Professional Documents
Culture Documents
Interview
Markus Lovadina
Articles
Sketchbook of
Sean Andrew Murray
The Gallery
Dennis Chan,
Jordi Gonzalez,
plus more!
NEW!
This brand new series looks at designing vehicles from another world.
Matt Tkocz is first up, as he paints the Speeder.
Residential Architecture
Gerhard Mozsi brings us the second part of the Designing New Worlds
series, looking at the architecture of an alien planet.
The Seaport
Contents
Everything you
need in order to
get better is out
there. You can
learn a lot just
by taking a walk
outside.
Editorial
Contents
Interview
Markus Lovadina
Articles
Sketchbook of
Sean Andrew Murray
The Gallery
Dennis Chan,
Jordi Gonzalez,
plus more!
006
Creative director and freelance concept artist/illustrator Markus Lovadina takes the time to talk to us about his background
in art, the projects he has worked on, his influences and lots more in this months exciting interview!
The Gallery
024
Residential Architecture
038
Gerhard Mozsi brings us the second part of the Designing New Worlds
series, looking at the architecture of an alien planet.
The Seaport
Sketchbook
016
Markus Lovadina
046
The ability to sketch and render vehicles is an important asset in the field of concept design. In this tutorial series each artist has been given a brief description of
a possible vehicle, which they will approach like a games brief to demonstrate the techniques used when creating a vehicle concept.
This Issue Speeder March Issue 087 Deforestation April Issue 088 Personnel Carrier May Issue 089 Fire Truck
The Seaport
054
064
DESIGNING
N E20% W O R L D S
W
A two part tutorial in which our talented artist demonstrates techniques and processes to paint and form the core structure to building a detailed scene.
Discount Code
Games and films are made up of many different features such as characters, environments and vehicles, and it is important that all these elements work together
to demonstrate a consistent visual language and therefore create a believable environment and society to engage the audience. In this series our artists will take a
comprehensive look at creating a new world from a concept perspective, and investigate the processes and techniques that can be used to create all the major features of a
Brand new in this issue, is the first part of our Off-World Vehicle
game or film.
072
Kitchen Killer
brushes to quickly add cracks, dirt and scratches to textures or images, or use them to paint an underlying texture such as
skin, cloth, leather and metal to a section of a painting. In this tutorial series our artists will show us how to create different
custom brushes to texture a character. This will involve them starting with a basic un-textured character that they have
Arises
designed, and then demonstrating how to create brushes to add areas of texture and detail.
080
About Us
088
h the steps
talks throug
In this
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and the
tchaya
rat Sumu
Killer.
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Kitchen
s Makin
his image
month
create
used to
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techniques
This month we feature: Simon Weaner | Dennis Chan | Nicholas Hong | Hani Troudi | Douah Badr
Sergey Musin | Jordi Gonzalez | Mohammad Algalad | Fuad Ghaderi | Kazuhiro Oya
www.3dcreativemag.com, www.2dartistmag.com all physical books, ebooks, emags, video content, texture
libraries and any future releases may not be reproduced in any form or by any means, without the prior
written consent of the publisher.
Editor
Jess SerjentTipping
Lead Designer
Chris Perrins
Layout
Az Pishneshin
Matthew Lewis
Layla Khani
Content
Richard Tilbury
Jess SerjentTipping
Proofing
Jo Hargreaves
Marketing
Emma Handley
Free Stuff!
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Magazine!
feature in this magazine, follow this handy little guide on how to set
up your PDF reader!
Interview
Markus Lovadina
Articles
Sketchbook of
Sean Andrew Murray
The Gallery
Dennis Chan,
Jordi Gonzalez,
plus more!
NEW!
This brand new series looks at designing vehicles from another world.
Matt Tkocz is first up, as he paints the Speeder.
Residential Architecture
Gerhard Mozsi brings us the second part of the Designing New Worlds
series, looking at the architecture of an alien planet.
The Seaport
Contributors
Everything you
need in order
Markusto
get better is out
there. You can
Lovadina
learn a lot just
by taking a walk
Markus Lovadina (malo) is
outside.
