Professional Documents
Culture Documents
Interview
Martin Deschambault
Articles
Sketchbook of
Claudia Kleinheinz
The Gallery
Ferdinand Ladera,
Markus Lovadina,
plus more!
NEW!
Deforestation
The second part of our Off World Vehicles series sees Ling Yun take the
reins and produce this deforestation vehicle.
Costume Design
Contents
Editorial
Interview
as well some of the exciting projects he has worked on at one of the worlds top video game companies.
Articles
The Gallery
Sketchbook of
Claudia Kleinheinz
Ferdinand Ladera,
Markus Lovadina,
plus more!
NEW!
Contents
Ubisoft concept artist, Martin Deschambault, chats to us about his route into the CG industry, his personal project,
Martin Deschambault
Martin Deschambault
Sketchbook
016
The Gallery
026
The second part of our Off World Vehicles series sees Ling Yun take the
reins and produce this deforestation vehicle.
Costume Design
042
052
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
issue!
a possible vehicle, which they will approach like a games brief to demonstrate the techniques used when creating a vehicle concept.
February Issue 086 Speeder This Issue Deforestation April Issue 088 Personnel Carrier May Issue 089 Fire Truck
Costume Design
060
Creature Anatomy
Cyril Rolando takes us through the process behind his colorful image Dont Trash Your Dreams in
066
this months Making of. Cyril covers useful tips from the initial concept to the finishing touches.
DESIGNING
NEW WORLDS
Vinod Rams, which was created for our new three-part series:
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
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game or film.
072
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080
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About Us
series. In this series our artists will be approaching the given brief
This month we feature: Jon McCoy | DangMyLinh | Ferdinand Ladera | Florian de Gesincourt | nicolab
Evan Lee | Markus Lovadina | Khasis Lieb | Gabriel Wigren | Vanja Todoric
become broader in detail and function. With strong silhouettes, recognizable color schemes and distinct proportions in anatomy, it is still important to know the basics of
animal and human anatomy when designing these creatures. In this three part series talented concept artist Vinod Rams demonstrates how to use human anatomy as a
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basis for creature design, create a hybrid creature based on human and animal anatomy, and using real word things as a reference to designing a creature from scratch.
libraries and any future releases may not be reproduced in any form or by any means, without the prior
With the continual development of technology in video games and the wild imaginative storylines of films, the possibilities of what concept artists are able to produce
become broader in detail and function. With strong silhouettes, recognizable color schemes and distinct proportions in anatomy, it is still important to know the basics of
animal and human anatomy when designing these creatures. In this three part series talented concept artist Vinod Rams demonstrates how to use human anatomy as a
basis for creature design, create a hybrid creature based on human and animal anatomy, and using real word things as a reference to designing a creature from scratch.
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!
In this issue we also chat with Ubisoft concept artist Martin Deschambault (aka
the process behind his colorful image Dont Trash Your Dreams in this months
period. In this tutorial series each artist has been presented with a
Making Of.
To top off this exciting issue we have an inspiring gallery featuring artwork from
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Magazine!
Interview
Martin Deschambault
Articles
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Claudia Kleinheinz
The Gallery
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up your PDF reader!
NEW!
Deforestation
The second part of our Off World Vehicles series sees Ling Yun take the
reins and produce this deforestation vehicle.
Costume Design
Contributors
Claudia
Kleinheinz
Claudia Kleinheinz is an
Austrian animator and illustrator.
She has studied painting and
animation in Vienna, London
and the US, and has since
worked in Austria, Germany and New Zealand
on games, commercials and TV shows like Kung
Fu Panda, Penguins of Madagascar and Robot &
Contributing Artists
Every month many artists from around the world contribute to 3DCreative
and 2DArtist magazines. Here you can find out a bit more about them!
www.clouanimation.blogspot.com
c_kleinheinz@hotmail.com
contact: jess@3dtotal.com
Gerhard
Mozsi
David
Munoz Valezquez
digital sculptor.
munozvelazquez@gmail.com
Cyril
Rolando
Cyril Rolando is a freelance
2D artist based in Marseille,
France. Little by little he has
found his own style that he cant
really define; slightly fantasy,
melancholic and childish. Cyrils main goal is to have
a career in the art industry.
rolandocyr@gmail.com
www.2dartistmag.com
page 4
Ubisoft concept artist, Martin Deschambault, chats to us about his route into the CG industry, his personal project,
as well some of the exciting projects he has worked on at one of the worlds top video game companies.
