasto be designe. Start with the tio ine, which comes from the os = this isthe agest movement and needs tebe foun first because inks the movement tthe torso, and wil tke sneay te hard comer that an ‘othersise develop when bing the figure piece by piece. ‘Once the action hasbeen found and the character line established the width ofthelimb and thenitsrhyhme ane traced over these to edges: Typialy the ‘hythms traverse the limb, crossing from the outside to the inside, Rhythms should not be solatd to tiny channels nformation rythm shoul tie everything oper by stvinginghough itand adapting pat ‘ofeach section to the implied pathways thatthe artist extablishes to help tead ‘theimage and find its focusRon Lemen’s anatomy This area is considered to be as difficult to represent as the face, and the expressions even more tricky to captureThe wrist in motion ‘When [sign the bones of the wrist ‘think ofthem asa pliable plank of wood ‘that merges inca cylinder, orl use a ‘ovling in o drumsticcike shape to start with This bowing pine shape roups together al the eomplex anatonny fot the forearm but gives na indication of surface direction, Wee to draw the ‘ou polar axis points onan ellipse 6 We need to draw the four polar axis points on an ellipse to assist in finding the surfaces sit in Finding the surfaces usinga perpendicular shapeto represent the Clipse major and minor axes, ‘Where it joins othe hand the wrists an elipsoi join, similar to balland. Socket joint such asthe shoulder and allowing the same typeof movement 10.8 lesser magni, ‘Theanatomy oftheforearmis very complex, but here we shall look ata basiclist and some PRO rough illustrations tohelpyou Mf TIPS: remember the placement and. function ofthe muscles, nits most simplified form, the forearm has four roups of masees, with ‘ach group performing a specific function and assisting stabilising the ‘opposite motion, They all nota main groups — a flesor/pronate group and an extensr/supinator group ~plusthe thumb 2ulductor group. The flexors Nexthe fingers theextensorsextend the fingers and the adductor ruscles ofthe thumb extend thethumb ordrawit away fom the haaRon Lemen’s anatomy Tp planeoutth wet ‘ranaform ourylindrsto blocks. Find ‘the cent ofthe cylinder and a the wrist ‘end, draw line from one edge ofthe ‘linderto the ther, tough the cent RIDGE = SYAINATI ON) GrROVP-The wrist in motion Theflexofmiscles move thefingers | eltheronein the writ, creating several through cont lestensionscaled | dges skin (ike stars). When the tendons and snail cease acost | thumb sexed the two tendons thetendonsinaperpendculardeton. | above and below the thumb create the "When the rit sent neither ‘iangular snatfbox. lection the skin across itil reasein | cetceetce | SHIN FOLDS —p When the wrist WHEN HAND - is bent, the skin WHER EXTENDED will crease to alleviate the pressure of —_D exercises neg, AFRon Lemen’s anatomy DRAW CURVY, STRONG HIPS Learn how to create curvy hips on your female figures, add the pillar of strength to your heroic male characters, and everything in between with Ron Lemen tsp thinking about the haps as place ost and start thinkingof them asthe shoulders forthe legs This ‘way we think of the mechanics dire Ande wil design this space based upon ‘function thas eater than jus siting, ‘rreclining, The rund booty sally small block fone underneath those ‘muscles and has no resemblance to what ‘we physically ste. This sey tan beso ‘ificlt o dra his space witout makingitlookatached to the rest ofthe body We ate ing ta lack at the ‘mechanics ofthis space and the aristie = SI shapes we wil ned to memorse to make Tea L Ago) thispartotthebodyrocksold and TTT TEag !2in good wiehoutbeing aicturd italia or cartoon: This surprisingly complex fare opt right but onceyou understand thestrstutes symbols and shapes ‘ceded tan be incrediby fun and add new character o your figures © Stop thinking about hips as a place to sit and start thinking of them as the shoulders for the legs 9%Draw curvy, strong hips | 1B hon anyon shapes | shatas artists we eal dwn nto | sythmswhere pose Tisshape | desig. roby dvi o pce | isashorcutothe ethers dieu | totansae cas pockets and | rations the hips este Fomiteatls wear lasinpiy heen tacos hed ‘err Pramsnelss wear aur arth denies Vr Most ‘Shaves whe slower where hshamps ming nat a ‘npesasots wea tom@atsa © The bones take ona shape that might closely resemble a butterfly 99Ron Lemen’s anatomy URING THE HIP: The pelvis roughly the height ofthe skal From profile, with dhe peli tipped wat tis also close to the sie width asthe lal Kfwe um the sul sideways i ‘would ft snugly between theliaeests of thepelvis. Theskll and he pelvis are roughly these height Fzom the sie, the sroblem hat the gates muscles change shape and scale, so thee iseally no abso for judging proportion to work from, This iene we se comparative measuring tind another part ofthe body that measites up tothe width andor the eight ofthe pelvis. Comparative measuring comes from Imensesight raining orsight size Iisa tool that requires aren sense of relationships, to relate one thing to Another.’ way of measuring one thing from another a foolproof tool to gain an ‘understating of proportion. Look at lemenaid blogspot fr the video on careful measuring with stick, @A foolproof tool to gain an understandin; of proportion FINDING THE RHYTHMS OF THE HIPS Finding the pebvisin the illw shape. we ‘anuiilize the abstraction rhythm ‘thegreat wochanerto the nec. sihovette an from the aromion processes othe hase ofthe crotch The Alvision between the wo ss flines defines the ribcage volume, the ese half ‘ofthe pillow shape designed forthe ‘obliques andthe peli rom the side proflethe hips are found. with creularehythm that goesup and ‘overtheiliae cst and doen bow the ters aula loop int thelr of FA the quadriceps From the side ofthe body the hipscan ‘be faunal by continuous shyt ine ‘that starsat the skull goes ound the ribage al continues icing the eis imo the thigh muscle and backing the calf muscle This sone ofthe wicker at sythms but itheps find fgurein ess thanseven nes teh, RanceDraw curvy, strong hips 4. SYMBOLS HELP FIND THE FORM aaa eae oe ‘the pelvis, an ovoid mass, wide and narrow bo form, a sheared conical shape; The butt epibetes evsnnte stores Sraneaninensdeadgecmespt uss uss wy - g (Fetal oc itiman alike the shoulder does forthe arm. Shaeonnpbacibe torts ohpe,Ron Lemen’s anatomy he tenor facia atte acts asthe flexor forthe thigh and stairs the outside edge ofthe knee. The gaetus medigsis our walking stabi and asists in the rotation af the leg and alduction ofthe leg, The luteus maximus isthe power muscle, rotating the le, addcting the Jeg abductingthe legand iting the pebvi. © The legs start from ,5 under the iliac crest, the leg muscles are attached on the bone structure 89 when we da ur systema way, we place the eps under the pillow ‘when they gre extended an inside the pllow when seated. ut the legs star 9 under the ioc crestasthe leg museles are atache at this point on the bone stuete, The TFL. makes triangular division that {45 degrees to these and front ofthe body The abs have tree planes as do the Obliques. Only two ofthe planes re visible fom the front view while frm the ideal three planes ae vise /Draw curvy, strong hips Now weunderstand the ssiton, anatomy aad muscle structure ofthe hips Rearview —_ a itstimetoad/sin Unerandinghow | ibe tupac htc rins es iothencrege Theemsenet skin ae flds an creases across the [dtotagaair inte or aes cto can somang ttl Sento ua tant ‘musclsanibone ofthis, asthehips | Siatbeeelisbatina twee dha Wena ealgetendadtenain ‘noe wile your gue drawingmore | Sin henc patel etd bat rarest mesos credibly and help you seth your ‘wlan eibelag end stows oie eum magnate at Orie — gy eee Taek a Peer ie nae Tht. a. c Snore wu THESE Term incite, ere rL ‘ap bate creases and folds coeur Fees | Somenchpranspcies Ege chim ithe dopcea wasp on EXERCISERon Lemen’s anatomy DRAWING THE BODY IN MOTION Make your figures move with realism by understanding how the body works, Ron Lemen explains the ins and outs of movement... very artis hastheirown ‘version of 3D rendering software in theirhead but, thou the corse training, repeated exercises in your mental gym these muscles wil bul up andthe drawing the same exercises and muscle foems and rythm over and ove gain. These nds of mental exercise il assist in turning your mental cameron et intespet howe aman ‘sand appears Read my ‘words in this workshop carefully, over the describe specific motions cp the information to 'sick asta with, et lok a how difeent Section of fBody move and bend Diving the bodyinto parts ike this fers detailed understanding of how we 'mowe; then we can pt ital together. © Circumduction is a circular motion attributed to parts of the body that are round in design 99gi bosyin meson]Ron Lemen’s anatomy Peed a eed Pe etter dey inl Inginn Hs lpn a | iccetpars bebe ae ated | making rach oar veal pose ack nme Lenngs ety a eee et ete SosreMN Re ssc taoy wc voce thei inuance lp mae gcomecion Tiyterpaallmlatndtiptothe | toger rae le arope sa hey el pet ene eee | ieontte imran The | retro anata tins Weare stomping to mimithe | thymine and poi fradaionte | haves paling wenn atone ar baa ease ae | deeniebodyimaberthegh | tocxoter byenoteen sok god ace sar ‘realy your ge, anol = eee © The muscles of the body are woven First theemtrebody resets tothe ation; Geka omni | togéther rather like a rope, so they will there so pat ofthe body that doesnt | react together to an action 99 Ae nino Wechniques arefavoutédin anv shuld besimpleandooseandifyou all = * * anempttofie the mindof the ned for | itanimatin, twill no longer be referenggsartingwith simpleshapes | sketching butsomcthing more dynamic helps ditonnect hearts fom the need | in the in, Change the word and cca tocammitto details Animation practise | change our perception dhe ask @ Circumduction is circular, * so the shoulders, wrists, hips, the neck and the spine can all act as pivot points 99 | Shee cigumducton iscireular weean | drawingares from the outermost pointof sete shoul ins hips he ke | thelinb shat we a animating ound andthe spine as pivot poinisforour | thepivtpoint Draw apefet lips, snimatons Treating them ikea hinge | which controls the ation very Inhibits most ofthe cicurnducion,and | specitically perspective exercise wil tweatingthem ikea swivel allowsusa | help with his: moveashapein space and threedimensionalspaceta mae around_|bscrechow the panes lt tosach | insallothese concepts are contlled by | otherby volume, distance and