Contributing Artists
Every month many artists from around the world contribute to 3DCreative
http://malosart.blogspot.de/
and 2DArtist magazines. Here you can find out a bit more about them!
malo74@gmx.de
Gerhard
Mozsi
Sean Andrew
Murray
in art, the projects he has worked on, his influences and lots more in this months exciting interview!
http://www.seanandrewmurray.com
sean@seanandrewmurray.com
I think architecture can be
designed in the same way
that characters are. Buildings
have personalities, stories,
and quirks, just like people.
Ignacio
Bazan Lazcano
Chase
Toole
NEW WORLDS
like for Argentina to become well-known for its artistic
talent.
chasetoole@gmail.com
http://www.ignaciobazanart.com/
i.bazanlazcano@gmail.com
A custom brush can add that special texture or help speed up your workflow. You can use a combination of custom
brushes to quickly add cracks, dirt and scratches to textures or images, or use them to paint an underlying texture such as
www.2dartistmag.com
page 4
skin, cloth, leather and metal to a section of a painting. In this tutorial series our artists will show us how to create different
custom brushes to texture a character. This will involve them starting with a basic un-textured character that they have
designed, and
Games and films are made up of many different features such as characters, environments and vehicles, and it is important then demonstrating howelements to add areas of texture and detail.
that all these to create brushes work together
to demonstrate a consistent visual language and therefore create a believable environment and society to engage the audience. In this series our artists will take a
comprehensive look at creating a new world from a concept perspective, and investigate the processes and techniques that can be used to create all the major features of a
Contributors
Aekkarat
Sumutchaya
Aekkarat Sumutchaya is
currently working as an Art
Director and also a co-founder
of ANIMANIA, an animation
studio located in Bangkok,
Thailand. Aekkarat is inspired by his lifestyle,
experimenting and by the environment. He then
layers these ideas with stories, personal opinions,
webang111@gmail.com
e took
steps h
gh the
s throu
lk
haya ta
umutc
karat S
r.
Of Aek
en Kille
e Kitch
Making
is imag
onths
h
m
create
In this
sed to
es he u
chniqu
te
e
and th
www.2dartistmag.com
page 5
Everything you
need in order to
get better is out
there. You can
learn a lot just
by taking a walk
outside.
Creative director and freelance concept artist/illustrator Markus Lovadina takes the time to talk to us about his background
in art, the projects he has worked on, his influences and lots more in this months exciting interview!
www.2dartistmag.com
page 7
Interview
www.2dartistmag.com
page 8
Markus Lovadina
the moment?
Photoshop.
www.2dartistmag.com
page 9
Interview
www.2dartistmag.com
page 10
Markus Lovadina
www.2dartistmag.com
page 11
Interview
Markus Lovadina
eyes, etc.
www.2dartistmag.com
page 12
interesting or appealing.
in the future?
definitely landscapes!
Markus Lovadina
Web: http://malosart.blogspot.de/
Email: malo74@gmx.de
www.2dartistmag.com
page 13
www.2dartistmag.com
page 17
Sketchbook
comes from a childhood fascination with trains and tractors. They seem
www.2dartistmag.com
page 20
Sketchbook
(Fig.09).
www.2dartistmag.com
page 22
roof shapes. Not every roof is the same, especially in a city where
many different styles of architecture overlap (Fig.12).
Email: sean@seanandrewmurray.com
This month we feature: Simon Weaner | Dennis Chan | Nicholas Hong | Hani Troudi | Douah Badr
Sergey Musin | Jordi Gonzalez | Mohammad Algalad | Fuad Ghaderi | Kazuhiro Oya
Acontius
Fuad Ghaderi
fuadghaderi@yahoo.com
(Right)
Robbery
Simon Weaner
http://simonweaner.daportfolio.com
simonweaner@gmail.com
(Below)
www.2dartistmag.com
page 25
Decisive Battle
Kazuhiro Oya
http://kazuhiro-oya.com
ooya.kazuhiro@hotmail.com
Born To Be Wild!