I worked on a drawing
desk with good old fashion
tools: paper and pens. I did
not use any digital media.
www.2dartistmag.com
on the AC franchise.
lighting.
artist.
page 7
aspect.
elements.
www.2dartistmag.com
page 9
Interview
Martin Deschambault
www.2dartistmag.com
page 12
Interview
Martin Deschambault
brush work.
I have some basic composition guides I use, but
One thing that is particularly apparent in
Martin Deschambault
Web: http://www.dechambo.com
Email: m.dechambo@videotron.ca
interesting results.
www.2dartistmag.com
page 14
Sketchbook of
Claudia Kleinheinz
In Fig.01 I was looking into different kinds
of fungi growing on trees. I used watercolor
pencils and black pen on paper.
Here are some quick environment sketches
to explore the composition and shapes for
a personal project. I wanted to create a nice
feeling of scale for the scene where our hero
walks back to his hut, as well as creating
contrast with the vast openness and rocky
structures that give the eye some lines to
travel along (Fig.02).
www.2dartistmag.com
page 17
Sketchbook
Claudia Kleinheinz
www.2dartistmag.com
page 20
The Clownapillar: A carnivorous caterpillar that can flatten itself to the ground,
attracting insects with the red flowerlike hairs on his back. Once the insects come
close to his bright red nose, thinking its the biggest of the flowers; his long tongue
will shoot out and catch them (Fig.07).
Some critters I roughly sketched to come up with design ideas for my short film.
Keeping the sketches rough and loose helps you to try out many different shapes
and not fall in love too much with the individual drawings. I also found that not
using fancy paper helps me to relax and stay loose, and sometimes my
best sketches are on the scrappiest bits of paper (Fig.08).
www.2dartistmag.com
page 21
Sketchbook
Claudia Kleinheinz
I was looking into many different animals, taking parts and combining
he squashes it and decides to take it home for his pet to play with. I tried
them in different ways to find interesting shapes, while still keeping in mind
that each design would have to make sense and be able to move and
symmetry and taking away some of the cute attributes while still keeping
Fig.10 is an idea for a critter that I developed further. The basic idea
behind it is that it was once a cute, fluffy critter that has been uglified by
a forest creature, who then realizes that it makes squeaky noises when
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page 22
www.2dartistmag.com
page 23
(Fig.14).
Claudia Kleinheinz
Web: www.clouanimation.blogspot.com
Email: c_kleinheinz@hotmail.com
www.2dartistmag.com
page 25
This month we feature: Jon McCoy | DangMyLinh | Ferdinand Ladera | Florian de Gesincourt | nicolab
Kazuhiro Oya | Markus Lovadina | Khasis Lieb | Gabriel Wigren | Vanja Todoric
Mt. Alebur
Ferdinand Ladera
http://ferdinandladera.com/
digitalhadz@gmail.com
(Below)
www.2dartistmag.com
page 27
Sea Side
Markus Lovadina
http://malosart.blogspot.com/
malo74@gmx.de
ShangriLa
Kazuhiro Oya
http://kazuhiro-oya.com/
ooya.kazuhiro@hotmail.co.jp
Al Khalifa
Florian de Gesincourt
http://www.floriandegesincourt.com/
contact@dges.fr
Extraction Point
Gabriel Wigren
gabriel@wigren.se
Space Battle I
nicolab
http://www.nicolab.fr
me@nicolab.fr
Ryan Gosling
Khasis Lieb
http://www.khasislieb.com
Please submit your images to the LayerPaint gallery!
Back Home
The Gallery
10 of the Best
contact@khasislieb.com
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 38
Landing
Jon McCoy
http://www.jonmccoyart.com/
jonmccoydesigns@gmail.com
(Below)
www.2dartistmag.com
page 39
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.
