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Aprende a Dibujar comics Volumen 2, con tips dados por expertos de Marvel y DC Comics.

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Dibujar es lo mejor, por el gran Joaquin Reyes

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Manuales descargables gratuitos de dibujo de distintos estilos y niveles de dificultad

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Manuales descargables gratuitos de dibujo de distintos estilos y niveles de dificultad

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Iniciación al manga

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como dibujar manga parte 1 cabeza y detalles agradecimientoa salvat y otras fuentes por las imagenes. -Las imagenes perteneces a sus respectivos autores.

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Blake lawn portrait drawing a step-by-step art instruction book

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How to Draw New Retro-Style Characters by Christopher hart.
Published in 2005 by Watson-Guptill Publicationsa division of VNU Business Media Inc. 770 Broadway New York, NY

1. 1. How to Draw New Retro-Style Characters Christopher hart Watson-Guptill Publications New York/

2. 2. Published in 2005 by Watson-Guptill Publications a division of VNU Business Media, Inc. 770 Broadway New York, NY 10003 www.wgpub.com Executive Editor: Candace Raney Senior Development Editor: Alisa Palazzo Designer: Bob Fillie, Graphiti Design. Inc Senior Production Manager: Ellen Greene Inks over pencil: Rich Faber (pages 99. 103, 105, 106, 107. 109, and 110) Copyright © 2005 Art Studio, LLC Library of Congress Cataloging-in-Publication Data Hart, Christopher. Cartoon cool; how to draw the new retro characters of today's cartoons / Christopher Hart. p. cm. Includes bibliographical references and index. ISBN 0-8230-0587-9 (pbk. : alk. paper) 1. Cartooning--Technique, I. Title. NC1764.H34 2005 741.5--dc22 2004024844 All rights reserved. No part of the contents of this publication may be reproduced or used in any form or by any means--graphic, electronic, or mechanical. including photocopying, recording, or information storage-and-retrieval systems--without the written permission of the publisher. Printed In USA 2 3 4 5 6 7 8 9 / 13 12 11 10 09 08 07 06 05

3. 3. THE SUBURBAN DAD HOME ON THE RANGE: THE BARBECUE A DAD, A BATHROBE, AND A CUP OF COFFEE DADS WITH GLASSES MORE DAD SHAPES THE PERSISTENCE OF DAD THE BASIC RETRO MOM MOM HEAD PROPORTIONS DANGER-MOM ATTEMPTING TO BE COOL PERKY MOM SHOP AROUND THE CLOCK WALK-ABOUT MOM THE SADISTIC OLDER SISTER YOU ARE SO DEAD! DOLLS AND PAJAMAS THE BRINGER OF BAD CHEER THE KNOW-IT-ALL SISTER EVIL AT HOME, EVIL IN CLASS THE YOUNGER BROTHER MORE BOYS RETRO KIDS AND SPORTS Introduction: Lets Go Retro! Retro Basics The Retro Family Cool Retro Action Poses The Retro Family Pet Cool Retro Teenagers Pretty Retro Women Cool Retro Scenes Index 4 58 9 60 6 59 6 56 57 11 62 10 61 12 63 15 64 14 64 29 72 30 74 32 83 82 81 80 79 78 77 76 76 18 65 33 84 34 86 49 102 50 104 51 106 52 107 53 108 54 111 55 112 43 95 47 98 45 97 48 100 46 98 35 87 42 93 36 88 37 89 38 90 39 90 40 92 41 94 22 66 26 70 24 71 27 73 28 75 44 96 23 69 THE RETRO HEAD MORE HEAD SHAPES ENLARGING THE UPPER JAW DRAWING "FLAT" CHARACTERS EYES LIPS FACIAL EXPRESSIONS RETRO BODIES PROPORTIONS BODY SIZE THE IDEALIZED CARTOON FIGURE: TRADITIONAL VS. RETRO THE NECK AND SHOULDERS BUILDING THE BODY SECTION BY SECTION "MOLDING" THE TORSO THE FEMALE TORSO THE ATTRACTIVE FEMALE FIGURE STEP BY STEP RETRO HANDS FEET TRADITIONAL VS. RETRO ACTION POSES INTROVERTED POSES THE MEGAPUNCH FLYING THE RETRO "TAKE" MORE ACTION POSES THE EPIPHANY THE CARTOON DOG PUPPY DOG EYES COMMON HOUSEHOLD DOG BREEDS MUTTS CATS AS PETS BASIC CAT HEAD SHAPES THE SIAMESE CAT SURLY CAT BIRDS AS PETS: POPULAR TYPES TROPICAL FISH AND AQUARIUM PETS SERIOUS TEENAGE BOY CAREFREE TEEN PRETTY TEEN STYLISH TEEN COOL CAT HANGIN'AT THE MALL LOOSEY-GOOSEY TEEN THE GIRL NEXT DOOR SCHOOL SCENE THE REBEL POSTURE BASIC TEENAGE STANDING POSTURE POSE AND EMOTION THE FACE THE VOLUPTUOUS FEMALE FIGURE MIDRIFFS AND LOW-CUT PANTS COOL CHICK CAN'T BUY ME LOVE NOTES ON DRAWING ATTRACTIVE POSES PRIMITIVE BEAUTY NO, YOU GO FIRST SECRET AGENT CHICK GALACTIC MEDAL OF VALOR SHH! SECRET MISSION JEWEL THIEF MY HERO! HERE MONSTER, MONSTER BYE FOR NOW: A CLOSING NOTE FROM CHRIS HART

4. 4. 5 t's everywhere you look, in animated television shows and comic books. It's the new retro style. What is retro? It's the biggest thing to come along in cartooning in decades. It's a style of illustration loosely based on the animated TV shows of the late 1950s and early 1960s-a time when everything had a flat, graphic look, and the sly humor didn't play down to children. Retro is also based on character types-- character types influenced by the popular family sitcoms of the early to mid-'60s, when everything looked nice on the surface: brownies and milk, moms in the kitchen, and fathers who never yelled. Yet there was always lurking a sense that these families were too good to be true and were repressing some truly bizarre personalities and behaviors. Add a modern look, bring those bizarre personalities to the surface, ratchet up the pace to a fever pitch, and you've got retro. As a cartoonist, you owe it to yourself to stay current and learn how to draw this growing, popular new style. Interestingly, some of the retro-style drawing principles are the exact opposite of the principles used for drawing traditional cartoons. For example, retro-style action poses are drawn so that the figures seem to conserve energy rather than expend it (which would be the look of a more traditional cartoon). Retro characters are so nerdy they're cool. The retro style is, in fact, the coolest style of cartooning on the planet. Retro-style animated TV shows have completely stolen the thunder of hand-drawn, animated feature films. While the popularity of the hand-drawn, realistic style of animated movies has waned, retro cartoons are proliferating all over television. And even the most heroic comic book characters and bad guys have been redrawn by publishers and studios into modern, retro versions. But retro is about more than just style; it's also about laughs. It's truly wacky stuff. The characters are quirky, perky, and just a little bit warped. Their break-neck pacing and hysterical characters are generating legions of fans of all ages. This book is packed to the brim with easy-to- follow, step-by-step instructions and loads of special hints. Anyone, at any level, can benefit and can improve his or her skills by using this book. You'll be shown how to create retro-style heads and bodies from basic shapes, making it easy and fun. You'll learn how to create the basic cast of characters that make up the bizarre retro family unit, including retro pets. You'll learn how to caricature action poses in the unique, retro style, with examples that compare the new way to the traditional way of cartooning. Retro facial expressions and body language are illustrated clearly and in detail. And at the end of the book, you'll be guided through an exciting section on how to draw scenes with multiple characters. Are you ready? Let's go retro!

5. 5. I Simple shapes are the key to creating today's "new retro" look, and there's no shape simpler than a circle. It's perfectly symmetrical and has no sides. But pay close attention-I'm definitely not talking about the old- fashioned, start-with-a-circle approach to cartooning. I'm talking about a self- consciously round cartoon, in which the shape of the circle is not just the starting point but the whole point. To emphasize the circle further in the front view, don't open up the circle at the chin as it crosses the neck; keep it a closed loop. Tilt the eyes, in tandem, to one side. This is a cartoonist's trick that adds more zing to the character. Big irises (the colored parts of the eyes) are the favored look in Retroland. The nose is tiny and petite, letting the oversized eyes dominate by way of contrast. And, the lips are full and curvy-a caricature of female lips. The hairstyle should never be carefree or natural looking in retro cartoons. Instead, it should look stiff, not soft. Draw a thin neck that's so skinny it would never really support the weight of that head. Exaggeration is the key to cartoon humor. Now draw small, dark pupils inside the irises. The eyelashes should look like little spikes that could kill (which makes them funny). And you can add striations to the interior of the hairstyle, to give it more flair. believe in drawing the fun stuff right out of the box. So, we're going to begin with the basic retro head. As you go along, there'll be lots of special hints throughout the book to help you understand the principles of character design and to provide you with options for creating variations on a theme.

6. 6. 7 Indent the forehead lip detail The oval is also a popular shape for retro characters. Notice that the oval shape is the dominant feature of this figure. The eye is quite oversized, which is a popular trait in retro-style cartoons. Notice how big the hair is- another retro trademark. Also, you can't keep the outline of the oval completely closed in the side view because there's no chin to obscure the neck. So, open it up where it attaches to the neck. Start with the oval tilted on its axis. The tilt gives the pose more energy.

7. 7. 8 Now let's modify the basic shape a bit more so that it's somewhere between an egg shape and an upside-down teardrop shape. This is a common shape for teenagers of about 14 years of age. The face is still round but shows signs of elongation, especially in the jaw and chin. Yet the face is somewhat soft, as shown by its rounded sides. Here's another character with a crystal-clear shape for her head. Not even her chin, cheek, or hairline creates so much as a bump in the outline of the head, which is a simple oval. It's a very pleasing look. The eye is drawn to simple shapes. Keep the features simple, big, and clear, with no subtlety. Eliminate all facial creases-you don't need them, and they take away from the clean look of the character. The ears stick out conspicuously on retro characters so that they're funny looking! (Only one ear shows in this angle, though.) Start with the basic shape. Note that boys' necks get thicker as they grow. Sketch in guidelines. Add the hair, and thicken the eyebrows. Retro cartoons are based more on design principles and less on drawing principles. It's like fitting together cool parts to create a snappy character. Sometimes artists try to do too much with their drawings. bo less, not more. Concentrate on the overall shapes, not on the interior features.

8. 8. 9 Any basic shape can be turned into a retro- type cartoon character. Give these three a try. The back of his head is a continuation of the jawline. The ears droop on sullen and glum characters. Jazz up basic head shapes on female characters with creative ponytails.