Jordi Gonzalez
http://www.jordigart.blogspot.com
jordigart@gmail.com
Snow Day
Nick Hong
http://nickong1205.blogspot.com
nickong1205@gmail.com
Unique Beauty
Mohammad Algalad
http://algaladart.blogspot.com/
elgalad_mail@yahoo.com
Patrolling
Dennis Chan
http://www.dchan.se
dchan.art@gmail.com
Bad Pinup
Hani Troudi
http://www.behance.net/hanitroudi
hanitroudi@gmail.com
Back Home
10 of the Best
The Gallery
Mining Started
Douah Badr
Sergey Musin
http://douahbadr.blogspot.com
http://www.samfx.com
badr_douah@yahoo.fr
samfxi@gmail.com
(Above)
(Below)
www.2dartistmag.com
page 36
The ability to sketch and render vehicles is an important asset in the field of concept design. In this tutorial series each artist has been given a brief description of
a possible vehicle, which they will approach like a games brief to demonstrate the techniques used when creating a vehicle concept.
This Issue
Speeder
Deforestation
Personnel Carrier
Fire Truck
sketching mindlessly.
Introduction
mind.
Patience
Decisions
Getting Started
suffering!
www.2dartistmag.com
page 39
Chapter 01 Speeder
Context
Because nothing in the world exists isolated
on a white background, I tried to ground my
design in some kind of environment early on.
The chosen context would hopefully inform
Translation
explain everything.
www.2dartistmag.com
page 40
Shapes
When attempting to translate a rough sketch
into a legit design, I was taught to deal with it
in abstract shapes first. By this I mean that I
try not to think about what it is Im drawing, but
Volumes
well together.
design.
permanently (Fig.05).
Believability
environments) (Fig.04).
www.2dartistmag.com
page 41
Chapter 01 Speeder
on (Fig.07).
difference (Fig.06).
(Fig.08).
Approval
work.
www.2dartistmag.com
page 42
Orthographic
answering to.
www.2dartistmag.com
page 43
Matt Tkocz
Web: http://www.mattmatters.com/
Email: matt@mattmatters.com
DESIGNING
NEW WORLDS
Games and films are made up of many different features such as characters, environments and vehicles, and it is important that all these elements work together
to demonstrate a consistent visual language and therefore create a believable environment and society to engage the audience. In this series our artists will take a
comprehensive look at creating a new world from a concept perspective, and investigate the processes and techniques that can be used to create all the major features of a
game or film.
The Introduction
The focus of this tutorial will be on creating a
residential landscape for this fledgling world. As
you may recall, we are attempting to develop a
world where the time is similar to our present day,
but where a Mongol empire based on the hordes of
Genghis Khan now dominates the world.
although it remains a critical part of my process
(Fig.02).
The Concept
The Palette
A painting teacher once told me that a painting only
The Start
www.2dartistmag.com
page 47
The Light
The light is where the real drama comes into
play; specifically it is how you nurture and direct
the drama within your work. The color palette
and the way you direct the light in your image will
determine the mood, as well as granting you scale
and depth; two critical features in any landscape
www.2dartistmag.com
page 48
look (Fig.05).
(Fig.06).
lighting conditions.
www.2dartistmag.com
page 49
The Render
The color of the light is what is going to determine
the natural palette, hence my earlier statement
that the light and palette are hard to differentiate.
The color of the light is warm, so we know that
the shadow colors are going to be cool (Fig.07).
This is the basic premise that is going to guide
our render. Where we think the light of the sun is
going to hit an object, its going to be warm and the
corresponding shadow shall be cool.
Furthermore we also know that the greatest
point of contrast will be where the light meets
the shadow, or simply put, where planes of
differing value meet. Clearly these rules are fluid
and are dependent on the nature of the shape
to be rendered and the complexity required.
For instance, the level of textural intensity in
conjunction with the color and its respective value,
add further complexity to our image (Fig.08).
We add depth to our image via atmospheric
perspective. This is how we simulate both depth
and distance (a lot of this would be considered in
the actual composition, but its not the focus of this
particular tutorial).
The idea is that atmosphere is present between
www.2dartistmag.com
page 50
want to retain the light detail and get rid of the black
or dark values.
Gerhard Mozsi
Web: http://www.gerhardmozsi.com/
Email: contact@gerhardmozsi.com
www.2dartistmag.com
page 51
SynthEyes
as
ling, panoram
mode
ools
an plates, set
Extraction: cle
d Calibration T
is an
Texture
ns Grid Analys
d Le
New Advance
youtube.com/SynthEyesHQ
A two part tutorial in which our talented artist demonstrates techniques and processes to paint and form the core structure to building a detailed scene.