overlap.Draw the body in motion eying animatesomething | canstetc outto support convincing ¢ Raparey/ STRETCAE NS Consider how an object can stretch out to support a motion, or squish up into itself DECOM OF GANT |Ron Lemen’s anatomy © A combination of sweeping lines and sturdy straights or rigid corners helps to create a more realistic image Acimbination ofsweping lines and sturdy straights origi corners helps to create a more realised, elisticimage. In Delivabe forms convincingtextures, — @ ‘optically correct perspective, and with ‘animation and movement. Infact these ‘ery animated, nots realisticlooking These artist understood hove to bring somthing ole wsingcolou with animated without esening the quality of ‘thework the artists Ihave mentioned here ase worth investigatingDraw the body in motion © Sketching from memory can free you from reference and make your mental + notes clearerRon Lemen’s anatomy MASTERING DRAPERY IN FIGURE Breaking down clothes into composite shapes, understanding tension and the core shapes of folds, dresses up figure drawing A, sian amalgamation of many dificent tops th ME) ID cig ons aveyarcaminingand proces or ) JR E D oacane © sais from img found ale the inert. Seay ead = toconsinency in your gue duwng which in tum eadsto rmemorsation a then reflex, ® veeyarchtectoral I a ®) Fite WAVE Lasbegin by understanding material | When flds switch hack orhalflock on Material ismade upof les taeling in| themselves, the ends where dhe material two dtectons lterallycalled he wet, | traverses backis called the eye ofthe fl, and longitudinally called the warp. These | and has ts own ite illow shape toi two directions verymechanical by | Tisiscaused bythe warp and eft design help influence the architecture of | creasngin thie spots ating the endo thefold Thebrigeorthelinkthat | open uplikea eter ‘connects one fold to anothers influenced | The spaces between the pipes are bbythewarp threads | polygon ortrangulaclke and can be Folds area pipeshape by nature chanical and igi, organic and although the ones that spread outwide, | curvilinear: Thelats aa the pipes are and he ones former bya tight thread | connected togetherby transition ora ‘count will not appea ike a pipe fold but | ramp that varies based upon whether iis bbynaturethey arerollingpipeforms | topside ron the bottom, what ype of rmuchlikeawave inthe ocean thathas | material and howloose or ight the fit of not yet cried | the etching Presents AnatomyDrapery and figure drawing There are several diferent types of materials We_| swint wo recognize the special properties material hhason ts surface wo generate stronger illusions in ‘urart. Highlights on diferent types of material ‘ar trieky expecially when comes to ‘feresiating vet frm sik, Imagine alight source direct facinga model wearinga sik shirt and velvet pants, Because velvet is made up of absorbs, Night surface @@ We want to recognize the special properties material has to generate stronger illusions in our art 2. MATERIAL PROPERT| ‘thousands of hairs acing upseard the ones fing | altedy tears the ight absorb the igh, while the | ones facing way act like minors electing the | same ight. So, the cente where thelight shouldbe | is now darsehile the sides of he figure ook it | 7 Sikisthe opposite The cence wil shine | bright and depending upon the thtead count, the | ei havea more or ess refetve surface to. cenvlating a metaliesrface. So, a 9 ean see ight ‘wll behave diferenly across the sane model i ‘weatingboth aie, Cotton isthe least fective and more ress absorbs the light. The material ives ux very dll ges Below isa diagram that ives hensie explanation for these Imatevials and how they act 0 light Soe etn peer ree TGiaprmcia Showeourae ayesseeesS Sriacuineintcoee OS oe ‘Seenacuriote commer ge Se henson cer down echoed Velvet apencunia soe Reso Erevan th th te igneatmarcodr andthe des Autestone oe snoesy he {Bis decion han vom ookRon Lemen's anatomy DIAPER FOLD seams are caused where the flds occu and. dependingupon te thread size and number of sith ines, the seams will have on fluen 3 tener Zigzag FOLD Spiral fold rect iep il peor sane waged won om senate OPH ‘Be Tesilraominadty scores scare ‘eerste Inert fold TNERT FOLIS ld Neeley much heap tunity nsiee Sopra nroDrapery and figure drawing The sleeves are are eee ree eee curvilinear enough to | oingoppegiac. alia ss kc ai ae QD define the cross contour ‘iofthelinb orth alin sie ofthe action sth slack de bf the'arms Tension folds vote heres anihetneenose te rpm tensor rots sh Irene atarer ieat este etemeincrsoree, So ee ei aeeiae| the body without needing any as ee Sere bythectbow omerdgemscies material isa perfect cross contour ‘Sontcanordemandngty Sgn to the ylinder forms of our body Hoe ee eae Whetheritisa sleeve, cola the ae ileeeR seoeihsereai mahalo hn, the cross contour we draw, orthe at ae oie Seensiar ie a fatlgn unt te materaibences ue help define the body mass and ‘Combined folds flare reemiteiag f rages toshom to anormation ag ie feetaeerstess es Seneca tan ccc peereleaeete pantie reece eee a ay This trench coutsa great example ofthe cllpial natureof the collar And the bottom ofthe cost, Note how the sleeves, hil all of ig. folds, ae curvilinear enough to define the cross ‘contour ofthe arms giving themRon Lemen’s anatomy Moscle QaaTHM mre suigl Oe Remembering thatthe la pars bet he pesare ay pressing against the body we havetwo distinct cantous ‘on the outside ofthe body to thinkabout. The contour ‘ofthe body and the contour the maxinaam wis the thing can expand out to. These contour travel e up the length ofthe body oc with the flow ofthe legs, Ao keep in mind that because baggy clothes are nt caries hotographialy groomed o lok potogapbially eOKE NORE Fleas the folds wil ape out of eonto To QyrncaL “mbelishon the designs ross contin erst ae Niaee ‘the pants from ane leg to the other, ayingthe rhythm of oneset of folds into the next, vitally tying allthenois togeherinto a pattern. I like to Thebedyinnaioniven ey ihe | equnerpevidveansevieene Teference Remaviaadiveawerive lie |eonpensetecienrcmdor video like a toetamine potosand decide what ype | theadiating ds point atthe ension rs ‘of mtion mightbe taking place by point genentingthefal ithebodvs — detective estchinghow theflds move erthe | night oserkingagtnnt heavy wind Tandy asanacton cus | resin the material over the boxy wl Depending pon the nature ofthe | licker vert ike lag waving inthe tnovemen the fli Both eit tothe | win or Hk aver cating pnts the tension pintsforingthe matealto | shore lathe ack f the body steht the action and low behind | Thee thre diferent image show how Tikeasmoke trail the body itacked in | diferent folds eat wo diferent ypes | vighilyikeaskaeboarderspinninga 540 | body movements These are designed degree stunt, the folds willaleamprssi0_| with the folds reduced ta simple line thecenteofravityand radiate ouward | pathwaysto describe the spizalerlinear from that point. fthebodycartvheels, | movement of thefldsacund, down or the fldsil ow acrosethe body inthe | outa fom the core ofthe action dinstion ofthe free of action, The body moving na suaight lin will produce folds that tavel fom the ront of the body tothe back of the body Inthe8, A PROCESS F¢ {etre myyimagesfocthis drapery | can hse raving an inflated ortehopwittatemplae tatsto | mannequin overtbetop othe say, start with a mannequin under | primary body. Althednpen, thelprmededde | "On ope ths new shape design {pon bow mich alain be | werkcon finding the tenon points Slohinghar ay om they | andthe slack areas, or the areas andhow toetthefldstoflow | where the material wil radiate rom ‘wih ordescbetheaction under | ort took fran tvering Hines themaleia Whethermaleor | that might pas though mote than female single laerofclthingor | onelimb and iether tgehervia layered drapery the pres begins | therythm ine ook for any ‘withthe mannequin | radon in he lds and pus hat NextIlocatethe massofthe | dynamic as muchas posible to clothing, orhow much its | make the poserelly active snd maximum expansions and teas _| lively. ty covering every ection rmuchfthe body apacereatto | cn tr eliminating any cunt that garment with these uiesas | ythmical lines or atleast ty 10 te ong FRc ems Se payee 4 Neate aueesyl init Faun hemes Drapery and figure drawing ING THE CLOTHED B ‘hem ack ino the bigger mesh amweaving. ‘Thefinal stage canbe found in one of two ways: The outlines serve sone edge, othe cen line for the pipes that wl be drawn over the aurficeto describe the volume ofthe fold athe surface distortion requized forthe typeof material we aredrasing Teather approach sto use the shadow pattems and map out their trangular designs avr the action rythm what you might see wersus ‘shat you interpret might be very tere dae to pashing the design forthe sae ofthe draving, These patens wll be altered o etter the design ofthe fmage by ether enhancing the undertying ‘movement or by shotsing fF what ‘would normally bean obscured partofthebody | afd surfaces ae also included yn we dress up the figure. We must rememberto take advantage of cross contours ofthe materials and te bend thelinesalitiein the perspective orthe direction the vlume is anellingacoss the bod This wl ensure no confsion tot viewer and elp maximise the mas of the figure dawn. This isn realistic ut fees believable because it fllows the rules. wingRon Lemen’s anatomy HOW TO DRAW IMAGINED FIGURES Ron Lemen explains how memorising, observation and structures of composition will help you take your anatomy knowledge a step further { solely ol: wae | ‘soning snes | langage: Tisa ial Langage thatean be | amdertod by eter wah whem ve do Se ete ees | Atvanag oftilangage ough gn, Allthe echniques used now by artists fordrawingthe figure wil have their roatsin ol, time-tested concepts. Our shape-swapping method forexample = tassing aborting pin fo aforearn 3 ‘lock fra hp and so forth —is main new: While the symbols maybe newer, =~ 66 Artis avisual language that can be | understood by others with whom we ~~ =~ do not share a common tongue 99 ESSE TE | symbolsandothertypesofgraphic | these concepsarenothing more than a CSmmuncaton sensuous, | simp ano comnn ce Thegutemsotartareancent The | 2diultend rea Reilyimethadandtheshape mtn for | Hyucan maser teeth that Pisa At MAD | insance both date bacctosteastthe | have stood the tex of ime and hae been BIE | icc conury andro notable names | used byte peat mater threughout he inthehisorofart-Vilad De | Hs ofa you wil ten beable > Ieee Taree ere eee Cacia sed both ofthese concepts to greatffect | that they did Ieonsiderthe process ofdvingtobe | _ This the process use for staying similaro breathing inhaling and fram life or wing fom photo, ‘xhaling abackand fot effor. When | were towatch me work you'd noice that rafting, the movement isfiom loose | tit around bensen ages and totight oc gsturl to analy and | methods as draw bt thats because buceagain. The procs of drawing, | Tam extemely comfortable with these voles inseveral stages: the geste | processes naw ~and once you hve totaly (Goore)consruction (ight) contour | mastered them too, you can chose the (loose), nota (tg), gradation | methods hat wok best frou, (loos) and accentighight (igh). | So tatherthan abeling and finishing, Thpeoscan hebben | eichpnadeibe mans am desmintomonestages~startingseith | more able to act 1am exploring more theconsruction andthe nots) | immediate methods that can eiminat al sraations per degree scale orthe | the steps once they have been mastered. ere ages a neeeecr ea igs ree att ee ee inwomedium shapes and finally ending | th stages, make them as inuitveas with theamailet shapes what most | posuble, and then forget her nos to ‘would call dts | nae prea responsive images together ff from ite Fem reference, seh a photo, hen moving 20x rom the eiginal reference pint, Finally will explain how todeawa figurefrom memory and makeit ythmicaly animated Tamstructuring the proces inthis way berate often read about howto ‘zeae an image, but not about howto ‘make decisions on the processes of drawing and executing an image. Instead the focus istsualyon the eure rom thumbnail to finshed image. Tis wosal wil loka howto construct your drawings, and wha sklst0 practice strengthen your craft ces fr putting | Caen Bie aeraDrawing from imagination | eeRon Lemen’s anatomy Temove away fom references, we noe exereies tohelp understand thesceneyouwantto capture. Asa_| disbelie, ota the viewer aayand pontat painter! preferliv reference, | convince them this momen ie. | Sesiitarving beth surf. | uct dota gethelunury. Asan | To doth ference only part | allanattempt at suspension of ilartator prefer notto use reference, | ofthe pcre the est has tobe because Lam noteaptutingthesame | | “elt ~ does it ee right when stillness ime. The practices ate yo Took at it The ling is ‘iferent butte esuls inthe end should | something deep nse tha sts To move away from references, we need exercises to understand the you want to capture our senses into bliying ‘wht isesisrelly appening Rubens vas one efthe masters ofthis as wee Cianbatisa Tipo, Dean Ccmwell and Noman Reekwl among many caer These atts vente ‘hiring ie sing ving inspiation asthe basis Aheirections. Thisaples 19 bt gues ano poss and | Thave oid seve ech | speatexamples These areal | om ie efcouse Jooking and outputting isso short that it | and further from the reference to hold | the more you will remember - this is a© A good memory exercise is to gece en life'and flip the MEVORIZE 5 ~ WIDTHS] HEIGHTS —MATOR RHYTHUS, —Hino®, RHATHMS ACCENT RHYTHMS WEIGHT DISTRIBUTION — FOOT ORIENTATION — PILLOW DYNAMICS A od memory exert hte fom | four quadeans and then dr ine Iieand lip the image from eat you ee, | attaching both hees and another ine The reverse image can then be checked | attaching either bigoes or line toes. and cored usinga mir. Any eich | Redraw the cicleand markyour position done from memory thatyou can then compare witha reference suse for oreting yur gment nd sharpening | regards to your new posi your memory | bethe information rotated fom where ‘Another exercise that ike 0 gve 10 | youfist stated my students the roamingcamera | 7 Now, starting sith hythim and loose technique. itn areom in ene positon | scribbles ofsome kind gesture out the Compare a sketch done from memory with the initial reference to help correct your judgment 99 tothemadel. Nowimaginecicedraven | Sure shinking ofthe pillowshaped core around the mosel onthe or: thisis the | and ts bent and sueiched ses. Think ‘camera rack, Make a note ofwhete you | abour the limbs and dhe eying forms freon that ice witha hash marta they make when simplified. Gesture in indicate your location ~ should be athe | cheposefom this ne postion, and then front centre of the circle | compare the new drawing eth the (On that samecitle, place a second | original one Bo shey fe ik they bh smarkina diffren place onthe cicle ~ | belong othe same 360-depee view? this willbe where you sit for your second. | shebslance comrect the weighting drawing, From the orginal position, se core? Are the limbs caret othe lupa gi in thecircle dividing itinto | action, ordidyoureversethem? 2Ron Lemen’s anatomy @ Draw an imaginary sphere | around the subject, and just as | with our pivot/rotation | diagrams, you will use the | model as the pivot 99 | e CIROLE 1S ALL, SPHERE eS \pses she long ats Cassing, ie aeles (za) oes Se Your BOW,Drawing from imagination Thislaechniquewilbewsefulfr | Youreamasisa sce ae | hein from shadow perso ‘howe ofyouwhoareuyingtieyour | desigoedinan ancient ato that as ideal | anatnicaleltonship and back and compotion gee beter | dvidoneultinion wih eganstoibe | fothbetweenll ofthe elements. The Rely Absiaction which wehave | comerandtheiedotanetweach other | Themeoeyou engage this prac, iscussed previous aetllyapart of | The rest Renaissance painters obsessed | emvanme Draninceribind’ | owthexminaniscucons sine | @ Quy canvas is a sacred pice nae fete comin | oer eaters V a le Smwctiinoomnshe. | pining scans | square, designed in a ratio with ee erie ee eee er eee eee een aes aaa ttyrtherisaprowsthatcomesfion te | ofgassandtherorenatininneans | Weal divisions built into it 99 ancient art of tapestries, an extremely | toather elements, would becarefully | tener ded opsbervits | /waladexs iment eet eres tee iden grmety andopex | "Reign abaracion i atppingpoin | every ea magi ah Caclaona Ths arioem rat ishight | fryourundesandingolthigesicl | whichisanother name fr heidi, eee ea fase re eater ieetareee oe i tiasee al cg oie, boat | tod iomaberatal endepid— | oS h 3 3 owS-— ‘them alin someway or another. (rent te componton oan, My ain Hyhistuiialistoghe | @ The fact is that making pictures is Utngwit eisciomcrwuituke | NOt easy. It is a science, and it requires eee eee i i Sanecehistinesaes | @ lot of learning and practise 9% torealymmansorehing Heseye | hechanetotenthem ous dw them | pace kisprtsport par philosophy ea ae eg ec TR cei ee hare aboutthe pictures you mal and | provethem rghtorwtong The fact ithat | into your crf the more yu push terre ee eee ree ee etChris ris Legaspi wells being a leading concept artist, Chris Legaspi also runs the Fresh Designer ‘website, devoting his time to sharing techniques for better figure drawing, Workshops Improve your figure drawing is ep pac ere dynamic figures in motion, ing (Learn to render your figure drawit ff ‘wit reatselightandekade, ( fe on che bly 1) Ser Ue droning y i} © Creating the feeling of light and 7 | \ shade, and doing it well, can have a es __ | ~~ profound effect on the viewer 9 - ms Chris Legaspi, page 70 IMME!K Presents Anatomy BE/ ‘ \ 2 \ ot) i : \ \ - ‘ y . Png Bs J J ‘ fd 7 yi x ? aw 4 = PAR DRAWING GESTURE AND MOTION Excellent figure drawing is a vital skill for any artist. Chris Legaspi shares some techniques and tips for creating powerful and dynamic figures string arid mastering this fists dang. Th only al nd fai figures but wil also bring your deswings STN fgurestocomealive | soli Lets get startetFirst pause and iake afew homens to simply ‘observe, Observe the head and toro. Notete ‘urvature of the spine, the direction ofthe model's 22, the dssibuton of weight, and the direction the limbs are pointingin. Since gesture isthe thrust ‘oracton ofthe pos, the ley question ta ak yourself: “What isthe model doing" Learning how ose propery ike to unlocking the complexities of figure drawing, Drawing gesture and motion landmarks are poison thebody 3. THE LONG Ax Neue NTaIN = “he Rly Method breaks dven figure” that useto measure construc orloeae | dravinginto lines, gestures and forms, ‘other key paints ofanatomy Some ofthe_| and uses lines represent the axis ARhythmsare the natural low of anatomy ‘that runs though the body. For example, Jey lindmaksTuseave:theptofthe | dietin ofthe major forms and express line dawn rom the pt ofthe neck to neck the pointsoftheshoulderbones, | theaction ofthe igure To draw the the ero the centelne rythm. There thebottom oftheribeagetheiliaccret’ | action ofthe pos, rst ocate the lng arealso rhythms thatrun from the neck {peaks ofhip bone) thebottom ofthe | axis The lng axis or action line isthe torthehip.ustlike knowing how ta lok rpich the kneecaps anklesand bigioes, | longest uninteruptd ine that runs forkey landmarks, Luseshythmsas ‘the seventh cevial vertebrae (upper | eithertrough the farm or atthe ge of another ool oleate key anatomy, bck thescapulze (shoulder blades), | it ike to make the long axis or action emphasise he gesture and lengthen the and the sacrum (often seen fom behind | line slong an fui a possible, Every action ine which ads asense of sto back dimples) form, even the smallest, has longass ‘mawement and elisaFigure drawing techniques Gestures defined as movement along the fom. For example, line rao from the chi down othe peli is peste. Stace s also ‘gesture or movement, but itis movement across or over forms Foe ‘example line dean fom therght armpit tft sie ofthe ibs i structure Beease gesture uid and moves, structure gives us solidity ormand, balance by creating container for the sd nature af the body oF any living form. @ Exaggerate the areas that bulge out when resting ona ground plane 99 I gencrllfonly make three types ofmars straights, Curves, and -curves. Even though suaight ines generally don texistin onganicforms, Hike using them to measure, corshow sight and the eling of speed, Ceurvesare everywhere inthe body sound 80 percent ofthe market make in figure rasung ill be C-urve, S-ourves are when two curves are joined together veihand gravity ke gesture oferta for Forexample, instead ofa using teaght linen the weigh-bearingleg Iwill slighty bend it ims hich males the toes el realy hea als keto exaggerate the areas hat bulge out shen resting on aground plane = for example the buttocks ona chairorfat around, the mid-section are grestfrincreasing, Q) thesense of ight, andi also known asa tis. S-ourvesaregreat forlong, fu action lines and Indiating movement The tors is important to consider because itis the largest. mass ofthe human body, and al of te limbs originate from it The tarsoalsohas two key