9. 9. To make your character stand out more, try this effective technique: enlarge the top of the mouth or upper jaw (the maxilla), and leave the lower jaw (the mandible) unchanged. This will immediately add a goofy look to any character. Top extends Bottom remains the same Bottom remains the same Top extends 10

10. 10. The key to drawing retro characters is to make them look flat. This probably goes against everything you've learned about how to draw, when the whole point is to make things look real and three-dimensional. But the flat look is indispensable for drawing this new retro style. Here are some important tips to keep in mind. A bold, simple, and clear outline is all-important in creating a flat look. To create a flat character, the outline of the head and body should be emphasized so that the overall shape is unmistakable. Make the outline thick and make the lines for the details inside the main outline thin. That's the general rule, although you can break it when, for example, one part of the body overlaps another. Start by drawing the entire character in a regular, thin line. Don't thicken the outline as you go! Then, choose only one side of the line on which to add width. If you add width to both sides of the line at the same time, you end up with a mishmash. thin line Ears stick out Tummy sticks out in a cute way Main pencil line is quite thick Lower lip shows thickness Cheek protrudes Forehead curves inShoulders slope amiably Eyebrows are thick and are visible through hair as if sitting on top of it Hair has striations in it Back is straight for s stiff and flat look Front of head is a single, unchanging curve right wrong ( ( ) ) 11

11. 11. Since the eyes are the most expressive feature of the face, matching the correct eye style to the character type is essential. Whenever I begin to draw the features of the face, I start with the eyes. If they don't come out just right, I erase them and start over. I just can't get the feeling of the character, and go on to create the expression and posture, unless the eyes are working for me first. There's no wasted effort in drawing eyes! (And certainly no waste in designing and drawing them first.) All of your efforts will pay dividends. Style, and lots of it, is the name of the game in drawing retro cartoons. And that's especially important for female eyes. This is a classic. Circular eyes with attached eyelashes and large pupils. Very popular, very funny, especially for cartoon moms. Here's another favorite for cartoon moms that can also be used effectively for perky teenage girls. The eyelashes curve upward. The eyes are vertical elongated ovals. Note the use of a two-toned iris and pupil area here. This eye type can be used on an attractive character, a mysterious character, or a sinister character equally well. The eyelids are shaded to indicate eye shadow. The eyeballs have pupils, and the eyelashes curve down. (Note the thick eyebrows.) Another appealing, goofy look. The eyes press together, the pupils are small, and the eyelashes "float." (See page 74 for more on floating.) Pretty severe, eh? She's evil, you betcha. Apply that eyeliner like shellac. These are for attractive female characters only. The half- closed eyelids always indicate an alluring character. The top eyelid is always drawn darker. The eyelashes are bunched into a single, thick lash that sweeps up at the end. These kooky eyes are shaped like rounded rectangles. For an even more stylized look, place the pupils in the center of the eyeballs, instead of close together. It will give your character a weird, vacant stare. She's the girl next door. Innocent characters have big eyes with big shines in them. The overall form of the eye is almond-shaped. To make her sexier, tilt the eyes up slightly at the ends. 12

12. 12. 13 For male characters, too, there's a wide variety of eye types from which to choose. Although male characters don't have eyelashes with which to play, their eyebrows are far more varied than those on female characters. This is the classic retro look, good for almost any male character: round eyes, with medium-size pupils (and no irises). An appealing, quirky look. The eyes are oval and spaced apart, with small pupils floating in the middle and thin eyebrows. The eyes stand up, vertically, with small pupils. Good for worried and high-energy grown-ups. Isn't this one a riot? He's either a mad professor or an evil scientist. Heavy eyelids and bags under the eyes, with only slits for him to see through. Tiny beady eyes peer out at us. The eyebrows are thin, crooked, and delicate. Intense and mean characters (drill sergeants, phys-ed coaches, and the like) often sport heavy eyebrows that sit right on top of the pupils. Add a little touch of shading under the eyes to add intensity. A good type for boys ages 8 to 12. Huge pupils dominate the eyes. The eyebrows are small. This is the overworked dad type. Note how the eyelids slope down at the ends. Bags form under the eyes, and the eyebrows are thick and angular. This is how you will look at 40. Trust me. Almond-shaped eyes always indicate innocence and lack of guile on boys. The pupils must be large, which is also a sign of honesty in a character.

13. 13. 14 Here's where a lot of beginners-as well as experienced cartoonists-lose their way and end up with less attractive characters than they had hoped for. Men's lips are so simple that they don't even require separate examples here. You'll learn to draw them easily just by following the steps for the male characters in this book. It's women's lips that you need to pay special attention to. Actually, attractive, women's lips are some of the easier things to draw-if you know which type of lips you're drawing. The problem is that many cartoonists don't decide on the lip type and end up with an uncomfortable amalgam of realistic lips and cartoony lips. Toss out the realistic version. Instead, make them highly stylized, which simplifies them and makes them much more fun. Upper lip slants inward in profile Tip of top lip overlaps bottom lip in profile This is the classic overbite. It's attractive, some would even say sexy, for the upper lip to be longer than the bottom one. The indentation in the center of the upper lip, resulting in a Cupid's bow shape, is simple and doesn't require any subtlety; it can be used to make a character more voluptuous. This is a good type for pouty cartoon characters. Both the upper and bottom lips are of even length, but they're short widthwise and tall heightwise. Here's the overbite without the Cupid's bow shape. Generally speaking, the more attractive the character, the bigger the upper lip. The dipping lip is usually used for attractive female characters. It's the same as the first lip style, except that the middle of the upper lip dips down and the bottom lip widens slightly to accommodate this. These are the simplest lips you con draw. They work well, and they're funny. No Cupid's bow shape, not much of an overbite. Give it a try. The big bottom lip isn't that commonly used but can be effective in creating a unique character.

14. 14. 15 Upset eye variation The solid shape of the face-its outline-is so important on retro cartoon characters that it doesn't squash or stretch to fit a particular expression the way it would in a traditionally drawn cartoon. Most of the action occurs in the eyes and the elastic mouth. Here's a sampling of the most popular expressions you'll need to know. Note how the basic outline or shape of the head remains unchanged from expression to expression. The eyeballs must be cut off by the eyebrows. The mouth is small and taut. One eyebrow goes up, the other down, and both eyes are half closed. This is a much more sophisticated expression than one would expect to find on a boy of this character's age. But that's what makes it funny. Teeth usually show when a character is angry. Bright eyes, tongue firmly pasted on upper lip. Yum! The tongue in the middle of the mouth indicates that the character is talking

15. 15. 16 I love this one. Showing the lower eyelids in an expression was very popular in 1930s cartoons but went by the wayside until recently. Now this technique is used all over the place. Note that the grin must rise way up into the cheeks. Closed eyes show confidence. Combine them with a big grin and you've got a know-it-all. A surprised expression is displayed by showing large, round eyes with tiny pupils. The pupils can actually change size to fit the expression. Note the body language. Instead of eyebrows, use big folds of eyebrow muscles to curl up over the eyes. The mouth gets small. Scrunch all of the features together in the middle of the face. The eyes crush down and the mouth pushes up. CONCERNED MOUTH VARIATION BIGGER SURPRISED LOOK

16. 16. 17 Sympathy is an important emotion to give characters. It humanizes them. Combine a smile with worried eyes for a look of sympathy. All young characters need to have this look in their repertoire of expressions. God knows I looked like this enough when I was growing up! Tilt the head down. The pose won't be effective unless the head is bowed. The character needs to be looking up from the corner of the eyes. Keep the mouth tiny. This expression is often followed by the Sheepish one on the previous page. Combine a scrunched smile with evil eyes for an effective look. Take the eyes from the Superior expression on the previous page, flip 'em over, and you've got the eyes for a laughing character. The mouth opens wide, but you don't necessarily have to show teeth or a tongue. The affable smile is just a big grin with the eyebrows raised high. It helps if you can position the pupils in a corner of the eyes, as this makes the expression sharper. Even on a breezy, pleasant expression like this, it's good to exaggerate something, which in this case is the curl of the grin.

17. 17. 18 Ponytails float for added style Just like the head shape, the retro body-especially the torso-must be based on a simple and clear shape. Don't soften the edges to make it subtler. That's a fine approach for traditional cartoons, but it won't give you that retro look. Young characters have heads that are large compared to their bodies. This doesn't usually hold true for adult characters, but in retro-style cartoons, the head is usually big even on adults. Still, let's start with kids anyway, because they're compact and easier to draw.

18. 18. 19 Since we're concentrating on creating a single, basic shape for the body, the outline of the dress itself will become the shape of the body. In retro cartoons, you don't want to see the stress marks that result from the body tugging on the fabric. There are no creases or folds to complicate the drawing, which must remain simple and slick in order to be pleasing to the eye. Note the absolutely flat tops of the ponytails. This could never happen in reality, but again, we're trying to emphasize shapes. There are only two ways to do this: either flatten things out or make them round. Combining flat shapes (the tops of the ponytails) with round shapes (the top of her head) adds a lively contrast.

19. 19. 20 The lab coat is a classic for evil characters. Note the excessively long body, combined with a big head. This tells the audience that the character relies on brainpower, not brawn. The bow tie, which is tight enough to strangle this guy, indicates that he's tightly wound and barely able to maintain a socially acceptable demeanor in public. In traditional cartooning, you'd first outline the body, sketching in the legs as they wedge into the hip joints, and then you'd draw the lab coat over it. But that would be a mistake here. Here, the legs are meant to look pasted onto the bottom of the coat. The fact that there isn't a single hint or indication of the underlying body structure is what gives this cartoon its sought-after flat look.

20. 20. 21 Sweater to combat poor circulation Skinny upper arms Bushy eyebrows Perpetually bent knees Flat feet The older a cartoon character gets, the simpler the body shape becomes. The neck disappears, and so do the shoulders. The knees are perpetually bent. The limbs are skinny, and the body is thick. When you're trying to depict an attractive character's body, you have to draw a slightly more complex shape for the torso. It's sort of a mangled figure eight, but you can still simplify it so that it has a clear outline. You can squash, bend, flatten, and stretch the torso shape any way you like.

21. 21. 22 The common method of coming up with the proportions of a character is to "stack heads." The standard approach has always been: the younger the character, the fewer heads tall; the more mature the character, the more heads tall. But with retro cartoons, this isn't necessarily so. This retro-style Kewpie-cloll bombshell is only three heads tall, whereas most traditional adult cartoon characters are four to six heads tall. The body is a third of the width of the head. This is what gives this figure her diminutive, cute look. 1/31/31/3

22. 22. 23 Super slender or on the wide side? Or, how about splitting the difference and choosing a body type down the middle? Today's cartoon characters are so pliable that you can give them body types that would have previously been considered too thin. The superthin body type is a good choice for the retro look, especially for brainy kids. In the retro style, the average body type is still thin but not will-o'-the-wisp. The larger look is yet another variation; it makes clothes look like they're swimming on the body, which is a good look for kids.

23. 23. 24 Many characters-especially teenagers, heroes, and action characters-possess idealized cartoon versions of the human body. And many of those characters wear tight clothing that reveals their form. So, they can't have a body that looks like an oval, because whose ideal would that be? Still, to be retro, the body has to be based on bold, simple shapes. Compare the figures below and opposite to see how to create an anatomically viable idealized model for retro-style cartoon purposes. This is a perfectly good drawing of a cartoon character's muscles and anatomy. But it's no good for retro cartoons because it goes against the basic retro tenet: simplify, simplify, simplify!

24. 24. 25 Instead of focusing on individual muscle groups, as in the traditional example opposite, concentrate on the overall shape of the body. Focusing on the overall shape is much more important than knowing where the rectus femoris (middle thigh muscle) begins and ends. The legs are highly exaggerated in stylized cartoons of this sort. Notice that developed thigh muscles are suggested exclusively by the curved outline; no interior muscle definition is necessary. And the calves, which are the most exaggerated body part of all, curve outward severely. It's important to draw them with "muscle peaks," otherwise the character will look bowlegged. Note the simplicity of the chest muscles and also how the elbow joints make the arms wider in the middle. Muscle peakMuscle peak

25. 25. 26 A B B A Nuh-uh. This doesn't work for male characters. It makes them look tense and unnatural. SLOPING SQUARE SLIGHT CURVE UP ROUNDED FLAT WITH A SLIGHT SLOPE This is where things can get tricky-but they don't have to! Don't think of the neck and shoulders as two separate areas. They're fused together to create one section of the body- the neck/shoulder region-and it helps to think of them that way. Whether the shoulders slump or are held squarely has a huge effect on a character's posture and, hence, his or her personality. Note: Female characters can have more variations of the neck/shoulder region than male characters. You probably think that men have square shoulders but that women's shoulders should be given a softer treatment. Oh, how wrong you are, my friend. Square shoulders are a very attractive look for any female character. Emphasizing the width of the shoulders is attractive. Burn this into that cartoonist's brain of yours. This can be on attractive look, especially with outfits that reveal bare shoulders. The collarbones (A) act like a shelf, giving the top of the chest its square look. The main neck muscle (B) (the sternocleidomastoideus for all you guys who simply have to know what to call it) appears on each side of the neck and travels from the bottom of the ear to the pit of the neck-and it's accentuated in many poses. This is the typical approach to drawing male shoulders. This is a highly stylized version in which the shoulders are actually pointed up. It's a sharp, effective look for bombshell characters. Rounded shoulders that begin above the base of the neck can make a guy seem very powerful.

