Title: 2DArtist- Issue Jan08, Author: Ceci S, Name: 2DArtist- Issue Jan08, Setting up your PDF reader For optimum viewing of the magazine, it is. 2dartist magazine is available as a downloadable PDF magazine. If you have an iPad or iPhone, you can drag your magazine into your iTunes library – it will. Sadly 2dartist is coming to an end but the final issue is full of brilliant features! Read interviews with Format: DOWNLOAD ONLY PDF Size: MB Pages.
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2DArtist Magazine. 2DArtist: Issue - January (Download Only). You did not add any gift Author: osakeya.info Ltd Format: DOWNLOAD ONLY PDF. Download 2DArtist - March magazine for free from ebookbiz. To download click on the following link. 2dartist magazine. 2dartist 21/03/ Gallery February · 2dartist 10/03/ Inside the February issue of 2dartist · 2dartist 02/03/ Capturing enchanting.
SO get the computer booted up! Both of which were my dream jobs. I would like to get a book out with Image Comics as I grew up on those guys. Also at some stage produce concept art for computer games, or be a project leader. Ben Barnes Fluid Mask is a highly advanced software tool designed to make life easier for everyone who creates cut outs.
Built as a plug-in to Adobe Photoshop, Fluid Mask is the new next-generation cut-out tool and behind the product is breakthrough technology that mimics the way the eye, optic-nerve and brain perform visual processing. It offers an intuitive, accurate and fast approach to creating cut outs and professional high-quality masks.
This is made up of boundary, texture and colour information pulled from an image. The plug-in differentiates between hard and soft edges, and edges and colour transitions are separated smoothly.
Blending and masking are co-synchronous with no double work, and since there is less data to work on, the additional speed makes Fluid Mask 31 www. Users can adjust IIL resolution to work on hard-to-gauge edges, and the plug-in boasts real-time, image-derived colour palettes for colour-based mask selections. Fluid Mask provides: To order, or for more information, users can visit www. Email address is info xchangeuk. The company are headquartered in Central London and also offer specialist training on many of the solutions they sell.
Article Courtesy: Tami Stodgehill That of digital matte painting. Article 33 www. Since then the ingenious use of mirrors, mattes, glass painting, front and back projection screens, as well as various optical printing techniques, have entertained audiences for the last hundred years or so.
The trouble was, with the added physical problems of matching light exposure on the older stocks and the chemical processing of the day, the combining of images in many of the optical post productions was sometimes obvious and even crude. Article 35 www. And when it is successfully achieved, it can actually save a production a lot of money on set and location demands, as well as image enhancement. It is this extension of to convince. With the latest digital processing, properly prepared effects work can now be practically seamless.
Whether it is simply solving technical or logistical location problems, to recreating old worlds or creating new ones, there are virtually no technical or creative limits; just the age old problems of time and money. Yet, and this has to be stressed once again, if early consultation and proper pre-production is observed, the cost effectiveness of digital post production can also be very impressive. Especially to medium and low budget work where it is often overlooked because of costly past experience or the lack of experience with new digital techniques.
At Double Negative there is a dedicated Digital Matte Department as opposed to just someone who uses Photoshop, which is often the case. There is also an art to providing convincing, cost effective, digital matte painting and a dedicated team and approach to the growing Article 37 www. Article by: Dimitri Delacovias A Collection of Unusually Rare Stamps is a uniquely crafted storybook for all ages.
Either way it does not really matter but I think the truth is that the two are elements are intrinsically linked and part of a rich world that Christian Scheurer has created in this charming publication.
It is as though the short textual accounts and illustrations are there to enhance one another and provide a mutual insight into the sociopolitical background behind this imagined planet. As the title of the book suggests, it is a compilation of images that appear in the form of stamps along with the perforated edges, prices and some even include postage marks.
At the beginning of the book there is a short introduction detailing the history and population of the planet alongside a map with the various geography and islands. Each page in the book represents a different aspect of Entropia which either outlines an area of the island and surrounding sea, a historical event or a facet of the numerous societies that co-exist there.
They conjure up a richly textured and diverse universe and are supported by the text associated with them. Review 41 www. The text and artwork serve to mutually illustrate one another in an equal fashion but one feature that is obvious from the outset is the attention to detail in both a written regard as well as an illustrative one.
The environments and geography are also suitably complimented through the use of line and colour and do a good job of communicating a comprehensive concept which seems both very personal and yet universal in the themes it explores. Richard Tilbury Every month 10 of the best digitally created concept, digital and matte painting scenes from around the world Details here: Breathtakingly fast, this module also distinguishes itself with its intuitive interface.
Hair can be grown using textures or selections, and can be styled freely using any of the numerous tools such as brush, comb, cut or curl. HAIR dynamics even lets you create an animation worthy of any shampoo commercial.
Use the collisions, tension or stiffness settings to add even more life to your animations, while always maintaining complete real time control over the look and feel of HAIR dynamics in the editor view. Not to mention the enormous rendering speed and the minimal usage of memory that allow you to render millions of hairs on an average computer in minutes.