bone stuctures~the ribcage an the hipbone - which drive and dictate the ‘movement ofthe limbs When drawing a figure, [fist serve how the torso is bending either forwards, back or sideways. Observing wher it bendsortrechesis the fist. place loko locate the lng ai ee WEAAEIX Presents AnatomyCContrappost isan talian word that ‘means opposite’ orcounterpose tis ‘used when bodytweght is distibuted ‘unevenly, which causes the ange ofthe hips to opposer counter the ange of theshoulders. use contappos to ada «dynamic tension ora relaxed, ealistic feeling [also se contapposto as tool to locate ether the angle ofthe hips or the shoulders shen ane othe othe is bien from view to design the big shapes that emphasise the pose’s action OAR J) RB “The Reilly Method suggest stating with ‘known quantities, such a5 where the heads in telation tothe ret af the bod 1 dont just relate the ead eth the Jong axis, butalso try to relate every part ‘oraction back ta the head connect ‘verything, fom he pe and armsto fingers anu toes. Since thought precedes acion this a great ool for adding an extra layer fife and believability. also tse this concept to measure and design simpler, bolder shapes. Drawing gesture and motion Sihouetteis he outer edge ofthe figure “There ate many ways 6 draw gestures and figures. was trained in and use the Reilly ‘Method, which usesalot of hythmic lines and abstract shapesto design and consiructthe igure Some artis ike Squiggly calliaphiclines Some aists Tike to use one There sno right or wrong vray to draw the human body = sayeaen allthe methods and choose what works best fr you and the pose for focm: this the visual pace that figure takesup inapictureplane Luse sithouet to design big shapes that ‘emmphase the action othe pose. For example a triangular shapecan ad stability, weight ora powerful upvant thst. Falko ute silhouette to give the ewer an instant ead sto what theFigure drawing techniques LIGHT AND FORM SKETCHING psa SS Liitsy Creating the illusion of light, shade and form is a powerful tool. Chris Legaspi shares some strategies for creating beautiful and believable lighting Ightishow we seeforms.and | medium and materials. This isespecilly Thowweseeourwovld; | tuewhen we are dealing with aa, 1d istheabeence | two-dimensional pictur plane oflight Where light and | Because light isch a massive and shadow mectiswherethehumanmind | important subject, Thaveatempted to Jerre form, Because this | highlight a few ofthe principles related phenomenon resonate sodeeplyin the | tofigute drawing wil fit attempto ‘human mind, creating thefelingoflight | show how lght and shadow work and ‘and shade and ding tell can have | then shor some strategies that can be profound effect om the viewer | applied o figure drawing fom life and Inthe natural world the fet ofight | drain from imagination and shadow isa very eal, three- || These principles and strategies will help ‘dimensional phenomenon. An anit | tomakeyourformsand figures fel solid, canonlycrestethellusionaflightand | threeimensional, and ad alayerof shake because ofthe limitations ofour | believablity sole’ et startedWhere light and shadow meet is where the human mind interprets a form ‘When I begin the lighting process, my fist proricyiso separate light and shadase se “Whatisin ight, and whatisin shadow?” AS these areheimportant questions want answer forthe viewer: ike \ | tofirst observe the direction ofthe light and then squintto hep find | theboner or intersection) Then keto ly down light medium ip “tone onthe shadows io give them clear separation, wep rn ns GEFigure drawing techniques aa Just as he Pre has ace defined shape or sthowete ight and shadow patterns also ave their on shapes The light and shadow shapes an their eatonships to eich othe the vewer way to quickly deny form. n fac, ket use shadow ‘shapes ablfdesign element. Aevell se ltrin thi workshop shadow shapes can help teldfine form and ewen ad gesture and moverent. fee este eee aterm ine eines ee re Jorehingls anise mcanundona. | thexlin laf ang: cf io Caemimbent feral (eDi0hin | apealywhenchesrngeatrebu ea eee ee cecal either pure white (orblack) and number | materials itisnotpossibleto have an 10 represents the inverse (iter pure nite range of values as nature des, SEeeets o oe Be i > a (es anesare afr how the surface ng ~ form reacts to alight source: How nc ight [ an object oraea eres " dependson the waving 7 A degreetowhich planes faethe igh. Ivey, = tow darkan objector area independ onthe . degree wich the planes turn aay from light. nse esa % 4 changeinvauemeansa | All i change panes | | | iis | angry rege sSnerquety dont er In between pure black and pure white there an infinite range of values Becaseitisimmpossib (and impractical] to raglan infinite vale range, focus on Ail valuesrelate to eachother. For example. 2 #5, mid-valietone onthe vale sealecan Look ely dark nex 10 pre white Thesame 85 grey ean also Took veally bight surounded by pare black. Knowing what values to use, and ‘here to plac them ishov [erate the ilison of full vale scaleLight and form __ sigan Rl rhpandone acoso that aa Tage ge atin nt tpn! ang aap gaa ci pegae Bo col cee a Er Ging sfc eT al Sean oor seine atic ae ate bc ag @ Edge describes how quickly the planes of a form turn away from the light Srp thrartst naan: DEFINED rs 5 Ee decides how quick theplanesofaform | Smeg ost eds) indicates gradual | hdc (io known as‘ osha ges) @ turn avay rome igh andtedefned ung" | moverenlavay fom ihe igh, Any ound oregg | insta api plane change For example the ‘ange fom sf, tf, toa Thehuman orm | likefogm Abe describe perfectly with soft edges. | corer of abox or table canbe described with 3 EE es ey cee ec ae eee Teer at chjecsstrface material and he inet ofthe | ls parte ofthe body ete buttocks tefatof| shadows se below), sharp ede general don Tghtcan alo affect the quality ofthe edge Inthe | thecheks, or the meat ofthe thighs Sotedgs an | extn oaniforms 4 prcted With cation sinha init mates ie totiitny | auoBewsalo uranaeatocatethe ion of | tie an eo enpiass oad tgs awelland focus on good ratonshipe. | atmoephereand ph dramaticcontat tothe thao patie, »Figure drawing techniques im edges lie somevherebetween the exeres = of soft and had edges. Used propel, hey can describe either api orgradual plane changes. cause oftheir verstity, often -sart ny endering with em ees and then just and wefine sccondingly by ether softening or hardening depending on the fem bbcing modelled, 1use firm edges mostly for coe shadows (seebelom), especialy when the all on harder stefaces ike bone or defined muscle © Luse firm edges mostly for core shadows, especially when they fall on harder surfaces like bone or muscle ‘When ight sues an objec a varying range of onesis = cfeated that describes how ight falls and transitions |) shadow These varying tones are often refered toas: aight ight, halfione, terminator shadow, cove shadow, reflected light (aka bounce ight), oclusion shadow and cast shadow James Gurney refered to thisas the form principle’ because identifying and understanding how these tones late evita to rendering a form,*Value-wise, the cove tens to be much darkerthan th shadow becase ine aged fen agin te coe wih afin ‘ge and then soften a edd shen transitioning to rundegleshiee| pars of anatomy. By simply darkening the cre an quickly Wate reflected light and heighten the feeling a theeimensional form ( este a aetna comple bloc deci which eet reer Aeapenea rue hard cap edge are bestorniating cat shadows The only ‘xceptons ae when ight isi isfartherseay ketch ‘a devin clement for example Lean tonal curve the hao cay an ener tooo eign teeing eal eed iy A, NOTE.ON atfiones aggberween the value of the form in direct light and the valueof the shadow and indicate a light-facng plane ‘hates armel away fom the light itis within the vals ofthe Fight but a darklight Because te ference betwen halftones and light values areso subse, it takes lot of sill practice and good ‘observation torender them vl, J Rented igh o ounces | shen igitbounces off cart saces | ancl he shadow ecase | bounce ight appears elt igh | compared withthe shadow a common | nse itomake tighter than ti | sic ils theilusion fight, shadow | andtormaeys se cation with Bouncelight to maintain che neg of | thevale structure. When doubt, keep | iedarcorleave tent 16. ANOTE ON HIGHLIGHTS ] Hig occa wher ctor more ight ee eee eras indian changes so do highligh. | frst em inthe ih ideo ir | look for the highlights to help locate Renee eo igi ca slo momen elon to ieee eee tert cere© Drawing skills are at the heart of ood illustration. Without them, your {nal illustration will be weak 99 Justin Gerard, page 82Fi {lstin Gerard uses his, traditional techniques to create stunning fantasy art. Behind his imaged Creatures and characters are the core skils youll learn to draw from ite or from your imagination. : Workshops Put drawing theory into practice The art of drawing: Se © ae eet ee - m 82. The art of drawing: es Purpose es the st ashe f theory. worn ann IECore drawing skills Wale ARI OF IDIRAWIING THE THEORY Neglect your traditional drawing skills at your peril! Master artist Justin Gerarébreveals how they can improve your art aCore drawing skills eis to memorise the details and the general const of your subjects, which then allows you to recall them later when creating your images. Your drawings dont need tobe perfect photos representation be cancatures finished, yo ‘and not be hampered by technical sil HOW DO | DRAW? ‘Theres no single comect way to draw However, certain methods have een ested ‘overtime and have proved tobe effective at producing good a. These methods arent mysteries. They readily avalable, and all you needs tie, dedication and Fibra ates to master the technieal aspects drawing, eee sa © When drawing from life, try to remain true to what youre actually seeing 9 ‘When drawing try to remain true to w youre actually seeing, La face photographs to achieve these ends. This ‘on you cango wild from your | is usually done in the interest of saving time. you decide Imagination, but your art will | to go this route then you will derive some undk always bestronger ifyouhave | shape and detail, However, think the final resus ae less ‘worked hard tobe as faithful as interesting and have less personality than freehand cuctewpe ely possible to your subject matter in| drawings - tracing @ photagraph is never going to be as your studies. Remember that you | helpfulin truly understanding the construction of the forms. ‘want -and need - to ground your | The drawings where Ivehad to fight my way through are ‘creations in realty, always the strongest and most visually interesting 1 ‘WMGBME!