Color
For illustrators, painting a picture is often the
hardest part of the work, as they are afraid of
ruining the drawing when coloring it. I always
say that the easiest thing is to learn how to color
and the most important thing is to learn how
to draw. Each element in nature has a default
color, which I will name local. Apples are red,
trees are green and brown, and the sky is blue
(Fig.01).
When painting an object, we must take into
account its local color and add to it the base
or environment color. This base color will
interfere with the objects local color, producing
new mixes that will not only change it, but
help to enrich and integrate the object into the
environment. Therefore, even though the apple
www.2dartistmag.com
page 55
The Seaport
ship (Fig.04).
(Fig.05).
www.2dartistmag.com
page 56
www.2dartistmag.com
page 57
The Seaport
Digital Painting
For better handling of the color and to create
halftones for our digital painting, use the Color
Picker + Alt. Once we have established the
basis of color, in this case the gray blue metal
that covers the ship, we pick up the same color
with the Eyedropper tool. By using the brush
with the opacity at 70%, we will be able to do the
halftone color base, while we add new colors
and mix them with that basic color (Fig.09).
There are very good programs that emulate a
colors assembly process and its mixture, as if
we were working with pigments.
My recommendation is to work with a good
digital tablet that has high sensitivity in the tip
and, at the same time, set the brush properly.
Brush Management
There are several ways to improve work by
creating your own brushes, intelligently using
their settings and not abusing the resources.
Early on in the painting process, many digital
artists typically use their brush with very little
11).
To Tell a Story
(Fig.12).
www.2dartistmag.com
page 58
Intelligent Detailing
Finally, to display the image better, I recommend
detailing the most important issues. What would
be the most important? What we want to show,
what summarizes the idea or what generates
the greatest impact from afar. From this stage
I began to work zoomed in to 50 or 70 percent,
taking regular intervals to see the whole picture
details (Fig.15).
Email: i.bazanlazcano@gmail.com
www.2dartistmag.com
page 59
! n
W ciptio
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BL loa
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In this two volume series, Scott Patton shows the processes he uses to
create a 3D character for feature films. The first volume explores
Patton's fast and efficient method for concept sculpting, skipping the
2D sketch phase all together and designing the character entirely
within ZBrush. He covers everything from blocking out the forms
and fleshing out the muscles, to adding props, detailing with alphas
and posing the character. The second volume covers methods for
creating a final color rendering using ZBrush and Photoshop. Patton
cr
shows how he squeezes the most from ZBrushs powerful renderer to
create both a wide and close-up shot of the character. He then shares
creative Photoshop tips and tricks to quickly get to a finished piece of
concept art from the ZBrush renders, covering topics such as adding
and refining skin texture, hair, eyes, shadows and scars. Patton also
discusses how to create backgrounds that enhance the character and
overall composition.
ov
www.thegnomonworkshop.com
Wonderland | Ken Kaiser, Animator | Veronica Marino, Compositor | Phan Wiantrakoon, Animator | John Iskandar, Visual Effects Artist | Jacob Curtis Miller, Digital Artist | Geeta Basantani, Digital Matte Painter | Andrew Lawson, Charac
nimator | Assassins Creed: Brotherhood Zack Mathew, Animator | Wilson Mui, Team Lead Animation | Avatar | Michael Cozens, Lead Animator | Tamir Diab, Technical Director | Patrick Kalyn, Animator | Chrystia Siolkowsky, Motion Edito
en Sanders, Animator | Alfredo Luzardo, Layout Technical Director | Aaron Gilman, Character Animator | Jami Gigot, Texture Artist | Bioshock 2 | Jacob Palmer, Animator | Bobs Burgers | Tammy Dubinsky, Animator | Nathan Keane, Animat
ffects | Jake Biberdorf, Animation Supervisor | Coraline Brian Demoskoff, Animator | The Dark Knight | Gia Sadhwani, Digital Effects Artist | Freddy Chavez, DMR Compositor | Pietro Ponti, Lead CG Lighting Artist | Dead Rising 2 | Fredr