26. 26. 27 Trapezius Collarbone Notice that the neck isnt placed on top of the trapezius muscle but, instead, is surrounded by it. The collarbone gives the shoulders their width. The torso is a rectangle, and the hips are shaped like a bowl. Stack all three elements-neck/shoulders, torso, and hips-together. The legs attach to joint sockets inside the hips. Note that the legs usually don't attach to the bottom of the shirt but to the hip area. When you draw the figure this way, stacking the three sections-neck/shoulders, torso/hips, and legs- together, you don't lose any of the flat angularity that makes this type of character so appealing. Teenagers, some adults, and action characters often need more than a single shape for the body-but not much more. The torso is still a rectangle, which can be pulled and stretched into many variations. But you also need to add a neck/shoulder section, as well as a simple hip section. Assembling the parts as blocks, at least until you get used to the process, makes the figure much easier to draw.

27. 27. 28 You can mold the rectangular torso shape, twisting, stretching, and bending it like a piece of a clay. But keep the shape simple, with no muscle definition. In this picture the trapezius muscle in the shoulders has been eliminated from view. If it were built up, it would make the character look too husky. Back of shoulders is not built up The use of circles to indicate the joints is a common technique that artists use to remind themselves that the joint areas have moss and volume and to not draw them too skinny, which is the temptation among less experienced artists. The eyes can work independently of each other. Here, one is opened wide while the other is squinting, which creates interesting expressions.

28. 28. 29 Round off Round off Round outRound out Round in Round in The adult female body is a more complicated piece of work than the adult male figure, due to the shape of the torso. It's not just because of all the curves, but because of the contrast of the wide shoulders, thin waist, and wide hips-all in a relatively small amount of space. However, after you get this part down, everything will fall easily into place. The female torso is basically a very simplified, rounded diamond, so start with a simple diamond shape. Place the modified diamond-shaped torso on top of a squashed oval. The oval represents the hips. Make sure the torso is placed slightly down inside of the hip area (see drawing at right). Note that the bottom of the torso shape is quite thin. This is important! There should be no gradual widening from the waist to the hips-it's a sudden shift in shape. That abruptness, that lack of subtlety, is what you're looking for. It gives your cartoons that retro look. The thighs wedge deeply up inside of the hip area and fill out all the room the hips can give them. This is true not only in cartoons but in real life. The first thing to do is shave off the bottom tip of the diamond to create a surface that fits into the hips. Then it's simply a process of rounding off the outline as labeled above. The final female torso looks like this. It, too, can be stretched, thinned out, or adjusted in any way according to your own taste and inspiration.

29. 29. 30 In a traditional-style cartoon, the ends of ponytails would be carefree and ruffled. For the flat, retro look, slice off the ends of the ponytails with a crisp, clean-and unnatural-line. This adds more style. Traditional hair ruffles Traditional hair ruffles Now that you're familiar with how the major sections of the body are assembled, you can put it all together to make a finished figure. With this female character, I've separated the torso from the hips just a bit on the construction drawing to stretch the midsection slightly, because she wears clothing that emphasizes that area. This is just one of the many ways that you can make small adjustments in the construction of a character to tailor it to your needs. Above is the basic torso/hip construction. Above left is the adjusted torso/hip construction with the torso separated slightly from the hip to accentuate the midsection.

30. 30. 31 Drawing a mature female figure in a side view requires a different approach to the leg treatment. Create the front of the legs with a single smooth line, while using a bumpy line for the back of the legs to indicate the upper thigh and calf muscles. Thigh muscle curve Smooth line Calf muscle Leave space for the high heels when roughing out the character.

31. 31. Joint at base of thumb sticks out Joint at base of thumb sticks out Protruding wrist bone kid teen adult middle-Aged adult female senior citizen / Pudgy and short. Not too angular or bony. Slender with thin, tapered fingers. Nails are unnecessary. Palms get wide, fingers curl, and bones protrude. Although the hands are large, they are also skinny. The palm has two basic areas: the heel (A) and the thumb muscle (B). The heel section is longer, but the thumb section is wider. You can draw all the fingers at the same length, or you can vary them. I choose to make all of the fingers the same size, except the pinky, which remains shorter. The thumb has a fat joint at its origin where it sticks out. bont leave this out of your drawing! Like people, hands have personalities, and you've got to draw them to reflect their owners! Please follow along, and no talking while the demonstration is in progress. Thank you. 32

32. 32. 33 Ankle bracelet Pointing big toe up adds a bit of humor In front and 3 4 views, balls of feet show Balls of feet can be seen from underside, too Wiggling toes are always funny no one knows why Main ball of foot appears under big toe Heel Side of foot has padding / ( ) There's the temptation to rush when drawing the feet because, typically, they're the final thing to be done in a drawing. But why rob your drawing of a finishing touch? Feet are funny! So, put some effort into them. Here are some useful examples. When drawing feet in high-heeled shoes, first draw the bare foot with the heel raised. Make sure the bridge of the foot descends at a steep angle. Then add the shoe. Fuzzy slippers are a must for middle-class family types! Women's Shoe Tennis sneaker Women's Shoe Tennis sneaker

33. 33. The keystone of so many funny comic strips,animated TV shows, and comics books is the strangely dysfunctional family unit. The retro family is a riot. Think of it as the quintessential 1960s sitcom family-but with each member suffering from Attention Deficit Disorder. Each family member is a turbo- charged nerd, self-centered in the extreme but with a weird patina of sugarcoating. The cast of characters goes as follows: the retro dad and mom, who are always annoyingly enthusiastic-and clueless- about everything; the retro older sister (you know her type: the sadistic babysitter); and her younger retro brother, who is often the most likable, creative, and inventive of the bunch.

34. 34. 35 Let's start with the parental units. How about the titular head of the household: the affable but totally obtuse dad. Why do dads always wear shorts with long, black socks? Is there a fashion part of the brain that gets damaged as a result of becoming a father? We may never fully understand the cause of this mysterious ailment. The Hawaiian shirt, off the rack from a "superstore," is also an essential characteristic of the fashion-challenged. The legs are skinny, and the trunk shows a hint of middle-aged paunch. The nose is almost always sharp and angular, and the chin usually juts out.

35. 35. 36 The suburban retro dad is king of the barbecue grill but almost nothing else. The fun of this body type lies in the contrast of very round lines alternating with straight lines on opposite sides of the same limbs. And as always, dad sports a large chin and embarrassingly long socks worn with shorts. Top-heavy characters are funny because their torsos are much longer than their legs.

36. 36. 37 Some things just seem to go together. I don't know how many dads actually wear bathrobes and slippers, but retro cartoon dads certainly do. Just as with the dad at the barbecue grill, you need to find the stereotypical props of a modest suburban life in which all is well and shopping from the right catalog brings joy and harmony to the household. The bulky bathrobe makes a nice contrast to dad's skinny calves, wrists, and neck.

37. 37. 38 Don t draw side of head through glasses Open part creates an interesting graphic ' Oversized eyeglasses are a common theme for retro dads but not for retro moms. Glasses make dads look wonderfully geeky; while on moms, glasses can have the opposite effect, making them look stylish-and you don't want that. The frames of the glasses become the outline for the whites of the eyes. All you have to do is draw the pupils or the pupils in the irises.

38. 38. 39 Skinny dads are just the opposite of athletic dads, with their legs longer than their torsos. (Note the different style of glasses.) This new father still has some of his athletic build intact. Just give him a few more years! What makes him funny is that his trunk is large, while his arms and legs are so short.

39. 39. 40 You can take the dad out of the office but you can't take the office out of the dad. The fun part about these wacky retro characters is that they never change! You can put them in any environment, anywhere, dress them in any type of clothing, and still, it's dad, 24/7.

40. 40. Waist must be small Right Soft line Wrong Basic cartoon mom torso shape" " Hard line Ah yes, there she is, the happily fulfilled homemaker. She is frequently seen wearing an apron and oven mitts. Her real marriage is to her kitchen. It's every feminist's nightmare-and so lacking in political correctness that it's hysterical. Nonetheless, you can be sure of one thing: her linoleum floors are always clean and shiny! This character's head, which is loaded with expression, is always large compared to her body. And she has "big hair" that has yet to be styled by a hairdresser from this century. Her body is the basic "mom" body shape: rather small and understated. Note the overlapping lines on the elbow: with the arms akimbo, the forearm appears closer to the viewer than the upper arm and, therefore, overlaps the upper arm. You can draw the two- toned eye two different ways: with a hard line around the iris or with a soft line around the iris. Both are good, but I prefer the soft line. 41

41. 41. 42 Here she is again, strolling back from the supermarket, just before she goes crazy. Just kidding (but barely). Again, notice how wide and oversized the head is. It's a great technique on moms, because the head then contrasts nicely with the smallness of her features, like her nose and mouth. Like most retro characters, her eyes stay big. Also, her clothes are never stylish but, instead, look like they came off the rack at a discount store. Back curves outward to absorb weight of grocery bags The leg extends for a purposeful walk (when the dynamics of the legs must be convincing, its a good idea to "sketch through" the dress to get the position correct, as in the next drawing). NORMAL LID HEAVY LID Heavy eyelids resting on top of the pupils give her a weary look.

42. 42. 43 Oh yes, some mothers just cannot resist trying to fit in with the youngsters and using the latest lingo. Don't you just want to cringe when you hear a mom say, "Hi, homeys!" There should be some sort of corporal punishment for that. Anyway, here she is, helping to lead the scout troop and enjoying the woods much, much more than the kids, who just want to get the heck out of there and play video games. Her appearance is always neat and tidy. The smile usually results in squinting eyes; this is a great look for this character, making her annoyingly cheerful-which is what you want. Play up the oversized eyelashes, which, in this case, are floating off the eyes.

43. 43. 44 The waistline is always higher on female characters than on male characters. The knees bend backward slightly when the legs are locked. (This only works for thin characters. Heavy characters dont exhibit this trait.) This is a good side view of the typical "mom" torso. Don't soften the point of the cheek- this angle makes the retro look. Many retro moms are typified by a relentless brand of perkiness. Make them bright eyed, with their eyelashes at attention. The posture, too, needs to be upright, reflecting a bubbly personality. Even her hair is spunky, for crying out loud!

44. 44. 45 Yes, she's a shopper, but it's only to keep the fridge stocked with all sorts of great-tasting cheese products in a can. And lots of green Jell-O. Those headbands are ubiquitous on retro moms. A headband stands for "I'm so busy, I didn't have time to wash my hair today." And she doesn't need to either, because her hair should always look the same, no matter what. Not one hair out of place. And here's one more important note about the retro mom: her upper body is always short compared to her legs, and this holds true no matter what type of personality your retro mom has. Cartoon moms have big bottoms! Pants with high hems (known as Capri pants) are a popular look.

45. 45. 46 Hair up in a bun, sleeveless shirt, and sandals. This is another good treatment for a mom character. This is the walking- about-town uniform for moms. You'll notice that even though her lower legs are skinny, they're not drawn as straight lines (a temptation among newer artists)-the calf muscles are still given shape and volume. And note the big feet: Characters who are dainty have small feet. Characters who are goofy have long feet. Don't hide the fact that she's goofy-flaunt it with a pair of flip-flops! Center line helps locate middle part for hair

46. 46. 47 Now we turn to the character type that everyone loves to hate: the cruel, older sister. She should have just come into her tweenage years (10-12). And she has but one mission in life: to torture her younger brother. There is absolutely nothing her younger brother can do that will not make her mad. She hates being forced to babysit when she could be out having fun with her friends. But, she doesn't hate it as much as junior does. Junior doesn't dare complain to his parents, because snitches are dealt with extra harshly in prison, er, I mean home. If she shoots her little brother a bold I'll-get-you-for-this glare across the dinner table, their parents will never notice it. To them, she is always their little angel. The younger the character, the deeper the curve of the forehead When two characters make eye contact, its imperative that the line of vision between them matches up. You should be able to draw a line from one characters eyes to the other's.

47. 47. 48 Look at how tight her little mouth is Note the upturned pug nose For a brooding expression, the eyeball should be cut off by a heavy eyebrow. Yes, it's sisterly love at its finest. This stare lets you know that you're probably going to be the subject of an evil experiment in the pretend science lab. It's a well-established comedic technique to take one type of character and dress her in the opposite type of costume for her personality. The malevolent sister, therefore, is dressed up in a pretty bows and ringlets, which don't do a thing to soften her! Quite the contrary, the contrast heightens her crabbiness and makes her all the more amusing. (Notice that the bow on her head doesn't have soft rounded edges, but sharp pointy angles instead-just like her personality.) Shoulders tensed, arms akimbo, and a direct stare at the reader is a great shot to use, whether the medium is animation, comic books, comic strips, or sassy greeting cards. It directly involves the reader and heightens the moment.