\ Presents Anatomy Eee easmay notice that your drawing Decomes quite messy, There are many things artists do to solve ths, but | prefer one of two courses of ‘action. Ifthe unnecessary ines are ight, erase what's unnecessary ‘and bulk up the ines that are the most important to minimise the stray lines. However. f the Unnecessary ines have hopelessly overtaken the drawing, then transfer the drawing - either by vellum, serial graphite or light table, When retracing an image, simplify the shapes down to what ‘smost essential. The goal sto Create fewer, stronger lines as you refine your drawing, ‘Simplifying st Part oF Tie MIS knowing what to leave out of your image. We only have so much time avaiable, and choices have to be made on what detais we add or f One smal shadow may be wtally portant, while another may hst be vsualy confusing Simplifying your shapes wil ge animage more catty. Part one: theory Te FO TERGET YOU ‘camera would, The llustrator’s purpose in these Ife Studies isnot to compete with photography ~ what would be the point? I's more important to capture the idea of a thing, its shane and form, and the overall sense ofits surface and detal, rather than recreate a photo. ©The sharpest details in your drawing should be reserved for the focal areas, such as the eyes or hands Use shadows to your advantage: The inside of shadows should be vague and transparent, not cluttered ancl detailed, You notice that in a final mage, the shadows always support the fecal point they recede so thatthe focal areas nthe ight can come forviard Learing to frame your key areas with shadows in this way brings reat rewards f you get this riht, then your image's focal areas eeCore drawing skills Wale ARIE O}F IDIRAWING IN PRACTICE Justin Gerarcreveals how drawing skills can be used on a practical basis, in the concluding part of his workshop series ==) ovthatwevedicidthe } something uly bat climinating | Wheristhe ton? Wander rundin \eens theory of dering partone, | herr and weaknetes and | yourimaination ie. Exploe the Tetakabouthe peactical” | maximisingthe impactoftssengths, | pestis mena sideofthings How does | | 7" White echnical hl represents the drawing workin hegrind ofareal- | Picturing the idea | scieiichalf ofa, thee spat ofthe if ustration job? | Beforebeginningyeurillstration,you | emotional half fart the side that’s Diarngsklsareat he ean ofgood | aveto kon what kisyu ent todo K€ | personal you. thir that cant be than, Wiha Them your final | youTeserkingforactenthentismay_| taytacnaly The techni apets iran ill be wea Drawing Ahead betaen ceo Ytien event | thar weve discs cane earned y wovidestheinlecual amewarkofan | youhaebeengtenabsiel how youll | anyone, shen enough ime and Hussain ands the primarymeansby | show heideaistllamyxryloced | dation Theiss hough ae your tshichyourideas will becommunicted_| insideyeurhead andwemust finda way | own andthe arise cof every Halwalfesanexelentwayfexploring | tobringitout Whatsthe mond ofthe | experienc yourhave ever had Sothink anes and lowly refining downto | acne? Who orwhataveisinbabitnts? | hatdon them before you bein19 for ideas The aim here isnt necessarily to pnt out exactly what'sin your head. The human mind isn'ta desktop printer that can spew out ‘hat itsees on the monitor, There are layers of emotion, feeling and ‘disconnected ideas that must be ‘assembled ina logical format for 1s to meaninafully express them, The idea s there, and our purpose Is tocarve down through these layers to find it ‘Refine thumbnail. ‘After ve craw a thura that | Ie Miredo several times, working itslghtly differently each time, i also begin to explore the txpressions of my characters. want ta home nn the idea's Signalin my bran, and to separate \ what should be there from what Shouldnt now sich from ink to percilso lean refine the work, | ‘wont leave this stage unt Ihave a clear representation on paper of what was orginally in ry min First is often best I never leave the thumbnating stage until | have a composition that Im excited about. Often Ifind that this tums out to be the very first thumbnail that | put down, However, even ifyoure very ‘excited about your first thumbnail, put down a dozen or so others just to make sure that you have explored all the possiblities. © The human mind isn’t a printer that can spew out what it sees on the monitor 99 ‘Occasionally, ind it helpful to flesh out the barebones idea contained within the refined thumbnail. This happens mostlyin ‘complex scenes involving architecture and perspective. For most projects | prefer to do this, diaitaly in Photoshop. Ill scan in my thumbnails and sketches, and then paint over them ditally, ceutting and moving elements as Necessary. | enjoy working distally because it allows for a great deal of fast experimentation, and ican try out afferent ideas in far less ‘ume than it would take to redraw them several times by hand, Part two: in practice Sketching the details ‘After completing my thumbnails I move on to explorative sketchi In this phase step away from ‘any broader concerns over ‘compostion and arrangement, ‘and instead try out ideas for whe ng. at ‘things might look like with some details, rm stil working purely from my imagination at this point, vith no reference excent what's in my head. Itry out different postions and expressions to ‘continue to carve down to the cote ofthe iea that's hidden inside my brainCore drawing skills Photo reference Ltry not to rely too heavily on pphoto reference. When I do, it begins to look too eerily perfect, and there's a dangerous line that's ‘crossed where an image no longer looks lke it's been drawn from imagination, but rather ike the product of a camera. However, photo reference is indispensable for good ilustration and it's important that you're farisar in etal with all of the elements you intend to lustrate, Todo this | prefer to drav: and memorise the major elements of my reference so that lean recall the “construction more naturally later on, Photo reference is, atits best when it's serving as an inspiration; I gather a ‘great deal oft for every project; | study and then Iput it away unti the very lend, where I bring it back out to make sure | haven't made some terrible mistake! ‘Studies from reference and from life: To help memorise forms and yet avoid having our mages look too perfect, we do studies from our reference. As we chzcussed in part one, this helps ge us a sold Understanding ofthe construction of the elements we hope to communicate in our illustration. also enables us tocommunicate them with 2 more natural feeling, It makes sense to do stucles primaniy on detail areas and focal points. Elements sich as faces, hands, and objects or designs that have to withstand a certain amount of scrutiny are the most important areas to Focus on © Photo reference is at its best when it's serving as an inspiration 9° {Experimentation Ther sand cifferent directions you could take {ourilustration in, and each subtle change wll mae itella ‘ew story. Ths experimentation can be 8 source of Procrastination - a way of putting of tacking the final raning — but t's worth itm spite ofthe danger I's Good to ‘ry different ideas at this stage, where youre more engaged inthe detals and the nuances of expression on your characters. But keep an eye on your orginal thumbnails find what itis about that original idea that you found so appealing, andr to play tout in these diferent easWere stil carving down to our original ides, 3o dont spend too much time trying to refine litle lines ‘and shadows, Your rough should stil look rough, Your main aim here isto nalldown proportions and placement and aive a suggestion ff overall detal, You shoul fish with a more detaled, cleaner version of your ready to do your final taht drawing having finished your rough you should there shoul be no drastic changes after this step, att conly be altering small deta moments of temible disaster don't happen in the final painting. The rough reveals the problems in our composition and helps us to Correct them. In this case finshed my rough drawing and realised that something was wrong: had somehow died from my original ‘dea. The dragon somehow lacked presence. He was looking off tothe Side, and for some reason this was palling me down and aut of the composition. After having done my studies, |knew what | would need to do to fixthis. Part two: in practiceNicole Cardiff WstratorNicole Cardift creates her dig paintings wi ‘approach as her traditional work, Real how she uses photo ceference for bette results and uses leamed knowledge of figure ‘drawing to create her imagined art. Workshops Find a new approach to your art 88_Mix traditional and art Artist Dave Kendall shows how to ‘move between art mediums. 94 Paint a faun u ©) mixed me $90 ‘Start a painting traditionally and. finish in digitally with Justin Gerard. 96 Convey the feel of natural media Achieve the look of traditional painting in Photoshop and Painter. 