ass, Animator | Dead Space 2 | Wayne Gonsalves, Environment Art Lead | Despicable Me | Justine Codron, Lighter | District 9 | Neill Blomkamp, Director/Co-Writer | Shawn Walsh, Visual Effects Executive Producer | Samson Wong, Matchmo
rtist | Robert Bourgeault, Lighting Lead | Richard Sur, Lighting Technical Director | Paul Copeland, Visual Effects Artist | Julianna Kolakis, Creature Texture Painter | Jelmer Boskma, Modeler | James Stewart, Creature Supervisor | De
tevenson, Matchmove Lead | Drag Me to Hell | Thomas Schelesny, Visual Effects Supervisor | Dragon Age II | Nathan Zufelt, Senior Cinematic Animator | Family Guy | Michael Loya, Storyboard Artist Fast Five Rommel Shamoun, Composito
nthony Di Ninno, Animator | Fringe | Bob White, Visual Effects Artist | Scott Dewis, CGI Supervisor | Futurama | Claudia Keene, Prop Designer | Gears of War 2 | Scott Dossett, Senior Animator | Halo: Reach | David Helsby, Animator | Matth
urner, 3D Artist | Rajeev Nattam, 3D Artist | Happy Tree Friends | Brad Rau, Animator | Harry Potter and the Half-Blood Prince | Pietro Ponti, TD Generalist | Gia Sadhwani, Digital Effects Artist | Teh-wei Yeh, Lighting TD | Kieran Tether, Dig
rtist | Harry Mukhopadhyay, Lead Effects Technical Director | Harry Potter and the Deathly Hallows Part 1 | Henry South, Digital Artist | Horton Hears a Who! | Brent Wong, Lighting Technical Director | Arun Ram-Mohan, Lighting Techni
Director | How to Train Your Dragon | Tyson Erze, Visual Effects Artist | Jiyoung Lee, Texture Artist | Fredrik Nilsson, Animator | The Illusionist | Yann Tremblay, Senior Animator | Iron Man 2 | Teh-wei Yeh, Digital Artist | Stephen King, Anima
Simeon Bassett, CG Sequence Supervisor | Nicholas Markel, Previsualization Supervisor | Kieran Tether, Digital Artist | Joshua Herrig, Lead Lighting Artist/Look Dev Artist | Ben Sanders, Animator | Allen Holbrook, Animator | King of the H
Michael Loya, Director | LA Noire | Upinder Dhaliwal, Motion Capture Data Editor/Cinematics Editor | Legend of the Guardians: The Owls of GaHoole | Tim Rowlandson, Animator | Mars Needs Moms! | Shraga Weiss, Character Modeller | K
hantraine, Motion Capture Technical Director | Joel Pennington, Motion Capture Technical Director | Mass Effect 2 | Kolby Jukes, Principal Artist | Brian Sum, Concept Artist | Bartek Kujbida, Senior Cinematics Animator | Megamind | R
Naamani, Animator/Character Lead | ModNation Racers | Eric Gabas, Senior Environment Artist | Monsters vs. Aliens | Jiyoung Lee, Texture Artist | Night at the Museum: Battle of the Smithsonian | Nicholas Augello, Technical Animator | Ad
aniv, Animation Supervisor | Zeke Norton, Previsualization Supervisor | Rex Ahn, Pre-Visualization Lead | Joshua Herrig, Lead Lighter | Ben Sanders, Supervising Animator | Ai Saimoto, Lighting Lead | Percy Jackson & The Olympians: T
ightning Thief | Dave Mah, Animator | Ryan Lim, Concept & Creature Artist | Richard Sur, Lighting TD | Julien Stuart-Smith, Look Development | Jeffrey Burt, Lead Layout Artist | Piranha | Lon Molnar, Visual Effects Production Executiv
hristopher Buzon, Tracking/Lighting | The Princess and the Frog | Claudia Keene, Key Assistant Animator | Rango | Cedric Lo, Lead Animator | Scott Jones, Creature Lead | Kieran Tether, Digital Artist Red Dead Redemption Josh Lange, Sen
nimator Rio Graham Silva, Character Animator | Rock Band 3 | Mike Krentz, Artist | Scott Pilgrim vs. the World | Joel Meire, Animator | Shrek Forever After | Javier Solsona, Character Technical Director | Tom Piedmont, Rotoscoper | SpongeB
quarePants | Andrew Overtoom, Animation Director | Star Trek | Teh-wei Yeh, Digital Artist | Nicholas Markel, Previsualization Supervisor | Kieran Tether, Digital Artist | Aruna Inversin, Digital Compositor | Star Wars: The Clone Wars | KahJe
heong, Cloth Simulation Artist | Jim Hatibarua, Animator | Ivy Ho, Lighting Technical Director | Cedric Lo, Animation Supervisor | Brandon Chien-Chia Huang, Animator | Starcraft II: Wings of Liberty | Alvaro Buendia, Cinematic Artist | Suc
unch | Ben Dishart, Senior Surfacing Artist | Jeff Tetzlaff, Model/Texture Lead | Tuba Yalcin, Effects Technical Director | Jeffrey Burt, Lead Layout Artist | Ferda Guray Ayaokur, Track/Matchmove Artist | Tangled | Lino DiSalvo, Supervising Anima
WATCHED A
BLOCKBUSTER LATELY?