Visit us at www. Each month for the last 4 months the tutorials have covered the modeling, texturing and lighting of a simple scene to be able to see the distinct differences that can be achieved with the subtlest of texture and light changes. Here, Richard has outlines the concept artwork behind the Corridor series.
In the previous edition of the magazine we blocked in the key shadow areas and established the general tone of the picture. Tutorial 51 www. This has helped give the scene a better sense of perspective as well as creating some interest in the foreground and carve out the stonework a little more. On a separate layer set to Soft Light and using a small airbrush set to a pale brown R G B start painting in grout lines along the columns.
I then repeated these steps for the second vent but this time just used a yellow through to transparent. This serves to just break up the symmetry a little and suggest that the light is not necessarily entering the corridor from directly above - Tutorial 53 www.
This about concludes the tutorial and hopefully has covered all of the main stages involved. I may well proceed with the painting and polish it by adding a further layer of detail in the future but hopefully you will have gained some insight into achieving the stage we leave it at for the moment. I hope you have enjoyed following the tutorial and if interested there is one that goes alongside this detailing the making of a 3D version in 3D Creative.
Tutorial by: Step 1: Outlining For the ones that use a graphics tablet: The ones that use a mouse should perhaps scan a clean sketch. Tutorial 55 www. After that you have to create a new layer set 1 , click on this set and create a layer mask 2.
Short explanation: Perhaps you already noticed the little chain between the layer and your layer mask. When you click at it, it will disappear this means: Chain invisible: When you put down the ground colours you can start doing folds and shadows and so on.
The only thing is pick one light source and always work on that one. Layer modes I love using are multiply, overlay, colour and soft light, but everyone can do as he or she likes Step 4: I lightened the whole thing and gave a warm yellow colour. Tutorial 57 www. But as you can see your whole image is brighter now but we only want some parts to be bright. I hope I could explain the colouring with layer masks and curves a bit I hope that I have made everything clear and please enjoy this tutorial and good luck with your creations!
Abuze Abuze Adina Krause Age: I was so impressed because of all the possibilities you had with that program. And when I saw the works of all those great artists on the internet I just had to know how they did those gorgeous pictures.
This month we move on to Trees. Last Month: Issue Jan Skies This Month: Feb Trees Next Month: Mar Fabrics Issue Apr May Water Issue Jun Elements 61 www. Off course the capabilities of creating custom brushes in Photoshop is very useful with regard to painting different types of trees and will need to vary accordingly but overall the principals explained will remain universal.
Step 2: Try varying the size of the brush until you get the scale right. Step 3: Then on another new layer I painted in some lighter green highlights across the top sections of the foliage to also help create the volume. You will also notice how I have included highlights on the branches to reinforce the sensation of light. Elements 63 www. The next stage is to add some further highlights on the same or a new layer as well as some extra branches that appear in front of the foliage.
You can see the extra highlights when you compare the picture to the previous image. Step 5: Elements 65 www. This tutorial will attempt to outline a shape- based approach to painting using a snowy tree as an example. It is meant to explain a more graphic as opposed to a fully rendered modus operanti while limiting oneself to using mainly contrast and form to create an illustration. When sketching, even at this early stage, it may be worth to hint at perspective and volume by blocking out some of the inner shapes with a few strokes instead of solely relying on the outlines as this will initially give a clearer idea of where the drawing is headed.
In achieving this the snow patches in this picture play an important part and I start laying out them in broad, rough strokes with a smaller charcoal-shaped brush. By darkening the base layer of the tree slightly more I increase the contrast between snow and organic structures further and start blocking out details of the trunk, rocks, and grassy bits to begin generating volume as well as giving more shape to leaves, roots and branches.
Adding just a subtle touch of colour on in places will be enough to prevent the image from looking too monotone. Elements 67 www. Next, the cleaning up of the yet untreated areas could begin.
A slight gradient as a background not only helped to juxtapose the contrast of the snow patches on top of the tree further but also gave a subtle hint at a damp sky. With the tree painted up and the largest part of the clean-up work completed I decided to add some patchiness to the gradient to somewhat diminish the CG feel.
I then balanced the composition on the right by adding a few grass leaves in the foreground and a fence behind the tree while the subtle disk of the moon simply serves as another means of contrasting shapes against each other and virtually leading the focal point from the base of the gnarly trunk over to the right towards the fence. The comparably young, slender and fragile plant clasping the batons to the right also serves the purpose of juxtaposing opposites.
By coupling low Flow with low pressure you get nice, delicate brush strokes. Use high Opacity and high Flow to have bolder strokes. I imagine myself with a distribution budget: I will have a certain amount of details, a certain amount of warm colors, contrast, saturation and possibly sharpness.
The area around his face will be sharp and well defined, with brighter colors and more contrast, while the rest of the image can be left more subdued and less refined. An image with evenly distributed details and color is less effective and more difficult to read! I also thought I might decide to erase parts of it later on, or to make it thinner or larger.