100 Learn the secret to painting skin Achieve a flawless skin blend in Photoshop with Anne Pogoda 104 Artist G&A ‘Ourteam of artists share their quick tips to mixing traditional and digital art skills in your work,Traditional to digital dist inst MIX DIGITAL AND TRADITIONAL ART Dave Kendall invites you to join him riding the tide of digital sitting on a raft of used paint tubes and brushes. rational artcanbe daunting | knowhow thecolaurscheme isgoingto pais, Forspeed I most work with inthe age ofthe digital ‘work, Digital can enableyou to neglect | aerfic, but il be ying out Artisan Cama ineanegeringyour | thi uhichientabeytebesicany | Water luable Oleh ace, Sanday and sanding | i delopmen | Sng una psn clan theundokey thsaixncehowete- can | "Yul indyousefoundetingaround | suite cansetyoubacthowanset beticmostiberaingandcatancing | inhelcSatatonswampbetejou_| pound, Topretucepe standard Thingerourat Belresatings "| Knowhow Tee wering cal | acon putnam be comical Part One: Getting ready Prep 1 COMFORTABLE SPACE Ir like me you never liked being room, its best to find a space which doesnt need te pe cleared up after you've finished 2 PAINTING PLACE ® “Artists through the ages Rave table and table top ea accommodate smalirilustratio . the large easel can carry paintin Upto four or fue feet,Mix digital and traditional Fl Tate Paton Ceo coae-t Come UO eT ocee Cenitea 710 as ary yea din tites em Volt ier Tae ennTraditional to digital 3BRIGHT LIGHTS Part Two: Choosing the correct materials use an angle poise for Pitcower ats nea ou paining, Material and Ha a oe FOr att Mlcover hasnt sa you pining Nateralsand ier uses matter how you get light on your work as long as i's good and strong. | always 1 SKETCHING PENCILS work with a blue-coated since seeing Robert Crumb’s daylight bulb, Try using a | beautiful sketchbooks | decided to normal bulb after using one | try to apply simiar values to my and you will see how yellow | ovn sketching process. | work in the light is, Not only does it | hardbound books containing give you accurate colour, veavy cartridge paper. They wil But it’s also less tiring on’ | take pretty rough treatment from your eyes, Once again, most media, When they're finished ‘comfort comes into play. | they get numbered a shelf which luse often as visual diaries. have a personal preference for 28 pencils. use mechanical and good old fashioned wooden versions, 2 CANVAS AND BOARD | rteoneatea hate lepplye | dovtyourstrposophy. rast | tosonte bond cu tose st | | | | | 3 PAPER ‘Bnather surface l use to paint on at pressed watercolour paper stretch it by soaking itina bath of ter and then stickit toa sturdy board using gummed sealing tape. Once dry coat itn a layer oF .ex matte medium. This seals the paper to prevent the paint soaking into it and becoming dul Can be used for ols or acrylics local tnber merchants Using artist acrylic gess0 Leo Board evenly witha ordinary rouse brush, alow to dry and then apply another coat an ‘opposte direction. Between coats lose wet and dry paper wench eon oo tbe bought from any car accessory I find it's a false economy shop. This can gwve avery smooth . . Sitaor to workon kseen’seagy, to buy cheap paints, though foratna, yet economical f * INSPIRATION IS KEY | forsivina, vt student-quality paints are okay and DVDs. Ive been buying books i re experimenting aes epee eens. if you are experimenting colection s pretty large. iam feeling dowin or lacking n eneroy the mages around me have never fated to pull me out of my sump. 5 STORAGE Youll need somewhere to put your ravi materials and finished paintings - safer than the floor Ifyou have room for a planning chest tr to pick one up, though they are sought after so you may struggle. Make sure you protect, \your materials any way you can A sturdy portfolo is always going to be usefulas youll need to transport the paintings around. 4 PAINTS AND MEDIUMS [like to use good quality paints, such as Liquitex and Finity acrylics. They have a high pigment yield and therefore the colour is more intense. | find it's a false economy to buy cheap paints. If you are experimenting it doesn't hurt to go for student-quality paints, though.Mix digital and traditional SBORN 5 PALETTES ettes could be any smooth Cleanable surface: plates, olass, the tractional wooden or the disposable paper versions. For acrylics | douse a stay wet palette, which keeps thepaint workable. | 7 PALETTE KNIVES AND. Acrylics dry toapiastetim very | COLOUR SHAPERS ‘uickly without &, The paint can be | Other useful mark-making tools litle liquefied using it so impasto | are palette knives and rubber can be difficut. Os are different. | tipped colour shapers. These to N cateaen ey remain workable for days | apply paint n a totaly difere Sire noi cl ut any extra help, way, They enable you to place 6 BRUSHES: | and texture your paint, Imagine and ability to apply 0: | sturdy support for tr ss roe than cheaper varies. Ts wa s probably the most important 8 CLEANING MATERIALS BB iticts isos | thotyou clean your equinmest 10 VARNISHES AND PROTECTION Although not stretly vital, varnishes full an importa stage. When your painting is dry youll find that the surface 12s different textures such as gloss and matte and colour selectonof | especially brushes if you are sing | intenstes because of ths Varish equals and protects triste nd acryes. Us | the surface. Gloss unformiy tenses the colour while or sable. ware store brush | Is useful if you wish RE Siscesthoving | shouldsavebrushesthathave | to! —— ee | brushes for | brushes are alwaysusefulfor | Sachem. | rough worksuchasscumbing. | Part Three: Hints and tips sicthaay, | decided to take the opportunity to produce a Death Dealersketch, I's quite | 1 GENERAL PRINCIPLES: | 2 FOUNDATION WORK - is the only way to learn, Mistakes and accidents will happen but learn lots from them. Working with watercolour will ve an to acrylics or ols. Choose your media to i your subject matter. This isthe fist time | haveused Artisan Water Mixable Oils, | found ther to be rather nice to work with, and I nitely be expenmenting with them further. | the advantages of o the | pints and fey have buttery extended Acrylics are probably the best paint to use at this stage as they are quick-drying and permanent. Yo 2 almost ighights adding the ghiest and usually heavier paint atthe end. Keesfa owel to hand, I's useful to clean brushes. pe surface ita mistake ism: and smo arying time of totake excess pa WTEGE!X Presentsernatomy °Traditional to digital oe seaee a omaiees 3 BRUSH TYPES ‘Brushes come in a number of shapes and with diferent fibre types, Combinations of these wil give very different results. The key iso ty al aint. The most versatile of these are the synthetic/sable shes can be used st of the different paint types. 'Brushes come i flat and round types and it pays to have a selection of both, work with a range of brushes. For most ofthe early work find ‘myself using larger flatter and broader brushes. A fibert is a good {general brush for blocking in form and paint. Ithas a dual nature Combining the aspects of flat andl round brushes so can cover detail as, well as larger areas, | find myself using smaller brushes only atthe end | of repainting process | smears 7 GLAZING ‘The process of laying a coat of transparent paint over a dry part of the panting, Used for | | | nenatyg shaows ane | A filbert is a good general | brush for blocking in form and paint. It has a dual nature and can [iis | modulating colour. light transparent blue over dry yellow wil of course create green. Use successive glazes repeatedly 4 TEXTURE Have sary Rat Brush that you can | Use to blend and create smooth | transitions. ide tend to lke lots of | texture and like to see brush marks | in my own work, Almost anything || can be used to add texture to your paint. There are ready-made texture media available, but have seen items such as egg shell and sand used to add interest to a painting, Use an old toothbrush to spatter your image with paint. This can be remarkably effective at suggesting noise and grain, 5 DRY BRUSH | 8 PAINTING MEDIUMS. This isa method of applving colour luse that only partialy covers 3 Mediums are Fucs that can be added to paint to modulate @ previously cred layer. You should use very litte pait onthe brush and! | their consistency, drying time and texture In the case of ‘apply it with very quick, directional strokes. This method tends to work | acrylics you get aifferent mediums that make the paint best when applying light paint over dark areas/aried paint and isuseful | matte or gloss. However my greatest use of matte medium in depicting rock and grass textures, | isseaingMix digital and traditionalTraditional to digital “Potoshe h PAINT A FAUN USING MIXED MEDIA Justin Gerard combines oils with Photoshop and produces a compelling and traditional, mythic wood-dweller ‘wealwaysenjoyedtheidea of | misshapen wiza with horns. might Ide the imageat fll size, ang fauns Theyrecretures that | be cool idea on scan, bat i ase details this stage rather than later on some mythologesare | what wasafer Doing this ensues that the underpainting lighthearted atone with the | So drew tiny thumb sketch of | stage will hopefully be as pints as counyideandunsopisicned. | adasizal faunas ind tanchorpaint i ponble Then in Mhotosten ae Thisimage wa crigaly | fermoct twas tise thatthe BN Srvc matic commision ss anrafit: srs | Imagine! team dro Inet want find ‘came upwith sev Werfor | exctingbecaue gave mea chaneto | -antoweome - new anisicobwtade himightlokiie, anda | workwkh tral fr sch oy Thiele produce cmpeling drawing, [found myself straying into ‘roots, mushrooms and gnarled horns. | image and teaches me something new somcthingthatlocked ico muchltea | Taso ofealotoflihtingchallegs. | alone wayasvell Reference material a a beforesaringwork Mow aefrommy | MSUIT NGS photos, which provide details that t might | PAU UNUU bay | otherwise overlook, and act as placards | kya for memories. They enable me to journey | aortic tan Technical lighting that I won't have to break concentration vane hsscene‘ohaves great | tofind someing the scene nals denotes ad "hough dfs flection, Prom the beginning xablished the angle and i direction ofthe sunlight so thatthe Paint textures shadows wold be consistent shaven by . 3 Theuiderpntingisin alli there arrow) Butte direct ight init pins whieh havea symthetic binder x0 ‘he ony light source, Theres ambien they dy very ikl. With all, your light fom all the smal patches of ‘anachiewe suong textures inyour sunlight in the fest around this creature FEY | underpainting co helpyour final image toa. Furthermore there the reflected lok more natural When painting Tight shown bythe bi ato) which dligaly over this texture avoid usingi0e will bounce backup fom srfaes ad ‘manyopague ayers exept in foal ae38 poet itfse ight. This an all become _ sc as faces, Inthe background this, rather confusing, so keepinga consistent rexture ells the eve that thereare rules ellyimportantwhen tryingto convincing details thee, without produces sees image. {exacting fom the focal point.Traditional to digital Ay 7 Oe Tc Yi; pig Nicole Cardif£ nthisworkshop Il descibe _‘Theprocessissmilarto what do if, {alo refer to anatomical landmarks, thepainting peocesthatTuse were painting traditionally. stars with bby which mea the points where you focallofmy profesional sketch then Tlayin a sepia tone to use as can ypcaly ee the steal structure projets. Iscaninapencil aground the base colour you tone he under the skin cheekbones, collarbones and soon. ls generally recommend, that people be somewhat familiar with has aad so ees apnea concept ‘ypicaly have the hanes edges ‘om the foes that ave in ight, and the Arawingand impor itinto Photoshop. canvas wth) and then block my then sea mixof?ainterand Photoshop colour. use Pinter IX and Photoshop Photoshop for most ofthe intial black- C4, bat you could get similares Jnana exely ork plus some fina veaks, ith most versions ofboth programs. and Painter formost ofthe aerblending, recommend using