Speeder
This Issue
Deforestation
Personnel Carrier
Fire Truck
push it further.
Thumbnails
machine (B).
Introduction
www.2dartistmag.com
page 43
Chapter 02 Deforestation
SketchUp
www.2dartistmag.com
page 44
Final rendering
(Fig.09).
Layout
The back view is added as we already have the
right side view of the drawing, and then I render
one. We can see the top, front and left side; the
rear view also shows the scale and position of
www.2dartistmag.com
page 45
Chapter 02 Deforestation
Mood Piece
I paint a quick mood piece in Photoshop, still
using the 3D model, but with the machine posed
differently. In this stage, I concentrate on the
mood and the story telling (Fig.10).
Process
Fortunately the model is ready to be
composited; therefore I dont have to paint the
machine again. I start the background first,
using just black and white to think about mood
and the basic set. I suppose its a huge forest,
as the brief said (Fig.11).
In this step, I apply the background colors. I use
an Overlay layer to put in basic colors; its easy
to change without hurting the image. I give it a
greenish color to make it like a forest (Fig.12).
Now I paint over details on a Normal layer. I
think about the reality of the forest, add a lot
of plants under the big trees and refine the
background mood (Fig.13).
When the background mood is ready, I can go to
the machine itself. I paint over it as I did for the
www.2dartistmag.com
page 46
Conclusion
environment (Fig.14).
message.
Ling Yun
Web: http://lingy-0.blogspot.co.uk/
Email: lingy000@gmail.com
www.2dartistmag.com
page 47
SynthEyes
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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
composition.
overall
ov
www.thegnomonworkshop.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.
chunky or steampunk.
totally alien?
The Introduction
landspeeder.
The Design
over-powered.
www.2dartistmag.com
page 53
Chapter 03 Vehicle
www.2dartistmag.com
page 54
www.2dartistmag.com
page 55
Chapter 03 Vehicle
than not.
www.2dartistmag.com
page 56
Gerhard Mozsi
Web: http://www.gerhardmozsi.com/
Email: contact@gerhardmozsi.com
www.2dartistmag.com
page 57
Costume design is an important element to character design as it helps to enhance a characters personality. You can create an evolving plot of color, changing social status,
or period through the visual design of garments and accessories. In this tutorial series each artist has been presented with a games-like brief describing a character from a
certain section of a fantasy medieval world, and they must design clothing suitable for that characters job description.
References
References are very important; even if youre
not designing a realistic character, they can
help. I looked on the internet for old fashioned
The very first sketches were focused on the
www.2dartistmag.com
would wear.
page 61
Chapter 01 Blacksmith
Costume Design
www.2dartistmag.com
page 62
www.2dartistmag.com
page 63
Chapter 01 Blacksmith
painting just the face to see how it worked.
Costume Design
Conclusion
character more.
Acknowledgements
I want to thanks 3DTotal for give me the
opportunity to create this tutorial. As I always
say, its very important to share in order to learn
from each other, which is great!
Special thanks to a work colleague Fran Cams,
for taking on the role of Art Director.
Finally thanks to all of you, for taking the time to
read this character design tutorial, I hope you
enjoyed it and it helps you in your work!
www.2dartistmag.com
page 64
With the continual development of technology in video games and the wild, imaginative story lines of films, the possibilities of what concept artists are able to produce
become broader in detail and function. With strong silhouettes, recognizable color schemes and distinct proportions in anatomy, it is still important to know the basics of
animal and human anatomy when designing these creatures. In this three-part series, talented concept artist Vinod Rams demonstrates how to use human anatomy as a
basis for creature design, create a hybrid creature based on human and animal anatomy, and use real word examples as a reference for designing a creature from scratch.
Introduction
When youre using human anatomy as a basis
for your creature, its important to find a balance
between correct anatomy and interesting forms
and shapes. For this drawing demo Im using
human anatomy as a reference for this ogre
creature.
After doing some thumbnails to explore the
character, I come up with an idea for a tall,
top-heavy ogre with short knobby legs and long
skinny arms. I imagine hed even use his arms
to help out when hes walking (Fig.01).