48. 48. 49 The mean sister has dolls that she plays with, just like anyone else. But when she's angry, she also punishes them, which is kind of weird. Still, she has to have an outlet, at least until her little brother gets home. Give your little dictator teddy bears and other sweet playthings. Teddy bears, in particular, can really take a punch. Pajamas remind the reader that this character is really just a little kid. Her outsized personality sometimes makes us forget that. "Feety pajamas," the kind that cover the feet and start every youngster off with her first case of eczema, are perfect because of their cozy appeal, which again contrasts with this character's wonderfully wicked personality. Push pull: when nose points up, mouth goes down Ridiculously oversized bow Big eyes combined with tiny nose Skinny neck Clothes slightly oversized Oversized head Funny ears No shoulders Big hair /

49. 49. 50 It doesn't matter how well things are going or by how much her team is winning, the smallest, most innocuous thing her little brother does will set her off, big time. For example, he might beg their parents not to take him to see his bigger sister's cheerleading competition. But the clueless parents would insist that the whole family go to support her or she'll feel bad. Of course, she falls flat on her derriere and blames it all on him. You'll also notice that this character type is never good looking. One shape for upper body Ears stick out substantially and droop slightly for a sassy look Its always good practice to draw the upper body as one shape first. belineate the blouse from the skirt later. In a 3/4 view, sneakers need arches! Make sure to add them, even if the character has flat feet. Sneaker arches

50. 50. 51 This one's a tightly wrapped piece of work. She's got hair braided in tight, unlovely pigtails that are knotted so tight they're in danger of cutting off the blood supply to her scalp; oversized glasses; and teeth so big that at any moment she might mistakenly swallow her own chin. Her outfit should always be tidy, but embarrassingly square. Her know-it-all expression requires closed eyes and a smile. And, brainy characters always have huge heads compared to the size of the body. (The exception is the adult mad scientist, who can be tall and skinny.) All of the features are gathered in the middle of her face. Hairline doesn t travel through glasses Draw small, horizontal rectangles on the teeth; these are connected to one another by one horizontal line running through them. But no matter how you draw braces, the most important thing to remember is to draw gigantic teeth first. If the teeth aren't big, you'll never see the braces clearly, the teeth will look cluttered, and no one will know what that stuff is that you drew on them. '

51. 51. 52 What better place to plot your revenge than seated behind your victim in class. It's as if the back of his head is calling to you, begging you to paste a "Kick Me" sign on his back. When drawing a seated character, there's a real advantage to drawing the chair first and then the figure. It's just so much easier to find the correct placement of the character that way. Also, a good approach is to show that young characters all but disappear behind the desk. Make sure the feet dangle in the air. Pointy ponytail ends reflect her sharp personality

52. 52. 53 The younger brother is a sympathetic character. He can be quirky, nerdy, specially gifted, or neurotic. He should be funny, unthreatening in nature, and affable. Readers should like him. He has his own life to lead but is continuously distracted by the need to dodge the ambush of his evil sister, the string bean casserole served by his mom, and the camping trips planned by his dad. This younger brother type gets a semicool haircut and a pair of jeans. He has a bright-eyed look. Thin legs work well in combination with oversized jackets, but make sure the jacket looks puffy, not tight. One way to do this is to draw the jacket as if it were sewn in sections, like ski jackets filled with goose down. Overstuffed backpacks are a fixture on youngsters today, who have to haul fifty pounds' worth of textbooks on their backs eight hours a day. If the country has an epidemic of scoliosis outbreaks in the next decade, you'll know why. Admit it, he's a funny character. But the important thing to ask yourself is, Why does he strike you as funny? It's that retro look: the outline of his body dominates the entire character. That round oval of a body has not been modified to give him more convincing shoulders or hips. He remains a graphic design based on an oval. Also, his proportions have been incredibly exaggerated: he's only two head lengths tall.

53. 53. 54 A character whose neck slopes forward usually looks better with a slack jaw and no chin. No! YES! Never show the neck of a rich character. Cover it with either a turtleneck or an ascot. This type of character is never named Jimmy or Billy. He's a Chip or a Fenton. Neatly groomed and nattily dressed, he's a funny supporting cast member. Maybe he's a friend of the younger brother. He could even be the boy the older sister has a crush on. Those half- closed eyelids give him a perpetually haughty demeanor. He only wears grown-up clothes, such as this jacket. He should look as if he were dressed to loll around the country club. And notice those sneakers: they're the type used for walking on the deck of a yacht, not for shooting hoops. Play sports? Gads, no! You can take this type of character as far as you like. You can cast him as a good student; a brilliant scholar; or, with the correct expression, a world-domination- desiring supergenius. He should have a very big head for the extra room his skull needs to house his superior brain (notice how the back of his head bulges), a puny body, and large glasses. And he has to dress like a nerd (notice the white socks and regular shoes-he doesn't own a pair of sneakers).

54. 54. 55 The star of a retro animated TV show, comic book, or comic strip is not a gifted athlete and is never going to be. That's a rule in retro cartoons. The gifted athlete gets the girl and makes the main character feel just two feet tall (although he only stands three feet tall as it is). To be the star of a show, a character needs obstacles- many of them. Problems, burdens, challenges-that's the stuff your character has to battle and overcome. It's his inventiveness that'Il get him there. That's what makes a winning character-someone who can summon his inner strength and make an idiot of himself anyway. A star athlete, on the other hand, has it all going for him already. He's not interesting. He's one-note. He's a jock, period. Therefore, your guy has to look a little outclassed in his sports uniform. Note: The same physical ineptitude is equally endearing for female characters. Note the different directions the outline of the face takes.

55. 55. T here's a lot of action and movement in cartoons. Action poses heighten the level of intensity and can be hilariously funny. Traditionally, a cartoonist will draw a character in action with lots of movement, complete with flailing arms and legs. Nothing is spared or conserved. Everything goes full out. The movements are fluid. But this is not the case in retro cartoons. Instead of working to give the reader the feeling of action, retro cartoons are only interested in humorously caricaturing an action-making fun of it, stereotyping it. Often, this leads to stiff poses, which are very funny because they make the actions look silly and colossally ineffective.

56. 56. The knee is deeply bent Action poses are used in two circumstances: first, when depicting an action, such as running or punching; and second, when an emotion is so strong that it calls for a strong pose, such as laughing insanely. The following techniques for creating caricatures of action poses are really at the heart of what retro cartoons are all about, and this is where you'll most likely start to get the essence of the style at a gut level. The name of the game is to conserve motion and stiffen the pose. To see how this applies to actuals figure in motion, let's start with a typical example: throwing a ball. The arrow shows how the entire figure is traveling in the direction of the throw. As in a "walking pose," one arm is forward and one is back; one leg is forward and one is back. Everything is in motion, and as a result, the pose is quite convincing. Here, as little movement as possible is used. Only one arm is shown. The legs mirror each other, conserving motion. The throwing arm is straighter (stiffer) than in the traditional approach. Speed lines are used to add a feeling of motion to the throw. Tuck legs and feet underneath, making them useless for adding power to the throw Even a simple motion like reaching for something can be made to look retro by limiting the movement. In the traditional style, the character goes all out to reach for something, pulling the body off balance in the process. The arm stretches in length as it reaches. In the retro version, the character's posture remains stiff as he reaches. 57

57. 57. Introverted poses-those in which the character draws into himself-make excellent retro poses. In classical cartooning, we learn that these are not good poses because they would be hard to read as silhouettes-and that's true, for classical cartooning. But in retro cartoons, the closed-in ball of a figure is funny and, therefore, effective. 58

58. 58. We always think of the punch as a full body action: everything goes into it. And, yes, even retro cartoon characters need a big haymaker to win a fight against evil mutant aardvarks and other extraplanetary scum. But the approach is quite different from the traditional style. Again, the "walking pose" is the model for the punch: one arm is forward and the other is back; one leg is forward and the other is back. The body leans into the punch, and one foot is off the ground. It works, but we've all seen it before, many, many times. Nonpunching arm stays pasted to body Small speed lines trail from heels The all-out retro punch is as stiff as a board! There's actually no momentum being generated by his body posture whatsoever! He's flying through the air, horizontally, with an arm out, and yet, it's so goofy that it works. But, it's necessary to turn the background into a canvas of speed lines, otherwise, he'd look like a statue frozen in air. Pulling toes up makes a pose funnier 59

59. 59. We're all used to the classic pose of an action hero charging up into the air to save a worthless city from an evil monster who might actually gentrify the place and make it interesting. How do you simplify the pose to make it more retro? Take a look. One arm is up; the other is held out for balance. One leg is up; the other is down. Both legs are pasted together, conserving energy. The trailing arm is pasted at his side, too. Remember: the closer the body can tuck into itself, the more retro the pose becomes; loose limbs are for traditional cartoons. Downward-tilting feet reflect wind drag 60

60. 60. The character's form doesn't stretch at all! Instead, the character is drawn on a tilted axis, with a hypnotic swirling background. Very cool-and funnier. You know what a "take" is. It's when a character goes, What the heck? and then looks startled with an extreme reaction. It's used many times in all sorts of cartoons. There's a very cool way to show a take in the retro style that's different from anything in classic cartoons. The figure stretches and thins out as the take occurs. All the limbs straighten out-even the ears stick out! This is a lot of body movement, and the figure will then end up bouncing back (recoiling) to its previous size. 61

61. 61. Conserve motion by eliminating the swinging arm movement that you see in traditional cartoons. Traditional retro Tilt hands backward at wrists for a funny look Traditional Traditional retro retro Even a pose as breezy as leaning against a surface can be done in a funny, retro way. Again, conserve the movement and bring the body inward. A karate kick will be retro if you focus more on the attitude than on the technique of the kick itself. Look how much less motion there is in the retro kick than in the traditional one. 62

62. 62. This is perhaps the most intense action pose of all-and it requires a background to reflect the character's state of mind. This kid has just had a brainstorm, and literally, an electrical storm is occurring behind him. Although his limbs are outstretched, they're stiff, and there's no direction to his movement. Think about it: is he going up, down, or sideways? Actually, his body is frozen in air. He's not moving at all! He's just floating above the ground, having an intense moment. This action pose has actually eliminated every hint of action! That's retro. 63

63. 63. ll retro families have a retro pet to go with their 2.3 children, 2 cars, and chocolate fudge breakfast buns. Pets make great supporting characters and must be drawn in keeping with the style of the family unit as a whole. The most popular pets are dogs, cats, birds, and fish-in that order. If the point of a cartoon dog is to appear lovable, then the point of a retro cartoon dog is to appear so lovable it's weird. These are pets who need therapy. A Let's compare the regular dog to the retro dog. This is a simplified version of an anatomically correct pooch. Notice that the head dips at a 45-degree angle in a relaxed stance. Pointy back of head Front end of snout is fatter than jaw area No bump in shoulders Big, round rump Sagging tummy No dew claw creating a sleek leg line Pronounced heels This is what happens when a dog learns to operate a can of cheese spray.