THEN YOU'VE SEEN THE WORK OF VFS ANIMATION & VISUAL EFFECTS GRADS
ROLAND VALLET
ANIMATOR
ABEL VARGAS
GEOFFREY HANCOCK
ARTHUR LOBO
DIGITAL COMPOSITOR
ANIMATOR
SENIOR ANIMATOR
SENIOR RIGGER
THE AMAZING
SPIDER-MAN
ANIMATOR
ANIMATOR
COMPOSITOR
COMPOSITOR
JUANI GUIRALDES
TAMIR DIAB
SCOTT JONES
BORAE CHO
ARGO
THE HOBBIT:
AN UNEXPECTED
JOURNEY
ANIMATOR
EFFECTS ARTIST
ANIMATION SUPERVISOR
SENIOR ANIMATOR
JOHN WONG
JOSH LANGE
PREVISUALIZATION ARTIST
AMY LU
SENIOR ANIMATOR
CG SEQUENCE LEAD
KIERAN TETHER
PROMETHEUS
DIGITAL COMPOSITOR
BILL WATRAL
AARON GILMAN
ANIMATION SUPERVISOR
GIANCARLO D'ERCHIE
JUSTIN HAMMOND
JUNIOR COMPOSITOR
JUSTINE CODRON
CEDRIC LO
GIA SADHWANI
DIGITAL COMPOSITOR
ANIMATOR
DAPHNE DE JESUS
STEPHEN KING
SENIOR ANIMATOR
LEAD ANIMATOR
ROTO ARTIST
ROTO ARTIST
ROTO ARTIST
LOUIS COX
JAMIE BOWERS
TEXTURE ARTIST
COREY COATES
ADAM BRADLEY
DIGITAL ARTIST
PREVISUALIZATION SUPERVISOR
CHRYSTIA SIOLKOWSKY
JOSE YAPOR
THE AVENGERS
GENERALIST TD
ANDREW PARK
MATT WHEELER
COMPOSITOR
SANTHOSHI BALASUBRAMANIAN
NICHOLAS MARKEL
ROMMEL SHAMOUN
COMPOSITOR
LEAD ANIMATOR
JOOYONG LEE
EMANUELE BIGNONE
SAPTARSHI CHAKRABORTY
COMPOSITOR
DIGITAL COMPOSITOR
MIKE DHARNEY
MICHAEL PLOTNIKOV
PAINT/ROTO ARTIST
ANIMATOR
PHAN WIANTRAKOON
GIORGIO BERTOLONE
MARCELA A. SILVA
PAINT/ROTO ARTIST
ANDREW LAWSON
FRANK AKRONG
WRECK-IT RALPH
PAINT/ROTO ARTIST
MARY-MARGARET CONLEY
PREVIS ARTIST
BRAVE
JAMES ROBERTS
MATT WEAVER
DIGITAL PAINT ARTIST
ALEX BERSON
Jessica Chan, Animator | John Wong, Animator | Serguei Kalentchouk, Character TD | The Twilight Saga: Eclipse | Shawn Walsh, Visual Effects Executive Producer | Brian Harder, Creature Rigger | Veronica Marino, Matte Painter/ Composito
obert Bourgeault, Lighting Lead | Ori Ben-Shabat, Compositor | Jacob Curtis Miller, Lighting Artist | Derek Stevenson, Matchmove Lead | Thor | Daphne De Jesus, Roto/Paint Artist | Anna Tonrungroj, Roto/Paint Artist | Eric Petey, Animat
CG STUDENT
nd Rigging Lead | Rex Fang, Animator | Kristin Sedore, Senior Lighter | Toy Story 3 | Daniel Holland, Sets Artist | Tristan Ikuta, Simulation & Effects Artist | Bill Watral, Additional Simulation & Effects Artist | Transformers: Dark of the Moo
AWARDS
erguei Kalentchouk, Rigging Lead | Jooyong Lee, Roto/Paint Artist | TRON: Legacy | Craig Calvert, CG Supervisor | Brenda Li, Roto/Paint Artist | Jose Julian Karam Lopez, Digital Compositor | Christopher Ahrens, Lighting Artist | Alberto Lander
Digital Compositor | True Grit | Tom Piedmont, Roto/Paint Artist | Uncharted 2: Among Thieves | Mike Yosh, Lead Animator | Up | Bill Watral, Visual Effects Artist | WALL-E | Daniel Holland, Production Artist | Bill Watral, Effects Artist Mark Shir
ayout Artist | Warhammer 40,000: Dawn of War II | Nathan Hocken, Lead Animator | Ian Cumming, Senior Artist | Claire Roberts, Artist Christine Hubbard, Artist | Allan Dilks, Artist | Watchmen | Shawn Walsh, Visual Effects Supervisor | L