The best way to do something like this is to create a Clipping layer. Clipping layers are created on top of the main one.
Their advantage is that Paolo always starts with an almost flat color, upon which he creates the color harmony for the rest of the image He places more colors on the canvas. These will be the base for all the other colors he uses Here, Paolo sketches out the internal shapes. He keeps a low flow when needed, with smooth gradients and soft areas Paolo starts painting from the area of main interest, and balances the rest of the image according to this He paints the rim light on a separate layer, and makes a Clipping mask to bind it within the edges of the layer below 57 2DARTIST MAGAZINE How to form fungal villains whatever you paint on them is confined within the boundaries of the underlying layer.
The steps to create a Clipping layer are fairly simple: On the Layers Palette, you create a layer above the one that you want to paint on; select both of them; right click and select Create Clipping Mask. Whatever you paint on, the Clipping layer will stay within the edges. Painting things that glow is fairly easy.
Just create a layer at the top, and in the Layer Palette set its blending mode to Dodge. Now, with a big, soft round brush Opacity and Flow set both to 10 paint the areas you want to be glowing. The color you choose must be roughly midchroma and somewhere between middle and high value; too high a value will result in a very unpleasant, excessively bright color. Using a small brush to paint glowing areas always results in a mess.
Just use a big, soft brush for the glow and a small one to refine the edges. He probably patched it together by looting the bodies of his victims! COM took away almost all of the saturation to avoid messing up the underlying colors. I left the Blending Mode on Normal. The best way to adapt a texture to a curved surface is to use the Warp tool.
Then right click and select Warp. Now every click inside the layer will add a handle you are able to move to refine the shape and create creases.
You can double click on the texture layer in this case our chainmail to bring up the window. At the bottom, move the left arrow of the Underlying Layer slider to the right. This means that the underlying layer will start to appear through the dark values of the texture layer. When the image starts to look noisy, stop moving the slider. Moving it further right will make the effect more subtle. You can do the same thing on the right arrow the bright one , to have the layer underneath affect the opacity of the higher values of your texture.
As a concept, this is way too detailed already. In this case, I thought it was just about right.
I just add a subtle rim light on his right arm, not as strong as the one on his shoulder but enough to define those sketched areas a bit more. I also add some spores falling off his battle arm, for which I used the usual standard brush but changed the Scattering Options press F5 for Brush Setting , Size Jitter and Opacity Jitter. Just some more grays next to saturated areas to make the colors pop more, and your Sporemancer is ready to go out and wreak havoc.
With clients in attendance. Create a video based on a line from the VFS Manifesto and qualify for a scholarship to one of our 13 programs. He currently works for NCsoft and enjoys playing PC games, playing the drums and working on concept art in his spare time. Make magical creatures Fictional universes are often used in games and films, with fantasy being a popular theme! It is important that all the elements that make up these fantastical worlds, such as characters, environments and creatures, work together to create something so believable that the audience is captivated.
In this tutorial, YongSub Noh guides you through his process of creating an enchanting sky creature. My chosen software is Photoshop CS6; however, the type of software you use is not all that important.
The quality of concept artwork is determined by the sense and technique of the artist, not by the tool. I just came up with the idea of two creatures — a dragon and a whale.
A whale is a very attractive creature that I really like, and a dragon is the best creature to represent the fantasy world.
I think it would be interesting to mix the characters of these two creatures. Just like this, artists usually have two approaches when designing creatures. One is modifying an already-existing creature, and the other is creating a new one out of nowhere. Of course, you can also watch a lot of other artificial designs that are present in movies, cartoons, animations and games.
Draw a basic silhouette of the subject in a quick and bold manner, and at the same time decide the direction of the light. Speed and boldness is the key to the drawing in the early phases. Creatures however can be designed freely and diversely, so fear nothing and just keep going! These three movies were a very good experience for me because they are great movies, and the work I had to do was very different from one to the other.
The first I did at Double Negative was Stardust. On this film you have a lot of cameras moving through a big landscape with city and mountains. My work consisted of painting the matte over an occlusion pass to project my painting onto 3D geometry. We used a lot of camera mapping techniques on this film. I worked with a TD who gave me a light pass.
He also did the camera work and chose the right angle for the projection. We worked closely to texture the whole environment properly. We used this technique on a few different shots. It was very interesting. I also did more traditional 2D matte painting work, just to add some elements on the background. On Bourne we had to create photorealistic backgrounds.
I worked on photos, and did a lot of stitch and camera projection work. I also worked on a large movement across the facade of a building. I painted the different offices behind the windows.
Everything was a matte painting, but it had to be very realistic. I worked on the shot where the guy jumps trough the window — we had the shutters in CG. I cleaned a lot of plates too, to remove extra cameras and stuff like that. My work on Doomsday was different.
The story takes place in 30 years from now, so I had to make the environment futuristic. I did a lot of establishing shots — a lot of very interesting work! Having produced work for feature films, short films, TV and commercials, which area do you feel that you can truly express your creativity?