64. 64. When dogs want something, they generally stare at you mercilessly until you toss them a scrap. Cartoon dogs take that one step further. Their eyes actually change shape and size when they pull on your heartstrings. Two-toned eyes. Add floating eyelashes and three shines Sad eyes are puppy eyes at their absolute largest. No matter how evil this dog has been just a second before, the moment it turns on the water faucets, it's curtains for any human. Nobody can stand up to this treatment. It simply can't be done. The black eyeballs take up almost all of the room inside the eyes. The shines are huge. Tears well up on the bottom, as one droplet squeezes out onto a cheek. The eyes get larger, and the irises are eliminated. All that's left are these large, black pools of glistening puppy eyes. In order to make them glisten, you've got to add the glisten part: make the eyes as dark as possible, and stuff multiple shines into each one. Also, eyelashes should suddenly appear. Exaggerate ear length in this pose 65

65. 65. Here's the ever-serious beagle. The beagle is a hound with a perpetually furrowed brow, a small frame with a large head, and a compact body. This breed looks like a puppy at any age. Note the markings on the legs, which look like a pair of tall white socks. Spine curves out in seated position Give dogs cheeks, like humans The beagle has a high crown It's more interesting, visually, to draw the bottom of the ears on a diagonal. 66

66. 66. Add crazy spikes The most common cartoon dog is the bulldog, which is characterized by its big jowls, large chest, tiny waist, and inward-facing front legs. This breed is owned by the antisocial next door neighbor and his bully son. Note the construction of the bulldog body: There's a high, arching back, but a relatively horizontal line for the tummy. The legs should look ridiculously small for the body. The rings around the eyes should make it look as if the dog hasn't slept for weeks. The collar is usually insanely aggressive. I have "floated" the ears to give the drawing a touch more style. 67

67. 67. This dog is owned by a family that has to have just the right type of dog to match the window treatments in the house. The Afghan's head is frozen in the "up" position so that the dog has to look down its nose at everyone. To maintain this aristocratic appearance, make sure the ruffles only appear at the bottom of the coat; the top is smooth. The top of the nose curves down slightly, creating an air of disdain. The shoulder and chest bumps should be visible protrusions, even under the coat. Shoulder bump Chest bump 68

68. 68. The higher the smile rises on the face, the goofier the character will be (this principle applies to humans, too). When the tummy hangs low to the ground, there needs to be a cast shadow on the ground underneath it. A sway back is goofy The big honker is a great look for a silly mutt. It immediately telegraphs "Not a purebred." Add an uncoordinated tongue dripping with saliva for an extra helping of silliness. Skinny ears and teeny feet contrast well with that big belly. Sharp teeth work better than flat ones for retro cartoons; flat teeth humanize a dog, whereas sharp teeth give the character an edgier look. Don t forget ever-present puddle of drool Chest area overlaps rump in this pose The crossed paws are a good look for a dog lying on its tummy. Note the overlapping shapes that make up the body. Forward-hanging ears are a nice variation. Cartoon mutts are goofy, hungry, and lazy. "You threw it, you get it," is their idea of a game of fetch. They're very popular cartoon pet types because they're the everyman of the canine species. They're the canine equivalents of human underachievers-smart but never fulfilling their potential. 69 '

69. 69. 70 Bump Dip Cartoon cat personalities vary widely from cute to evil, with a lot more emphasis on evil. Their looks also vary widely: some are roly-poly, others are slinky, and some are just lovable little fur balls. Cats have looser skin than dogs, and therefore, their anatomy is more concealed to begin with. Because Notice that the cat's chest is smaller than its waistline or rear. The legs are thin, and the knees are perpetually bent (just the thought makes me want to rub on some sports cream!). The tail has the same thickness throughout. The neck is long, and the head is tiny, where it houses an evil brain. of this, when they're exaggerated and turned into cartoons, greater liberties can be taken with their form. So, you don't need pay as much attention to their correct anatomical construction (the way their joints bend) as you do with dogs. This frees you up to create highly stylized versions of cats. Line of back is simplified A closer look shows the "thumb" near the wrist of the cat's foreleg. You can make a clear marking across the wrist. The cartoon cat is a simple construction-like a football with legs. The joints in the legs have all been simplified. The neck has been eliminated (except on skinny breeds, like the Siamese, which we'll get to in a few pages). The width of the tail varies. Bump

70. 70. 71 There are two basic cat head shapes: round or with pointy cheeks. And within these categories, there are many variations. In addition, you can invent as many different shapes as you like by stretching and squashing the head. The outline of the face is completely intact (below). A few hairs are added to the top of the head. Strands of hair are drawn as lines whereas ruffles (right) are drawn as spikes that have thickness. basic round shape basic pointy- cheeks shape With retro cartoons, none of the ruffles should appear soft. Instead, sculpt each ruffle like a pointy piece of plastic. The ruffles generally appear on the cheeks and on the tip of the tail. Even though real cat cheeks never puff out into a point of any kind, for reasons known only to the cartooning gods, audiences expect to see their cartoon cats with pointy, ruffled cheeks. This works especially well when depicting soft, fluffy cats and kittens. Kittens all have tiny noses. Being young, these characters have eyes placed low on the head, as well. The ears and tail can be small or large, but I prefer tiny ears and a big, fluffy tail. It makes them seem more pampered. For a retro look, keep the eyes two-toned with eyelashes stiff and at full-alert.

71. 71. 72 Notice that there's never a Siamese kitten. That's because kittens are supposed to be cute-but there's no such thing as a "cute" Siamese cat. (Now I'm going to get hate mail from someone with a cute Siamese cat. Okay, pal, I didn't mean YOUR cat, I meant everyone else's, all right?) These cats are always sinister and slinky, with hearts of darkness. They must have true "cat eyes"-almond-shaped eyes thick with eyeliner. Siamese cats have long, thin tails that curl in strange ways. Note the typical Siamese markings: not black spots, but areas of gradual blackening on an otherwise smooth, grayish-beige coat. Give them long whiskers-a sign of cartoon villainy. I like to make their ears large, as if they're always ready to overhear something that's being whispered. Elegant in an evil way, their legs are thin and delicate. Trailing streak The eye of the Siamese cat should look like it has been gone over several times with eyeliner, with a trailing streak off the end.

72. 72. 73 This cat is unhappy and glad about it. The wrinkled brow remains no matter what the expression. All of the features are crumpled tightly together at the center of the face, resulting in a not-too-cheery countenance. The lower eyelids hang heavily, which is the opposite of bright eyes. And the paws become chubby little fingers. Notice the vastly oversized head that characterizes most retro-style animals. Real cat heads are actually quite small. Cat ears tilt out at a 45-degree angle Note the furrowed brow Whiskers down for evil and grumpy cats Whiskers up for friendy cats

73. 73. 74 Household birds are so retro. If you can't have a pink flamingo on the front lawn, then a feathered pet in a standing cage is the next best thing for kitsch. Birds are very compact little creatures. Since they don't have buckets of personality, they have to be highly stylized in order to create personality. You do this by making them chunky and creating designs for, rather than literal representations of, their feathers and beaks. In cartoons, the crown of feathers is the main thing with this breed. Under that punk feather-do, he's just a little guy (even though in reality, the cockatoo is a large bird). Parakeets are very cute. And although they resemble parrots, their heads are not as big in comparison to their bodies. They are chestier, smaller in size, and more squeezable. floating small bird foot Unlike most smaller household birds, parrots have thick, ugly claws that need to be caricatured when drawn for cartoons. The feet of smaller birds can be drawn as simple lines. parrot foot This is probably the most popular of all pet birds, so here are three variations to get you started drawing your own versions. Whereas the cockatoo, parrot, and parakeet all have full bottom beaks, the cartoon canary should have very little, if any, bottom beak-for a petite look. The upper beak does not hook over. They are smooth, gentle little creatures. Note that I've "floated" (detached) the tail to give it an extra-graphic look (above left). You can float anything you like on a character. Just look at the baby chick above, on which I've floated an eye, an eyebrow, and the hair on the top of the head. The parrot has much more beak in relation to its head than other domestic birds. Since, in reality, birds have one eye on either side of the head, you would only see one eye when they are in a profile or 3/4 position like this one. And that limits their expressiveness. Therefore, I like to group both eyes together on the same side of the head. It results in a goofier look.

74. 74. 75 Even the aquariums get into the pet act. They're so irresistibly banal. What's the point of being a fish in a tank anyway? For a sea horse, what makes it a good day versus a bad day? Cartoons get pretty deep, philosophically, if you think about it. Okay, enough Descartes; back to the fish. Here are some cool types for ya.

75. 75. eenagers are popular characters who divide their time equally between family, school, social life, and saving the world from the forces of evil. Their faces are generally sleeker, and their bodies lankier and longer-legged, than preteen characters. Each teenage character must have a specific personality type. It's not enough to just draw a teenager. What kind of teenager? Is she the popular kid? Is he the computer geek? Is he the class clown? Is she the rebel? If I can leave you with one important lesson, it's this: you're not drawing cartoons; you're drawing characters. Some artists will decide on the character type before they begin to draw so that they'll have a clear vision of where they want to go. Other times, it may work better to start sketching freely and then, once a character begins to emerge, start refining it along the lines of a specific personality. Here's a popular, intense character type who is great for action-comedy shows. The first thing to notice is that the chin is longer and more angular than it is on younger characters. The entire head has a leaner, less- rounded look. (On female teens, however, the round look can still be maintained; see page 79.) But the nose should still be upturned- a sign of youthfulness. The teen hairstyle makes a fashion statement. Notice the hair falling dramatically over the forehead. The eyebrows show determination. Teens are often intense. T

76. 76. 77 The head is, again, sleeker and more angular than it is on younger characters. Thick eyebrows are used. The eyes have an open style (in which the lines indicating the shape of the eye don't meet at the corners but remain open). This is a popular look for comic books and adventure-style animated shows. The upper eyelid needs to be slightly darker than the lower one. A few light sketch marks under the eyes bring the illusion of color to the cheeks. Keep in mind that retro cartoons deal primarily with young teens, so these characters are not yet fully matured physically. This shows in the neck, which is not as thick and muscular as it would be on an older type of hero. Older teens and twentysomethings are better suited to a manga or classic American comic book style.

77. 77. 78 Notice the direction of the pose here, which changes at the hips. This is a more mature stance that children and tweens never assume. Plus, teenage legs are significantly longer than the upper body. The eyes have taken on an almond shape, replacing the circles that characterize the eyes of younger characters. The eyebrows are sleek and close to the eyes, and are not the stiff, funny lines used for younger kids and tweens. And, the lips are much fuller than on younger characters. The nose, however, stays just as small as before and, in some cases, gets even smaller. Draw uneven lines-parallel lines are boring Compare the version of this character drawn with a thin outline to the one drawn with a thick outline and jazzier clothes. I think the thicker outline adds more punch to the image. Capri pants can flair out for style

78. 78. 79 Hair is smallest at origin of ponytail Hair is thickest at end of ponytail The teen girl can have a round face, just like young children and tweens, but her features must appear higher up on her head. Always show the eyebrows and eyelashes through the hair because they add the necessary degree of femininity that teenage girls require. Clothing is all-important to teenage girls. I believe that in order to create an eye-catching character, you must dress her as if she shops at a boutique on Melrose Avenue in West Hollywood, not at a giant discount store in a suburban megamall. And this holds true whether you're drawing a teen girl with a taste for grunge fashion or one simply in jeans and a tank top. Look for opportunities to create feminine hand poses. This is an excellent one for a relaxed hand gesture. Pinky up; all other fingers pasted together Hand bends down at the wrist

79. 79. 80 He's a caricature of the 1950s jukebox/malt shop teen turned into a present-day character who bops around with a little extra bounce in his step. These types are really fun characters to draw. Give him a modified Elvis haircut and tight-fitting jeans. Leave his shirt untucked, with the collar up. The long, thin neck repeats the motif of his skinny legs. Note the thicker eyebrows, which give the face a little more impact.

80. 80. 81 Once again, we see that teenage girls are very put together, with expensive outfits that are bleeding their parents of their retirement savings. This is an example of an oft-used, cartooning technique: placing superlarge heads on very thin, long bodies. This is different than putting very large heads on very short bodies, as is done effectively with children. The ultraslender body emphasizes that she's still not a mature character. It's also important that you maintain the hairstyle of a teenager, such as this ponytail. (Note the eye shadow, which adds glamour to the eyes.)

81. 81. 82 Hair falls in front of face Note the outward bump of the forearm, which shows some of the muscles of the character without making him appear muscular. This is a cool look for a teenager and is worn by lots of teen movie idols. It features a center part, with the hair cropped in a sharp line at the bottom. When he's older and in the workforce, he'll have to tuck in his shirt, roll down his sleeves, button his collar, and tighten his tie. But until then, he's still a kid. Long, thin legs; long arms; and a bit of a gangly neck are the hallmarks of a teenager.

82. 82. 83 This is a very clean and wholesome look, but the character is also attractive and stylish. Gone are the days when the girl next door looked like something your mother had to bribe you to ask out on a date. Make her bright eyed, which means eyelashes that stand up straight, rather than trailing off with a stilettolike flair. Teens have the same accoutrements as grown-ups: purse, earrings, makeup. The strands of hair in front of the ears is a look borrowed from manga, which is growing in popularity. Heel juts out

83. 83. 84 This is your typical hallway-roaming, cafeteria-chatting, football-playing, math-class-snoozing teenager. Schools come ready-made with great characters and locales for staging scenes: cliquey girls gathered at the lockers; rich kids being driven by limo past the kids at the bike racks; students choosing glow-in-the-dark food groups from the vending machines; evil teachers involved in secret projects in the science lab; geeks with delusions of grandeur in the computer rooms. You name it, it's there. And this forces social interactions and groups, which are great for comedy.