Molnar, Visual Effects Supervisor | Sean Lewkiw, Technical Head of 3D | Ty Duperron, Modeler | Pearl Hsu, 3D Artist Matthias Lowry, Digital Compositor | The Wolfman | Karin Mattsson, Animator | Joshua Herrig, Lighting Artist/Look Dev Ar
Zombieland | Mike Rhone, Visual Effects Artist to name a few. A small selection of VFS Animation & Visual Effects alumni credits include | 2012 | Zeke Norton, Previsualization Supervisor | Jamie Bowers, Texture Artist | Christine Peters
Digital Compositor | Anuj Patil, Senior Technical Director | Alice in Wonderland | Ken Kaiser, Animator | Veronica Marino, Compositor | Phan Wiantrakoon, Animator | John Iskandar, Visual Effects Artist | Jacob Curtis Miller, Digital Artist | Ge
asantani, Digital Matte Painter | Andrew Lawson, Character Animator | Assassins Creed: Brotherhood Zack Mathew, Animator | Wilson Mui, Team Lead Animation | Avatar | Michael Cozens, Lead Animator | Tamir Diab, Technical Directo
atrick Kalyn, Animator | Chrystia Siolkowsky, Motion Editor | Ben Sanders, Animator | Alfredo Luzardo, Layout Technical Director | Aaron Gilman, Character Animator | Jami Gigot, Texture Artist | Bioshock 2 | Jacob Palmer, Animator | Bo
2010, 2011
urgers | Tammy Dubinsky, Animator | Nathan Keane, Animation Effects | Jake Biberdorf, Animation Supervisor | Coraline Brian Demoskoff, Animator | The Dark Knight | Gia Sadhwani, Digital Effects Artist | Freddy Chavez, DMR Composit
ietro Ponti, Lead CG Lighting Artist | Dead Rising 2 | Fredrick Fass, Animator | Dead Space 2 | Wayne Gonsalves, Environment Art Lead | Despicable Me | Justine Codron, Lighter | District 9 | Neill Blomkamp, & 2012
Director/Co-Writer | Shawn Wal
isual Effects Executive Producer | Samson Wong, Matchmove Artist | Robert Bourgeault, Lighting Lead | Richard Sur, Lighting Technical Director | Paul Copeland, Visual Effects Artist | Julianna Kolakis, Creature Texture Painter | Jelmer Boskm
Modeler | James Stewart, Creature Supervisor | Derek Stevenson, Matchmove Lead | Drag Me to Hell | Thomas Schelesny, Visual Effects Supervisor | Dragon Age II | Nathan Zufelt, Senior Cinematic Animator | Family Guy | Michael Lo
toryboard Artist Fast Five Rommel Shamoun, Compositor | Anthony Di Ninno, Animator | Fringe | Bob White, Visual Effects Artist | Scott Dewis, CGI Supervisor | Futurama | Claudia Keene, Prop Designer | Gears of War 2 | Scott Dossett, Sen
SCHOOL
OF
THE YEAR
A custom brush can add that special texture or help speed up your workflow. You can use a combination of custom
brushes to quickly add cracks, dirt and scratches to textures or images, or use them to paint an underlying texture such as
skin, cloth, leather and metal to a section of a painting. In this tutorial series our artists will show us how to create different
custom brushes to texture a character. This will involve them starting with a basic un-textured character that they have
designed, and then demonstrating how to create brushes to add areas of texture and detail.
the fly.
accordingly.