As Im working out the gesture, Im only thinking
of how hes going to stand, and the main
features that need to be focused on. For this
character the features to be focused on are his
head, upper body and arms/hands. Its important
when designing characters that you have a
hierarchy of detail, even for a more naked
character like this guy. I often start placing some
smaller details like fingers, but its not really
necessary at this stage (Fig.02).
www.2dartistmag.com
page 67
Creature Anatomy
www.2dartistmag.com
page 68
Vinod Rams
Web: http://www.vinodrams.com/
Email: vinod@vinodrams.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
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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| Transformers:
STUDENTDark of the Moo
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
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,AWARDS
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
2012
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, &
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
Meet modo.
Cyril Rolando takes us through the process behind his colorful image Dont Trash Your Dreams in
this months Making Of, covering the tricks and techniques that took him from the initial concept
through to the finishing touches.
It wasnt easy to
work out how to
symbolize dreams.
The Sketch
The Color
The concept of the balloons came at this
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Making Of
schemes.
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Cyril Rolando
Email: rolandocyr@gmail.com
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Interviews
Thomas Scholes
Articles
Tutorials
Alien Worlds
Chapter 4: Creatures
by Gerhard Mozsi
Costume Design
Chapter 2: Religious Leader
by Richard Tilbury
Creature Anatomy
Chapter 2: Human and Animal Hybrids
by Vinod Rams
Making of
Galleries
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Free Chapter
Red Sonya
Software Used: Photoshop
Concept
Usually when I start a character painting as a
personal project I dont have a clear idea of what
I want the image to look like when it is finished.
Often Ill just start doodling and the ideas slowly
start to form into something coherent over time.
You will be able to see this process at work in
Fig.01, where you can see that I just started
sketching loosely, trying to figure out what I
wanted to paint. At this stage I was not at all
worried about it looking good; it was more about
creating a loose roadmap so I could picture a
destination in my mind. I kept the work black
and white at this stage as I would add color later
on.
Painting
Once I had settled on a direction I began to flesh
things out a little bit, adding some color using
overlays and color layers, as well as refining
the figure. I wanted to establish a good pose as
early as possible, so I spent time tweaking her
stance and trying to make the weight distribution
look right. Although its possible to make
changes to the pose later on, its much easier to
do it at this stage as there is less to re-paint. In
terms of color, this was really just a base to work
off and youll see that I pushed and pulled the
colors around throughout the process until I got
something I was happy with (Fig.02).
I continued working on the posture and decided
to turn her head to have her engaging with the
viewer a little more. I also started to flesh out
her costume design a little bit (Fig.03). Shes
a barbarian so I wanted to avoid anything too
refined and dainty looking. I wanted to make
sure that the costume design reflected the
attitude I was trying to portray. I also wanted to
make sure that, compositionally, the costume
elements worked together and reinforced one
another. This become clearer as the painting
progressed.
I often use a Frazetta trick when doing a
painting by flipping the painting upside down.
When I do this it should still look pleasing in
an abstract way. I did this as well as mirror
the image many times throughout the painting
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Free Chapter
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Daryl Mandryk
Web: http://members.shaw.ca/dmandryk/
Email: blackarts@shaw.ca
2.99
Rodrigue Pralier
Principal Artist at Bioware Montreal
Mondrian - Inspired
Hotel Room
Project Overview
by Rakan Jandali
Gallery
Gallery - 10 of the best
images from around
the world!
Nils Meyer invades the pages of this months issue with the creation of his
fantastic humanoid alien creature. Anatomy, posture and texturing are just
some of the key points covered in the second chapter of this ZBrush series.
This month Andrew Finch takes us through applying some of those allimportant finishing touches as his Submarine Pen series draws to an end.
Arturo Garcia (3ds Max) and Renato Gonzalez Aguilante (Maya) bring us
chapter 6 as they move ever closer to the completing their Futuristic vehicles.
Character Animation
Continuing on from last time out, Camilo Duarte Franco displays the
techniques required to animate a character walking up a set of stairs.
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