84. 84. 86 Fists turned out are weak Fists turned in are strong Hair is tossed loosely Heavy eyebrows provide an added look of intensity. Teen characters in action comics and animated TV shows are characterized by their readiness to fight for what they believe in. Teens relate to feelings of heroism, nobility, and triumphing over struggle. And since growing up as a teen is, in fact, a struggle for everyone, this makes for an appealing character.

85. 85. 87 Your character can stand at attention, can stand impatiently, or can stand nervously-but you don't want your character to just "stand." You have to put a spin on it. Posture is to the body what expressions are to the face (except that your mom never tells your face to stop slouching). Posture is either high energy or low energy, extroverted or introverted, based on the character's thoughts at the moment. In fact, a character can stand in one place but change posture many times in response to a series of thoughts. And while a character's face may try to conceal a thought or feeling, the body doesn't lie. A well-positioned body reflects an attitude, thought, or emotion. Legs apart Surprise You can exaggerate all poses to the point of silliness! Legs wider apart Strength Knees in Weakness Front arm reaches out with opened hand Arms and legs in walking position Toe points A shadow is necessary to show foot is off ground Over-the-shoulder look Flirtatious= = = = " "

86. 86. 88 Suppose that your character enters a room in which there's a discussion going on. She first has to listen to what's being said before she can react to it. This is when she'll assume a neutral pose, of which there are three basic types: Note how the backward curve of the legs adds to the nice sweep of the pose. The hanging arms make this a funny pose. This is very flat. No one stands this way in reality. All of us slump a little.

87. 87. 89 Each pose reflects a different state of mind. As you gain drawing experience, you'll add your own unique twist to each pose and come up with entirely new poses to represent a variety of moods.

88. 88. Big eyes and big lips are your one-two punch when drawing a female knockout. The eyes are elongated almond shapes, not circles or ovals. And they should be pointy at the ends. The upper eyelids must be dark and thick. Add eye shadow to further accent the eyes. Give her long, thick eyelashes at the ends of her eyes. The lips come directly from Collagen Central. She needs to have a major-league overbite. When the bridge of the nose shows, use a single line from the eyebrow to the nose to create the bridge. Cover up most of the forehead with bangs, unless your character wears her hair back. Show her shoulders and a long neck whenever possible. retty women have a way of lighting up a scene. They make sharp, eye- catching characters that you want to see. But because they aren't broad and goofy, they can sometimes pose a problem for newer artists because of the difficulty in achieving the nuances necessary to make a character look attractive. Retro women, however, are easier to draw because there isn't a whole lot of nuance going on with this style, which is what makes it so much fun and so broadly appealing. Think of drawing pretty retro gals as going for ultraexaggerated femininity. It's absolutely essential to tilt the eyes in the right direction in order to make the character pretty. Neutral (eyes horizontal with no eye tilt) is bland. Always draw a heavy upper eyelid and eyelash for sexy characters. Lifting the ends up is an attractive and sexy look. Vertical eyes can be a pleasant look- or perky or goofy- but not sexy. Even in a side view, the collarbone sticks out slightly, like a tiny ledge. P

89. 89. 91 Dip the chin slightly, and show the character looking up under heavy eyelashes for a seductive or alluring look. On pretty female characters, it's possible to get away without drawing the nose at all. In those cases, glamorous eyes become even more important. Note the detail in the eyeball. The glamorous female eye looks difficult to draw, but it isn't if you begin with the entire eye as a whole. Don't draw the eye first and the eyelid second, hoping to fuse them together. That's how people get into trouble. Start with the almond shape, which includes the entire eyelid, and then start defining the interior parts. Leave the eyelids half closed, resting on the pupil, for a mysterious look.

90. 90. 92 These are the important things to note: The closer together the knees, the sexier the pose. Long neck Wide shoulders Large rib cage Wide hips Narrow waist Full thighs wedged high into hips Slight knee bend Deeper knee bend Tapered legs Leg gets thinner at knee joint Shapely, but not large, calf muscles Leg gets thinner at ankle joint Foot sweeps away from body in an attractive pose, led by the toes Knees touching ( )

91. 91. 93 This is a '60s hippie-chic look, with bell-bottoms and arm cuffs. The backward-leaning posture is a cool, slinky pose for thin (as opposed to voluptuous) characters. Note that the head remains straight up and down, even when the body leans back. It's a natural counterbalancing reaction; otherwise, the body would fall over every time a person leaned in a direction. This is also a good example of an attractive female character with shoulders that curve upward, which is a sharp stylistic choice. Although we refer to them as "square shoulders," what we're really talking about is the shape of the .collarbone Collarbone

92. 92. 94 A pretty girl in sunglasses and a ragtop roadster-does it get any better than that? When you draw a cool chick, give her a blank expression, as if she were a model posing for a magazine cover. Hey, you can draw her with a big, toothy smile if you want, but then she'll look more like the girl next door, not like the heartbreaker she is. Even though the wind is blowing, her hair maintains its forward-facing "do." This is the line of the bottom of the car where the paint and/or chrome ends. The chassis, which is black, drops down a bit further between the wheels than the bottom of the car.

93. 93. 95 Oversized clothing is outstandingly trendy It's amazing the kind of a wardrobe you can put together for only $12,000 if you're resourceful enough. And for drawing fashion-plate cartoon females, here's the rule: the richer they are, the thinner they are. Although we like to make fun of fat rich people, it's the thin rich people that we despise. And that's because they make wealth look so good. That haircut alone costs enough to feed a Third World village for a week. You don't have to draw her dripping with diamond rings and necklaces to make the point; a simple set of oversized earrings does the trick. Garish isn't attractive. Think Italian designers. And, fashionable Euro-clothing doesn't have to fit snugly to have style. It can swim on her, and she still looks fabulously chic.

94. 94. 96 Here are a few insights that took me years of pain and thousands of crumpled drawings to learn. Tilt the collarbone for a little added body action. Try to add at least one bent-elbow arm pose-it's always a good choice for an attractive character. Thick Line Thin Line Avoid making the arms appear muscular or even athletic. Remember, this type of character goes to a spa for a facial, not a workout. Therefore, draw the interior line of the arm as a straight line. Draw another straight line for the exterior line of the upper arm, and draw a rounded line for the exterior line of the forearm. Also create one long sweeping line from the top of the hips to the tip of the shoe. As mentioned at the start of the book, the retro cartooning style and thick pencil lines go together like HMOs and the refusal to reimburse. However, when you're drawing attractive characters whose sex appeal is front and center, it works equally well to use a thin line. It's true that a thick line will flatten out the character, giving it more of a retro look, but a thin line will make the character look a touch more feminine.

95. 95. 97 If you don't have a few grand to spend on a blouse, you could always travel to an uncharted tropical island and find a great deal on summer outfits. There, you'll find stunningly beautiful cartoon characters wearing handmade clothes. Primitive beauties are always drawn with curvaceous figures and full thighs on tapering legs. The clothes are always formfitting and skimpy. There are always large earrings, stacked neck rings, animal skin clothes with stitching, fur-lined boots, and bracelets. Shoulder and thigh bands complete the look. Thigh bracelets are attractive

96. 96. Would you enter a cave like that? Me neither. But they will. They're cartoon characters. And this is what they do, darn it. Both characters exhibit the same body language: leaning back in fear. They are both looking at the cave's interior. Note that you don't need a whole lot of props to create a spooky environment. No cobwebs, no spiders or half-buried skulls in the ground. Just one good, demonic lamp does the trick. Of course, it helps that this is a nighttime scene, with a full moon. Also, the craggy tree in the background with its dead, black trunk is an ominous sign-and a necessary one, otherwise the forest would look too pristine and pastoral. ow it's time to take everything we've covered, put it all together, and create cool scenes with multiple characters. All the same principles still apply, but now we're creating scenes based on concepts. As a result, the characters will be more focused. If it sounds harder, it isn't. You'll have fun with it. It's what retro is all about: creating scenes where the sparks can fly. So keep everything simple, bold, and flat. N

97. 97. 100 Typical of action shows is the single heroine (or hero) pitted against a greater number of bad guys. Danger is her only friend. Give her a slinky body so that she can move like a fox to outwit her enemies. She's beautiful but tough, as shown by her intense eyes, tight lips, and short-cropped hair. Keeping the shoulders high is a great pose for stealthy characters. Add a deep curve to small of back Draw through overlaping shapes to maintain correct placement Important! Add a shadow under left foot so that it looks as if it s making contact with the wall '

98. 98. 102 To add humor, give both characters flat feet Add a shine to the glass to make it appear solid Out Out Out Out In In This one's for killing the giant-cockroach-mutant- invaders from planet Zonk. I think. These two burly characters are about the same height, and both have jutting jaws. So, it becomes important to create noticeable differences in costume and hairstyle. I've also given the pilot on the left extra- long arms, while the commander on the right gets shorter ones. And here's a note about character design for you to file away: on a character with a big manly jaw, the nose should be small so as not to compete with the rest of the face. Now take another look at these space characters. They're standing in profile. A profile requires that you show the curves of the spine as it travels from the head (remember, the neck is part of the spine) to the feet.

99. 99. 104 Pardon me if I whisper-I don't want to foul them up and risk the survival of the free world. So, here we are, deep in the belly of a supervillain's underground laboratory. Notice how the characters walk: gingerly, so as not to alert any guards. In this way, you create a relationship between what the characters are doing and the environment they're in. When drawing two characters walking in single file, make sure that their feet are on the same level, that one figure isn't higher than the other. This helps create the illusion that they're really walking on solid ground. Normally, in animation and comics (but especially in animation), you avoid having one part of the body touching another, as it makes the figure look flat. The spot where this happens is called a tangent. But since retro is such a flat look anyway, it's not necessary to avoid tangent. Tangents are our friends. To create comfortable standing or walking postures, tilt the chest and hips in opposite directions. Tangent Contrast rounded heads with flat heads for added interest Hips tilt down Chest tilts up

100. 100. 106 What's silly about this picture? Look closely. It's her necklace and earrings. What thief wears a pearl necklace and earrings to a burglary? But it's funny, and it adds glamour. It's good to find ways to add humor and glamour to your jewel thief scenes. For a crouching pose, the heels tuck directly under her bottom, not beyond it. Her arms are outstretched in opposite directions to provide balance. Her eyes dart to the sides, ever wary of danger. Long boots and action- figure-style gloves always provide a good look and can be quite stylish, too. And, like all master jewel thieves, she wears all black. Straight line Straight line Note the curving line of the thigh, which goes deep into the knee joint when the legs are compressed against themselves.

101. 101. Her hands must be placed on the outside of the building, to give the scene a sense of urgency. Raise the tip of the front foot. The rope should vary in thickness to look as if it is being stretched to the limit. Put a cloud in the sky to make it seem like he's way up in the air. Draw it long, vertical, and thin so that it will look right when you rotate the final drawing. I hate to tell him this, but the fire is in the other building. To draw a character scaling a wall or building, turn the drawing paper so that the figure appears to be upright. Then draw the figure in a walking stance with knees deeply bent, lean the body back, and raise the arms and shoulders up so that they cover part of the chin. Now turn the paper back to where it was. That's all there is to it!

102. 102. 108 He's brave. He's determined. He's completely clueless. Not all heroes are bright. Some are just persistent. Retro evil monsters should be big and should tower over their victims. But they should also be goofy. Keep the style consistent, even for bad guys. Maybe you can draw a seriously scary creature, but that's not the feeling of this scene or of the retro style in general, which is one of humor-even in action comics. Also, be sure to style the guns so that they don't look dangerous. They should look like turbo-charged water pistols. And, take a look at the background in this illustration. I love a good retro rocket ship poised to take off from the planet surface. It's the "pink flamingo" of science fiction.