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fit the way you paint. But the best advice I can
Chase Toole
Email: chasetoole@gmail.com
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Meet modo.
LayerPaint allows you to browse the gallery, interviews, news, tutorials and products all dedicated to 2D digital art. On top of that, we have
included a free custom brushes library that is available to all our LayerPaint audience.
We wish LayerPaint to be a definitive resource for digital painting, creating a friendly and educational environment that not only helps
budding and experienced CG artists alike, but also showcases some of the best computer generated artwork in the world.
LAYERPAINT.COM
FACEBOOK.COM/LAYERPAINT
TWITTER.COM/LAYER_PAINT
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Introduction
Sawasdee (Hello in Thai) guys! My name is
Aekkarat Sumachaya, and Im an art director
and also co-founder of ANIMANIA, an animation
studio located in Bangkok, Thailand.
In my early childhood, I admired and was
inspired by Akira Toriyama, the master behind
Dragon Ball. I am also inspired by my lifestyle,
by experimenting and by the environment. I
then layer ideas on top with stories, personal
opinions, and wild imagination. I hope people
will enjoy my work and get my message.
I had two words in mind when I started this
project: socialization and food. What makes us
socially accepted is being seen and being seen
is being recognized. Without food we would not
survive; our body needs fuel so that muscles
can move and the brain can think. Later we
can then create work that is being recognized.
These two words are the catalyst for design.
The story takes place at a restaurant and there
are four characters in the scene. Each character
has different specialties, skills and duties. In
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Making Of
Kitchen Killer
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Making Of
Aekkarat Sumutchaya
authentic or realistic.
Kitchen Killer
Web: http://aekkarat.blogspot.com/
Email: webang111@gmail.com
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Subscribe
Interviews
Martin Deschambault
Articles
Tutorials
Making of
Galleries
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Free Chapter
Arises
Software Used: Photoshop
Introduction
As a Senior Concept Artist on Guildwars 2 I
spent my time on a variety of exciting projects.
The piece in this article was actually created for
the Guildwars 2 cinematic. Often when I wasnt
designing props, architecture, or environments
I was tasked with creating paintings for the ingame cinematics. The creation of Guildwars 2
in-game cinematics consists of a multi-layered
painting created by the concept artist which is
then shipped over to the cinematics team. The
cinematic team would then use their insane
motion-graphic skills to create basically moving
paintings. Creating the cinematic paintings can
prove difficult at times because you can never
flatten your image. You have to maintain a
large number of layers that can later be moved
around by the cinematics team. Any sort of color
adjustment, contrast tweak or layer mode has to
be applied to each individual layer.
This specific piece was created for a set of three
different shots involving a massive dragon flying
over the land causing destruction in its wake. In
reality I made six full illustrations for about ten
seconds of screen time! Each shot had a before
and after state as the dragon passed through
the image. I was given a loose storyboard to set
me on the right path for this piece.
As with most of my work I never have a go-to
process that I use to create an image. This
keeps everything exploratory and allows me
to stumble upon happy accidents and new
techniques. For this piece I started by taking the
previous background layer from the painting I
did for the first shot in this sequence (Fig.01). I
white canvas.
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Levi Hopkins
Web: http://levihopkinsart.blogspot.co.uk/
Email: levimhopkins@hotmail.com
2.99
Matthew Burke
CG Artist
Art Class
Project Overview
by Robert Craig
Gallery
Gallery - 10 of the best
images from around
the world!
NEW!
Back by popular demand and within the pages of this months 3DCreative we
start off our all new series of ZBrush Speed Sculpts. Daniel Bystedt kicks things
off with some handy hints about the creation of his fantastic Oger creature.
Brand new this month, Camilo Duarte Franco begins his Character
Animation tutorial series with an in-depth look at the basic human walk.
This issue texturing and shaders are the main subject matters covered by
Arturo Garcia (3dsmax) and Renato Gonzalez Aguilante (Maya).
Andrew Finch brings us the penultimate chapter of his Unreal Games Engine
series, this time focusing on finalizing the lighting and adding details.
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