Wacom table for and dealing work 130 shoot digital painting ike this Ihave a Graphire sofest on forms that arin shadow. [Photographie references offabricand the from many version ago, bt you can use Thiereplictes the way that heeye ‘ain characters pose. ‘hater tablet yout have at home, perceives form, Sketch __. Start form rendering careful hile ding thisnitial blockein to keepa dear value distinction between areas flight and aeasof shadow, This wil keep the painting from coming muddy ater ona ad detail Taso photograph some referenarsto keep ny lighting reasonably accurate to how itwraps around forms. strony recommend geting photo light for doing this, because is been one of my best artsticinvestmens, . reat a Tay Tetch set of thumbnails, clean them up a bitin Pair withthe Thick and'Thin Pen tool and then choose ane Tuo a sketch with an HB pencil and paper and scan tina 300 PL Afterabit of Levee tweaking to gst the white of the paper looking really white and settngthe sketch asa Multiply layerin Photoshop, Fm seat star painting ial pail seta boven, sepia tne on alayer : beneath my sketch. [ind that workingon warn grind witha middle vale ils ef esults fr me. Cool colours look good overt, and iS much easier to ‘maintain god contrat ifyou start with something break up the white All ny inl blckin dene with har round brush in Photoshop generally do 2 few quik colour studies for various times of day and lighting situations to 2 Find the best slution| Traditional to digitalMake digital look traditional | ( . b aTraditional to digital LEA RN THE SECRET TO PAINTING SKIN Do your fantasy characters suffer from bad skin? Then it’s a good job Anne Pogoda)is on hand to remedy this unfortunate situation. ‘WORKSHOP BRUSHES PROFILE een ey eng Peer reeee rey eee rT ee oes Seen een ter eer en rey ete eee) pe rreee ne ead See ee eee ee) Se etn ett een eee ee ae Gee eerreuret en a oan Pn ee OT pent tet err es ete eet ee eee tetas eee ea cee Tet eee pee ee een ee ee ee ie) eee ees es re et ee ee ee ear enna a ee em ene eae ae Peeneer ens | figure may ook like. Thisalso helps me to See ee ee eee ee ee te a ee es eee) [perenne eet eee es peo eee ee nd eee een) irene cee ree toner keene eee See estan areas Pee eer ee ea Pere Enin ately | @pPefine the structure begin by blocking in rough iene ee ee ah ee eee ey See ac oe eee eee er cere ele tee eet eens eee tara en en ae ee Peer ner eee ern ee ee ees See eee ees eee cee ea Set ee er tee et pores Peers ARut (iaeeee enero PSeeeee ree s peer eeen tr er Perera eee en rtd eee ee Teta eet eee ee ee een ee eens MERU Eu) fesremenntinentcy Peery etre) eres er ennecene st ty See eet ety peer ee ie rere coerce ese nay eee eee ee re ree ea erent ene DOs aati ad pe een net ee Peery ae eee eee eee | using dak grey with abigsoft brush, again sete around 30 percent Peet een ee ae erie ener emi ort ern ces A TW EE | OD iinsitunsretow io disshes so eee reer oea leaveitforno draw some strands of ees enn pcre teres Earn erent eee ee Sree es eee aresofiened, the eyebrows are darkened Seen ent ‘much clearer now is brighter around her eee er ere ent ce ee Werks palette... cece any ES er eo Loner aan Rte yr te Pe en te ee ere as eee te ee ene Reese ene etn Ns BI eked Smo ec ne ney Preteen reper ee ener cee es Pe eee eens er ee ene se ee ee eee ee ee eee elPainting skin Neu keer ed Tecreate an interesting colour Pee eng te eee ees Pee een ns ponte eet ee Peer aren ee een ee ponent Refining the colours pester entrees eee ee cerca ere ay Peer eer teers eee iene ns pee eee penetra ee ees eT Pen eer Ten) eee eats Pee ee ey eT Porenens | | 7 eet aS Rr fone soutien Poets eo ero sent een ese os Peer en Henrerny reece ag ee en tees Srey pee re eee Corr eects Perey avant er eles Pe tea nT acer an heen Pere ee ene ti Ace a acd ippingyour work ~ about once Poe tee teerteny ee ees feet et eres Sere ee ete ety Poe omen arene es ee eoTrery pee eed See eens eee ee er ere Pepe ene setts eee esas eee reas Sere ee eres erect act) eee ts eee ee bbutyoucan readjust the skin with Levels erred fiomenen tein Cen eee er ens Seen any ere een oe ets eet The Eraser can bea bighelp when eae Perr eee ey ee ene ere ets ere eee een ote eee ae con een et egg ee omens pene eters Piney Suey cover-ups Pac earenn eng foe er Sr eer eee eens peer emit erent aoe eee een Peete eee eee eee! — ooTraditional to digital Our panel of experts shows ways to paint parts of the ) human body with realism, dynamism and atmosphere ae Pundesstand h light skin bi | Bu Tunderstand how to paint light skin but struggle i Ws °.¢ with darker complextons. ‘What are the keys to understanding dark skin tones? econ) erent) Peery 4 Sra roomier Pr farremeise, amare oon a as erent pacer eePainting darker complexions ‘Ehoose your palette and blo ‘colaurs you use wil be depend background ~nere, musing the areen and pale grey of for my highlights. edi ackground as a nase Ye midtones I choose sareen very well + Gy retire your forms before you star D adding any strona highliants. and regpemoer that some 99r15 af the Oody wil nave aitferent pigments, The most obvious iscrepancies are the nals, oles of fee fang the insides of the line, whieh wil all be lighter and aincer than the rest of the sin. + Gy row vs time to ade the bold D riontignts. they don't fal any ‘ifferenciy on darker complexions, 0 ‘ifey're much brighte ne Skin. Bear in mind that different parts of ne face wil have different tones, so vou need to think about using a variety of lig My character portraits always look very dull and artificial, just like dolls. How can [ make them livelier? A isthe corect definition of the face. That’ done on two levels theoretical and technic, of which theory isthe most important Fin you have to deide on your character facial expression, It doeset mater whether its anextreme emotion like anger, sadness or happiness, or something more calm such as regret or apathy you should asap define every face with nee elements ees with eye, and the interaction ofthe moth (not ony the lips. buthe whole js) with the face muscles ~ focexample,griting the test wil tengthen the iawn, opening the mouth will cause the ‘checks to change their convert, and soon ‘As Taras techni pointers go there ae fe tees that can relly elp bring out that pack inyour characters. Hey if youte pong for ‘A realisticefet, concentrate your efforts on the focal point area (which isustaly the eye) You Detatngpavuy dtd eet atoataly ‘and this by adding an eye-catchingelement (cach a vivid make-up), of perhaps by some hoceugh detailing. In any css alays use the following tip: when detningte remember tad some cor spots top of to beak the mid.tone colour ‘But most important paint ina small ghee withthe Airbrush tol. This san neredilyeasy task, but can result in amazing eects ~ bese to compare the diferenc, IARE!X Presents Anatomy migTraditional to digital od ee IAC Remarc freckles but don’t know PN atl ig stl. Remembering oa these marks = whether Pi just afew ‘beauty mak’ orawholefce fl of freckle = isa simple etal thal ad exter mage and mee personaly to your charac ‘seme people have os of ery ght feckless only have onecr ta dark elds, Ando ne, feces can pest nyhere, not fat tea "When painting Gekls, you can usa combination of hae palntng and custom ruses to et a oak you need. Hand Paling ideal when you nly wan few feces ikea {mal ound brush daen then colour ally and use ow pac at fou wart ot offices this method ply becomes tedious quick solton sto urea castor Mtoshop brush mad up of several dos andse to Seater This instal ge the llusion of many Geklesando spss scr theskin However tay not lok convincing dose became the dot Boost on oe inane lak vay. To BH einisgomackin yur nornal Round I brosnand psi in some vary of your own. Feces and other mars onthe skin hep bring a ew level frealism to an image reales of the ’ aed Is there a good way to movement and speed. There are several ways you cn convey a character speed and ‘movement nan ilstration The most common example is stare there are specific ovement and positions within the subjet’s musculature and anatomy that eave a viewer withan ‘impression oust how fast alow that persons moving. A sense ofrhythm sas ‘seated alongthe contours ofa character's ‘ssa, and being able to exaggerate thisshythi can help emphasise the fel ‘of movement in an in Motion buris another tol you can use toon sped ad movement occurs when a eamera capes single image of Can you give me the lowdown. on foreshortening please? Fereshorteningisa technique } ] that uss perspectiveto create the illusion of thee dimensional dep in atwo- inensional space, The rls of perspective tellusthat objects appearsmalleras they recede nto space likevt, lng objects starto appear shorter asthey' ted toveanlor say fom the viewer You notice the fet used ot in comics when, saya hero has sft punchingtowards the waderand the fists Aran thie times the sizeof hs head, ‘hat’ hecas hs head seceding in space emphasise in my characters? | amoving object ower petiod of time. The | hestexamples of motion blarcanbe seen | im images sehen camera is used witha slows shuter speed and lng exposure | which creates recognisable streaking | effec on moving objects, Action lines are also an effective way of | cating sense of movement, as they tend | toda the viewers focal point frm one | area ofan image to another Comicbook | nd manga artists fequemy use ation lines 3s way of exaggerating sense of | speed and movement In elation wo the ist and his arm snow | aking up moch ess space nthe age | Reems weteviing mc ess ots | Siena and mass Patho des ur | iro artieatcuch unscely popordnst | SMa sen arson nas | shose mers in fray and ence | fon sragae pasting the teary of | fresortening in practic Vefound that | the bestwaytoleam bow keds || through observation and tons of practice | wth fe drawing ba there ae afer uk | Ieods that can helps gure out theArtist Q&A I acne painting skin tone Ba it's wise to use a turquoise shade. However, my results look awfully unnatural. What am I doing wrong? Marta replies ‘Ncommon mistake thatthevargueise ighligtsareto0 dhkoraplid with no prepara skintone basi. ‘Make your highlight shade lighter and more (blueish) ‘saturated than your mid-ione Donat pick anything oo dat, ‘oritwillereateabloe light source effec instead of fresh ‘skin highlight When you Blur highlights and milones together, youl get aslighly o— biuerversion ofourinial skin tone Applyiten avery low ‘opacity around theareasthat {you intend to highlight. Only —— Destinations @arieoetabhesn gesgsese Artist's secret pAGDIAN FILTER POR SKETCHES