103. 103. W ell, here we are at the end of this book (unless you're reading it in Hebrew, in which case, "Welcome!"). It has been delightful keeping you company and watching your creative juices work overtime. There are three essential ingredients necessary to becoming a good cartoonist: practice, technique, and a bag of chips. Two, if you leave out the practice. Some people just practice and never improve because they, unlike you, don't bother to get more information on cartooning techniques. Some people get the info but don't practice. And some people never buy a decent bag of chips, opting instead for pretzels or pork rinds. Don't feel as if you have to go through this book like a class assignment, with your nose to the grindstone until you can draw everything in here perfectly. When I was first starting out, I got loads of books on drawing, looked through them all, and created a mini library for myself. Then I began to draw. When I got stuck, I reached for one of my books to remind me of the principles I had learned or to give myself a bit of encouragement or inspiration. I believe that's the best way to do it: Get all of the info you need. Enjoy it. Let yourself digest it in your subconscious, where it will evolve and come out later in one of your drawings as a burst of inspiration. Your creative mind is working even when you're not practicing. It really is. Trust that process. Try to learn new things. But then just forget about everything else and draw. That's what you were born to do. Until next time! 111

104. 104. action poses, 56-63 adults, 20, 21, 32 affable expression, 17 Afghan hound, 68 angry expression, 15 angry pose, 89 aquarium pets, 75 assembling female figure, 29, 30-31 athletic new dad, 39 attractive poses, 96 average body, 23 backward slump, 88 barbecue, 36 bare feet, 33 bathing beauty, 21 bathrobe, for dad, 37 beagle, 66 begging dog, 65 big-nosed mutt, 69 birds, 74 body(ies), 18-21 building of, 27 body size, 23 bone, mutt with, 69 boys, 53, 54, 76 braces, 51 brainy kid, 54 breeds, dog, 66-68 brooding/scheming expression, 16 brother, younger, 53 building bodies, 27 bulldog, 67 canary, 74 carefree teen, 77 cartoon cat, 70 cartoon dog, 64 cartoon figure, idealized, 24-25 cats, 70-73 cheeks, pointy, on kittens, 71 cheerleadirig sister, 50 circles, as joints, 28 class, sister in, 52 cockatoo, 74 concerned expression, 16 confident expression, 15 cool cat, 80 cool chick, 94 cool mom, 43 cool type, 21 cup of coffee, for dad, 37 dads, 35-40 diamond-shaped torso, 29 dogs, 64-69 dolls, for sister, 49 eager pose, 89 emotion, pose and, 89 enlarging upper jaw, 10 epiphany, 63 evil adult, 20 expressions, 15-17 eye tilt, 90 eyes, 12-13, 28, 41, 42, 91 cat, 72 puppy dog, 65 face, 90-91 facial expressions, 15-17 family, 34-55 family pets, 64-75 fashion-plate females, 95 fearful pose, 89 feet, 33 parrot, 74 female eyes, 12, 91 female figure assembling of, 29, 30-31 voluptuous, 92 female hands, 32, 79 female shoulders, 26, 93 female torso, 29 figure cartoon, idealized, 24-25 female, 29, 30-31, 92 fish, 75 flat drawing, 11, 30 flirtatious pose, 89 floating, 74 flying, 60 forward lean, 88 galactic medal of valor, 102-103 girl next door, 83 glamorous female eye, 91 glasses, dads with, 38 hairstyle, for teenage boys, 82 hands, 32, 79 hangin' at mall, 81 head, 6-8, 9 cat, 71 head tilt, 91 hero, 107 hips, 27, 30 idealized cartoon figure, 24-25 introverted poses, 58 jaw, upper, enlarging of, 10 jewel thief, 106 joints, circles as, 28 karate kick, 62 kids, 18, 32, 53, 54, 55 kittens, pointy cheeks on, 71 know-it-all sister, 51 larger body, 23 laughing expression, 16 leaning, 62, 88 legs, 27 line(s) of sight, 47 thicker, 11, 78,96 lips, 7, 14 loosey-goosey teen, 82 low-cut pants, 93 male eyes, 13 male shoulders, 26 mall, hangin' at, 81 megapunch, 59 middle-aged adult, 32 midriffs, 93 molding torso, 28 moms, 41-46 monsters, 108-109 mutts, 69 neck, 26, 27 office dad, 40 older sister, sadistic, 47-52 oval, for head, 9 pajamas, for sister, 49 pants, low-cut, 93 parakeet, 74 parrot, 74 perky mom, 44 persistence of dad, 40 pets, 64-75 playful pose, 89 pointy cheeks on kittens, 71 pose(s) action, 56-63 attractive, 96 and emotion, 89 posture, 87, 88 pretty teen, 78 pretty women, 90-97 primitive beauty, 97 profile, 7 proportions, 22, 42 reaching, 57 ready-to-eat expression, 15 rebel, 86 regular kid, 53 retro, 5, 6-33 rich kid, 54 ridiculous shoe styles, 33 round shapes, for cat heads, 71 running, 62 sad dog, 65 sadistic older sister, 47-52 scaling wall, 107 scene(s), 98-111 school, 84-85 secret agent chick, 100-101 secret mission, 104-105 senior citizens, 21, 32 serious teenage boy, 76 sexy stances, 92 sheepish expression, 16 shoes, 33 shopping mom, 45 shoulders, 26, 27, 93 Siamese cat, 72 sister, sadistic older, 47-52 size, body, 23 skinny dad, 39 slumping, 88 sneakers, 33 snorkeling dad, 40 spooky environment, 98-99 sports, kids and, 55 square, for head, 9 stances, sexy, 92 standing posture, 88 stare, of sister, 48 stylish teen, 79 stylized shoulders, 93 suburban dad, 35-40 superior expression, 16 superthin body, 23 surly cat, 73 surprised expression, 16 sympathetic expression, 17 take, 61 tangents, 104 teacher's pet, 53 teenagers, 19, 32, 76-89 thicker lines, 11, 78, 96 thin lines vs., 78, 96 throwing, 57 tilt eye, 90 head, 91 torso, 27, 28, 29, 30 triangle, for head, 9 tropical fish, 75 uh oh! expression, 17 upset expression, 15 vacationing dad in Latin America, 40 voluptuous female figure, 92 walk-about mom, 46 whiskers, cat, 73 wicked expression, 17 women, pretty, 90-97 women's shoe, 33 younger brother, 53

105. 105. $12.95 USA Love SpongeBob? Always lurking in Dexter's lab? Wishing for Fairly Odd Parents? Now there's a book that shows you how to draw this entirely new, stylized, ultracartoony retro look; it's Cartoon Cool-and it's everything you've come to expect from best-selling author Christopher Hart. With step- by-step drawings and crystal-clear instructions, learn how to get that almost-1950s-with-a-twist look in your drawings. Christopher Hart is an award-winning and best-selling author whose books have set the standard for art instruction, both nationally and internationally, with two million copies in print in seventeen languages. He is the go-to guy for manga how-tos, and his title [Wongu Monk, was the top-selling art book in the United States for months after its 2001 publication and continues to be one of the country's best~sellers*. Renowned for up-to-the-minute content and easy-to-follow steps, all ol Hart's books have become staples for a new generation of aspiring artists and professionals, and they have been selected by the American Library Association for special notice. A prolific writer and artist, Hart is the author of several art-instruction book series and children's books, and his work has also been featured in numerous magazines. He lives in Connecticut with his wife and two daughters. 112 pages. 8½ x 10 (21.75 x 25.5 cm). 10 color and 150 black-and-white illustrations. Index. *Source: Bookscan Cover design by Bab Fillie, Graphiti Design. Inc. Watson-Guptill Publications 770 Broadway New York. NY 10003 www.wgpub.com Printed in the USA

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Cartoon Cool - How To Draw New Retro-Style Characters - Watson-guptill publications

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Designer, desenvolvedor e instrumentista Published on How to Draw New Retro-Style Characters by Christopher hart. Published in 2005 by Watson-Guptill Publicationsa division of VNU Business Media Inc. 770 Broadway New York, NY 1. How to Draw New Retro-Style Characters Christopher hart Watson-Guptill Publications New York/ 2.

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1. 1. AMSTERDAM * BOSTON * HEIDELBERG * LONDON * NEW YORK * OXFORD PARIS * SAN DIEGO * SAN FRANCISCO * SINGAPORE * SYDNEY * TOKYO Focal Press is an imprint of Elsevier

2. 2. Focal Press is an imprint of Elsevier Linacre House, Jordan Hill, Oxford OX2 8DP, UK 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA First edition 2009 Copyright © 2009, 3DTotal.com. Published by Elsevier Ltd. All rights reserved The right of 3DTotal.com to be identiﬁed as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher's permissions policies and our arrangement with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this ﬁeld are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume any liability for any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from any use or operation of any methods, products, instructions, or ideas contained in the material herein. British Library Cataloguing in Publication Data Digital painting techniques : practical techniques of digital art masters. 1. Digital art. I. 3DTotal.com (Firm) 776-dc22 Library of Congress Control Number: 2009931733 ISBN: 978-0-240-52174-9 Printed and bound in China 09 10 11 12 13 11 10 9 8 7 6 5 4 3 2 1 For information on all Focal Press publications visit our website at www.focalpress.com

3. 3. The Sculptor © Simon Dominic

4. 4. c o n t e n t s Chapter 01 - Custom Brushes Chapter 03 - Matte Painting Chapter 04 - Creatures 12 16 20 26 30 34 Organic Custom Brushes from Ink, Water and Salt Experiments Brian Recktenwald How to Create Brushes from Animal Textures Carlos Cabrera Custom Brushes Daarken Creating Custom Brushes to Save Time Marc Brunet Custom Brushes for Skin Mélanie Delon Creating a Brush from Scratch in Photoshop Mike Corriero Tornado Moving Towards Farmhouse Carlos Cabrera Steam-Powered Mechanical Destroyer Daniel Ljunggren Alien Hot Air Balloons Emrah Elmasli Alien Hot Air Balloons Nathaniel West Forest Fire Levente Peterffy Ship Hit by Torpedo Levente Peterffy Once a Thriving City, Now Deserted and Taken Over by Vegetation Serg Souleiman The Making of "Renaissance" Marco Bauriedel The Making of "Finding Unknown Kadath" Sergey Musin Season Change: A Winter Scene Matte Painting Tiberius Viris Pyrotechnics: Fire and Smoke Tiberius Viris Matte Painting Tips and Tricks Tiberius Viris The Making of "Bird Catcher" Matt Dixon Creature Concept Design 101 Mike Corriero Creature Design for Low Atmospheric Conditions Pascal Raimbault Painting Fur Richard Tilbury Painting Animal Eyes Stephanie R. Loftis Chapter 02 - Speed Painting 40 44 48 50 54 58 62 68 74 78 84 88 94 100 112 118 122

5. 5. c o n t e n t s Chapter 05 - Humans Chapter 06 - Environments Chapter 07 - Sci-fi & Fantasy Chapter 08 - Complete Projects The Gallery 128 132 136 144 148 160 166 170 174 178 182 186 192 198 204 218 226 232 240 248 How to Paint Blonde and Red Hair Anne Pogoda How to Paint Luscious Lips Anne Pogoda Male Portrait Daarken Painting Realistic Skin Emrah Elmasli The Human Face Nykolai Aleksander Painting the Human Eye Richard Tilbury Sandstorm Carlos Cabrera Twister Carlos Cabrera Rainstorm Carlos Cabrera Snowstorm Carlos Cabrera Heat Waves Carlos Cabrera "Another Rainy Day ": Painting a Cityscape Daarken Painting a Water Surface/Waves Richard Tilbury Painting Armor: European Knight Daarken Planets and Starfields Chee Ming Wong The Making of "Pier Duty" Graven Tung The Making of "Funfair" Daniela Uhlig Creating a 2D Image from scratch David Revoy The Making of "Keep A Sharp Eye" Ron Crabb

6. 6. I n t r o d u c t i o n viii All works are copyright © 2009 by the credited artist, their representative or copyright holders. Every effort has been made to locate copyright holders of materials included in this book in order to obtain their permission to publish it. If you need to contact us, the details are: dam@3dtotal.com 3DTotal.com Ltd, 1 Shaw Street, 3rd Floor, Worcester, WR1 3QQ, United Kingdom C o m p i l e d b y t h e 3 D T o ta l T e a m Chris PerrinsLynette Clee Richard TilburyTom Greenway I n t r o d u c t i o n Digital painting is huge! It's a modern, creative medium that is growing rapidly and is being used in so many industries and by so many individuals - hobbyists and professionals alike. This book is just a slice of what's out there in the digital painting world, but within this "slice" we aim to offer a comprehensive cross-section of tips and techniques from some of the most accomplished digital artists in the industry today. We cover a wide variety of popular subjects, from aliens, creatures and humans through to robots, cityscapes and natural environments, including Matthew Lewis Terra-stoma © Dr. Chee Ming Wong