Prezring ashi tnebassmears ‘inngysurmatans th he Fain See ask mses ‘when the assis ead should youapply the highlight onthe ‘most convex areas tating with owest transparency and. sadly mange brush | mone opaque as you move on. oe eesageaceesTraditional to digital What advice can you give me for painting my character's hair? ‘he most important thing to dos to think about the reneral appearance of he hat: hich shoul uit the ‘harater's fae Laleays sketch different haircuts before sezling on the right one. You mus aso consider the nature ofthe ai: ist curly or straight, thin orheaey? ‘Once you've decided on the hairtypeyou can establish the colour scheme always start witha midton it easier toad light | and shadows omtocane, Doni forget that hairs reflective = is affect by the ewiroament light and cleus, so dont esate toad, sy som touches of blue the characteris outside Regarding the details athe texture, Labaye pat the base swith a basi Hard Round Edge st toa lange amt This helps to achieve the general shape ofthe hat: Then I witch toacustom Spaced bush to work the ands and primary details Once happy with focus on specific areas and a details where appropriate. [never overworkand texture the entre head of ai. TheHow should I paint skin that What exactly is ‘sfumato’, and can you looks light and translucent? explain how to create it digitally? In oer to create the sumato technique Sfumato—meaning faded | digitally pay lose attention to how you Lay avay’inltalian ~isatechnique | owen yourcolours ad tones, Since heey Satimelesigetngtin | sna becatngavey blest ee Theta ln i scheme Sins tanluenlgesefpaminenkre zeae | slog theo eur ou KE oe eyaubieiontiominoncanfeta | sats ols tee at Ee taleasom enero To clen te eoe Thectnsionarsoslgiiatty, | tush nPop tp eu BY i srg tnacndin yoo me traesetesmoeyeipetetetalny | ne isc ‘Mie lee ATecontusel ae As vying pac four Se Th tp undetand ho th iom al Stimttattcerbeciederensey | bigebesvalominihebeansron | yume ha dnseopost ona ola chs thghananhioy anfeoneefte” | stingeeanhlpyuteepeonrtathe | penpel andere uel ev pl sratftbatinoynpaining cha | smoutotpan er andasoasyouin | Bewnorad makeup eahatom Theat part he Teonavedaviniokonatia wee | Wjeimyetretousinbalscacanl sounding the bane ten hes created using this technique subtle mann. Transicent skin exact the same: you need to play with saturated clear sich as orange, ed or elo osm the {hinness ofthe skin, to achieve the ight effect. So dont be afraid ous those tones just ad them on a separate layer to seeifthey wore ar nat, Can you help me make my colour shading varied, so it looks realistic? WW SY ik) = y q y any surface consistent togeleyour Eyedroppertool (Alton PC, | stronger colours and desis with ier Option on Mac, hilethe Brush wolis | brushes where necessary Toad extra ie «sg antl om iin there | wats fr sane Joumiph sea 1 blending In Photoshop star ith a singe ‘olor somesshere inthe mdlevalie rangefthe abject Ont otatnat | colour adda highlight and shadow estou | keeping the dretionofyourlightsourcein | Sab ‘ind. T blend between the three shades, Using ow flow or opacity, brush cverthe | crosehatch pater to suggest a weiner hard edges ofeach shade-Onceyou have | paint ovrareas with background colours thebbasiethe colours blended, add rosuggestsheeress IMAHME!X Presents Anatomy ExTraditional to digital How do I paint noses with different angles and shapes? Stactbyvisualisng the nose asa 3D objet that casts shadovrs, Aewel ats anatomy, many of the shapes ‘wethinkf wen we imagines nose are crested by shadows that givefrm tothe nose sl Its simples form, the nose triangular block thats wie in theback and apes towards the roa, You can ‘model te determine where the majo cast shadows wil fl sch itsbridge would change shape fom straight to angled 38 the head tums, Ofcourse, noses dont have sharp angles, soe have o imagine the tp ofthe nose as being mae like a sphere and the bide ikea elindr when shading ‘When pain the nose keep these thingsin mind. tart ‘with a linedraseingon 3 lt skin tone. Hearing mind she _psomxtric shapes wee already discussed, spy your Trashstrokes flloingthe contours Some noses ate shiny and so they often pick upcolou rom the surrounding enviconment. Reserve the lightest colour onthe skin ofthe face forthe highligh on the nose raster 2 bis Bia &c% Presents Anatomy Can you clarify what ‘chiaroscuro’ means? creer ee ee ree Coeey ener ee ete ts Seon! What are the best brushes to doodle with digitally? ike sketching with pencil ‘and simple and you snout petain he desired effect light beige tone to give tne overall, | imagea lovely 5 of adigi soft tnt. watercolour.Traditional to digital How can I paint and convey emotion in eyes? Mine always look dead and flat. ‘ Defining he shape ofthe eye iethe fit step creating ston. st by manplating the way the curve ad how ‘much ofthe ies and pupil showing, you can porttay anearinfine range of “expresions, recommend cresting sketches ‘of youtroun eesin a minor, or tsing frends ive references to really learn hove the muscles inthe face aft the eyes, To gve several examples of how diffrent cemtionsin eyes might lookin sketch form l start witha neutral relaxed shape Foran eacited, surprised or stated ‘expression curve the upper lids inc almost a perfect semi-cire levingsome ofthe ‘white ofthe eye between thers and the upperlid, Ae general ule, the more white that shoves awe the irs area, the more ‘willy intense dhe oak will be Fora cunning oc deceitful gave, bing the upperlid dawn to aound he tp ofthe pol, and bring the lower id upto cover putt ofthe es. This narrow almond shape suggests the eve muscles are being, PeoperneS a HS (@®» tightened, which could be representative ‘of heavy thought or strain Fora tnd, disappointed or sad expression, tr both ees sen tse the outside ofthe face. The doenivard angle suggests the tightening ofthe muscles betwen the pebroun, hich is characteristic of wony and woe Then there’ the cheer smile in which the chek muscles force the eye’ er ad upward to engufthe lower part of the ris Fora more excited smile curve the upper Tid more dramatically. Beyond shape there are couple ores to making eyes capture your viewer's attention. Mos people aresubconsciously Ture in by anger ees, so one wat grab tention io enlange them slighty Most people dont nti when theyre ony tiny ‘itigger. In sorrowful scenes you might ad some teas poling up oF some redness inthevshitesof the eyeball Forimensy, keep the colourin the iris wey light ‘opposite he highlight, 28 thiscan work to ‘ald boldness to even very datkeyes, Eactions ~wevreat m= - 6aecoy canning ent - PS COA Oe Reread proportions in profile? Neer vr sep ter sey ran rer Por erer reer creer ennn yoy enn x on curs Sere ae Sree trent reer Srey oerArtist Q&A Question How can I introduce a textured, atmospheric effect into my digital art? Answer Jeremy replies A Teesesownlwaetoadd | When teonetoxametin tees towallcking sina { youcanitcaly ase whtoeyou ana i ‘yourdigtal wrk. approach | longasit ison yourseanner, Most ty textures in two ways: using, | sticwith traditional things such as kd arangeofbrishstoketechniquesand—|_grainy papers, ink and satercole ‘overlaying scanned textures | splices, charcoal ubs, messy alc Mastafthe ime, use2 Hard Round | brushstrokes andso on, Once scanned in, brush, with Shapeand Opacity dynamics | you can go to toen messing with layer set Presse Sensitiviyand a litle Dual | modes and opacities. Even iyouve dane Tash action. never use blurry brushes to | thisa million ines. thisstage will aways ‘ender forms because they always justlook | be experimental co some degree 100 ‘igtafarme.Hayerbrush strokes | Sometimes like to invert the ayer and coverthe top ofeach otherandcolourpick | set the layer met Screen forsome ‘theovelapped coloursas 1 gousing the Fye | lighterspecingandgranines. This can Dropper ool. This produces nice ratient | add alot of atmosphere toa pamting whilstllallowingthebrisharokesto | because youcan develop pleasing eects ‘ow through | ohatemulte smoke and dst meet OIA. * seudiaedsersecesecee Sacer eo Artist's RING CONSCIOUS OF YOUR. EDGES +] vrer creating textures itn natural media, asc soqirselt 's going to la¥ on top of the image asa faux surface texture, or wil 90 used as a special effect, ike smoke? Play witn wet and dry ‘palication of ink, use vine and compressed charcoal for different levels of intensity. a {90 wild with some acrylic aa Organise them into a collection for use in future pieces, ‘Overlaving scanned textures is one of the last (of a painting for me layer mades t0 see what looks ‘9004. Change the layer’s Hue/ Saturation sof won't just 98 black and write, and! the layer Opacity to add believab ne texture. end uo wi or so texture layers, but keep them fairly subtle. Ores eee you want to praduee an Interesting effect in wnich thfatexcure is lignter than your infage, select tne texture layer and chek Image>Adjustmants> Invert This will urn your sean Select a square portion of 8 ee séan wita the Marquee tool, layer mode co Screen or Color Define Brush Preset Linear Dodge. Adjust Levels add your selection and Opacity to your ling, This brush palette < * can give you anettect of smoke | ai fr dust, as well as enhance the z ‘and open your Brush Presets 0 adjust Shane Dynamics,Website TAKE A BREAK AND VISIT www.imaginefx.com limiasimielxFANTASY&)SCL-FI DIGITAL ART The linagineEX shop You can buy ImagineFX in print, for your computer, or iPad, Android and nook tablets. We also offer a selection of apps and special issues! illustrayer ‘PAGES OF WORKSHOPS, 85) Anatomy: Volume 1 f you want a print back issue, only the previous six (below) are available. fe provide a much larger back catalogue with our digital editions* Issue 99 September 2013 | Issue 100 October 2013 —— es Fantasy Illustrator Comic Artist issue 101 November 2013, To celebrate Maaic: The Cur bursper toot > Let ours farts tale Eateringls 200 aniversary sue looks. Betnday we taleto Some amazing cara artite, such 9 Jason {heres countdown of youri00 areatest artists Stalitiner review of plus workshaps am dak brooding seane Issue 102 December 2013 Peedlto break ntashe Bae Kena ‘pathic creation | Stucia St Friends Studs | Issue 104 January 2014 | i PPE tre'winnors ofthis veor's Visit http://beta.imaginefx.com/shopNo matter your level, it's important to know and arene Tem tees oem ACK M TILA Ren eo Cet nRO Senin eM ETC Nene atiroetc Uri workshops, the best professional artists in the world share the essential techniques you need to fey eUKem I CenCan anim liM dem eee TiMprerey a aera natal