7. 7. I n t r o d u c t i o n ix F r e e R e s o u r c e s Some of our Digital Painting Techniques tutorial artists have kindly supplied, where appropriate and possible, free resources to accompany their tutorials for you to download to follow along with their teachings. You will ﬁnd free custom brushes donated by Carlos Cabrera, Mélanie Delon, Mike Corriero, Daarken and Nykolai Aleksander, and on top of these 3DTotal are also providing a base painting to accompany some of our environment tutorials by Carlos Cabrera, as well as a photo (plate) for the matte painting tutorials by Tiberius Viris. All you need to do to access these free resources is to visit the new 3DTotal micro site at www.focalpress.com/ digitalartmasters, go to the Books section, and there you will ﬁnd information on how to download the ﬁles. Simply look out for the "free resources" logo on articles within this book that have ﬁles for you to download from www.focalpress.com/digitalartmasters! weather effects and many more. The styles we cover vary from speed painting, offering a more traditional impressionistic style, through to setting up the many custom brushes that can provide precise, technical and often time-saving techniques. Speaking of traditional media, it is important to remember that digital painting is becoming more widely accepted and highly regarded as the techniques and resulting imagery advance. Long gone is the time of sceptics who regarded painting with the aid of hardware and software as cheating; the artist still needs to be just as talented as ever before to produce the breathtaking work you can see throughout these pages. However, with the beneﬁts that digital painting offers, such as increased speed, freedom to experiment, efﬁcient workﬂows and ease of sharing work with online communities, more and more artists are discovering and embracing this incredible medium. And with guides such as this book, we strive for everyone interested in digital art to be the best they possibly can be by learning from the masters' tutorials, whilst being inspired by their gallery images. T o m G r e e n w a y M a n a g i n g D i r e c t o r , 3 D T o ta l Paul © Daarken http://www.focalpress.com/digitalartmasters

8. 8. S k y M a c h i n a © M a r c B r u n e t

9. 9. Any artist will tell you that the link between their thoughts and ideas and the actual paintings they produce are the tools they wield. From a traditional standpoint these have been the canvas and in particular the brushes. These are no less important in a digital context; the increasing array of brushes available and the freedom to create customized versions is paramount to the quality of digital painting today. This chapter provides an insight into the value of using custom brushes, and shows how they can be created from scratch and tailored to suit your subject matter. c u s t o m b r u s h e s

10. 10. C h a p t e r 0 1 1 2 c u s t o m b r u s h e s Fig.01 Fig.02 B y B r i a n R e c k t e n wa l d O r g a n i c C u s t o m B r u s h e s f r o m I n k , I n t r o d u c t i o n Like a lot of other digital artists out there, creating custom brushes is not only a key step in creating the art, but a heck of a lot of fun all in itself! The default Photoshop brushes are quite awesome, and I use them frequently, especially in the blocking phase, but I always end up integrating one or two custom brushes as well, for control and a personal touch. I've created custom brushes from just about anything I can ﬁnd, including pictures, textures, doodles and digital scribbles. But my preference is to add an organic feel to my S o f t w a r e U s e d : P h o t o s h o p © B r i a n R e c k t e n w a l d Wat e r a n d S a lt E x p e r i m e n t s brushes, so 90 percent of my custom brushes come from high-resolution scans made up of crazy experiments with ink, water and salt on drawing paper (Fig.01). S t e p 0 1 Here I pull different selections from the scanned image and mess with them using Levels and Filters and painting over them with other brushes until I get an ideal base image for a new custom brush (Fig.02). © B r i a n R e c k t e n w a l d

11. 11. C h a p t e r 0 11 3 c u s t o m b r u s h e s Fig.03 Fig.04 Fig.05 Fig.06 S t e p 0 2 In this example, I'm going to create a brush for use with the Smudge tool. I want a more stippled pattern, like a dry brush would give, to help add texture as I blend. After bringing contrast into the image by clamping the Levels, I begin experimenting with some ﬁlters to further pronounce the shapes (Fig.03). S t e p 0 3 Then I duplicate the original texture a few times and place them on top of the ﬁltered version. Finally, I play with different blending modes until there's a good texture/shape balance (Fig.04). S t e p 0 4 Once I have my base brush, I ﬂatten my layers and possibly resize the image. It's better to save your brush at the highest native resolution possible. However, the higher you go, the slower the drawing performance. To save this image off as a brush, go to Edit > Deﬁne Brush Preset, and hit OK after giving it an appropriate name (Fig.05). Now you can access this brush at any time in the Brushes window. S t e p 0 5 It's now time to set up the Smudge tool brush settings for use with our new brush. We'll be able to pull a lot of mileage from this brush simply by adjusting the Shape Dynamics, Scattering, and Other Dynamics settings, without having to swap out a new brush image. Another important value to adjust and tinker with as you go is the Strength setting. An example of this brush in action starts with a canvas of broad brush strokes (a default round brush with Strength and Hardness of 100) and then a Cutout ﬁlter applied (Fig.06).

12. 12. C h a p t e r 0 1 1 4 c u s t o m b r u s h e s S t e p 0 6 I now select the Smudge tool and load our new brush image (Fig.07). For rapid, ﬁrst pass blending I want speed and spread ability, so at this stage I'll use a smaller brush size with just the Shape Dynamics and Other Dynamics settings adjusted (Fig.08a - b). S t e p 0 7 - F i n a l At this stage I'm constantly changing the strength and sometimes turning off the Other Dynamics setting. After some cross-hatching to bring out some tonal gradation, I change my brush settings to bring a softer, yet still textural, quality to the strokes by turning on the Scattering (Fig.09a - b). The rule of thumb here is that the higher the scatter, the softer the blending. Also, the higher the strength, the more the texture will come through. Adjusting the brush accordingly is also important at this stage. To show you an example of our new brush in action, the custom brush made in this tutorial, and the variations mentioned, have been used exclusively in creating this painting of an old woman (Fig.10). Fig.07 Fig.08a Fig.08b Fig.09a Fig.09b

13. 13. Fig.10 © B r i a n R e c k t e n w a l d

14. 14. C h a p t e r 0 1 1 6 c u s t o m b r u s h e s B y C a r l o s C a b r e r a H o w t o C r e at e B r u s h e s f r o m A n i m a l T e x t u r e s The ﬁrst thing we need for this tutorial is a couple of pictures to create the texture that we will be using in our brush. In this instance, I have chosen to use two photographs of my dog and cat (Fig.01a - b). The next step is to completely desaturate the two pictures. With both images on one layer, we can achieve this simply by going to Image > Adjustments > Desaturate. We now need to place each picture in a different layer. Select the top layer and change the properties of the S o f t w a r e U s e d : P h o t o s h o p © C a r l o s C a b r e r a layer to Difference (Fig.02a). By doing this, we will have both layers combined in one to create a new and interesting texture (Fig.02b - d). Now let's ﬂatten the image (Layer > Flatten Image) and search for some original shapes within the texture to use for our new brush. Fig.03 shows a unique shape, which I've circled in red. We will need to select it with our Lasso tool (Feather = 20%), and then cut and paste it onto a new document (CTRL + C + N + V). Fig.02a Fig.01a Fig.01b Fig.02b Fig.02c Fig.02d © C a r l o s C a b r e r a© C a r l o s C a b r e r a

15. 15. C h a p t e r 0 11 7 c u s t o m b r u s h e s You will see that the new document that we just created is a potential custom brush. Now, let's duplicate the layer where our brush is (CTRL + J) and rotate it by 90 degrees (CTRL + T) at any angle. We need to change the properties of this new layer, once again to Difference, and then repeat this step two or three times until we manage to create a textured border (Fig.04). Go to the Brush tab and try out the following settings: * Brush Tip Shape - Spacing 22% (Fig.06) * Shape Dynamics - Size Jitter 0% and select Pen Pressure; Angle Jitter 100% and select Pen Pressure (Fig.07) Our new brush is now almost done; we just need to tell Photoshop to start using this new image as a brush from now on. So, go to Edit > Deﬁne Brush, and voila! We have just created a new custom brush. We can now go ahead and change the settings in order to make it even better (Fig.05). Fig.03 Fig.04 Fig.05 Fig.06 Fig.07

16. 16. C h a p t e r 0 1 1 8 c u s t o m b r u s h e s * Scattering - Scatter 104% and select Pen Pressure; Count 7, Count Jitter 50% and select Pen Pressure (Fig.08) * Texture - Select a random texture and change the mode to Hard Mix (Fig.09) * Other Dynamics - Opacity Jitter 0% and select Pen Pressure; Smoothing > On (Fig.10) And that's it-pretty easy, don't you think? Here are a couple of examples of this new brush at work (Fig.11 - 12). You now have the skills to create your own custom brushes for your projects, so get creative and have some fun with them! You can download a custom brush (ABR) ﬁle to accompany this tutorial from www.focalpress.com/digitalartmasters Fig.08 Fig.09 Fig.10 Fig.11 Fig.12 © C a r l o s C a b r e r a© C a r l o s C a b r e r a

17. 17. © C a r l o s C a b r e r a

18. 18. C h a p t e r 0 1 2 0 c u s t o m b r u s h e s B y D a a r k e n C u s t o m B r u s h e s A lot of people ask me what kind of brushes I use and how I make them. Usually, when I paint, I only use a few brushes, most of which are just Photoshop presets with a few tweaks to the brush settings. When painting a ﬁgure I normally use the standard brushes and save my custom brushes for textures and backgrounds. These are the brushes I use, although a majority of all my illustrations are painted using primarily the two brushes circled in Fig.01. I ﬁnd that most of the time there are too many brushes to choose from, and most of them are just plain gimmicky. I like to stick with just a few of my favorite brushes when painting. This also helps to improve your speed, since you don't have to look around and try and decide which brush to use next. It also allows you to learn how to paint different textures using the same brushes, instead of relying on a brush to paint a texture for you. Let's start making a custom brush by putting down some random shapes and lines. Try not to make anything too symmetrical, as this will make your brush look weird and fake (Fig.02). Sometimes what I like to do is use a custom brush that I have already made as a starting point. I lay that down and then start drawing S o f t w a r e U s e d : P h o t o s h o p © D a a r k e n Fig.01 Fig.02 Fig.03 D a a r k e n

19. 19. C h a p t e r 0 12 1 c u s t o m b r u s h e s and erasing on top of it. Now that I am happy with my shapes I am going to open a photo to use as a texture overlay. It doesn't really matter what kind of photo you use (Fig.03); you can use any subject matter and still get a cool-looking brush. Once you have a photo, convert it to grayscale and then go to Image > Adjustments > Levels (or Ctrl + l) (Fig.04). Drag the sliders around until you get high levels of contrast within the photo, and then click OK when you're ready. Copy and paste the photo into the document with the brush we started making. On the layer with the photo, change the layer properties to something that looks good. In this case I used Overlay (Fig.05). Now you can go back and add another layer on top of the photo and ﬁx any parts that may cause problems or repetition (Fig.06). For example, I painted out some of the lines in the top left of the picture. To create your brush from the image, simply go to Edit > Deﬁne Brush Preset; I'm using CS2, so the wording may be different in other versions, but basically anything that says Deﬁne Brush will work (Fig.07). This brush will now be at the end of your brush list on the Brush drop down menu. Select your new brush and give it a try. Right now the brush will look really ugly and repetitive (Fig.08) - but don't worry, we're about to ﬁx that. Next we're going to change the brush's settings by opening the Brush Settings window. To do this, either click the Brushes button, or go to Window > Brushes (or simply hit F5 on your keyboard). You'll now be able to get a good- Fig.04 Fig.05 Fig.06 Fig.07 Fig.08 Fig.09

20. 20. C h a p t e r 0 1 2 2 c u s t o m b r u s h e s the original brush (Fig.10a - b). Now click on the second option: Scattering. This will take the basic shape of the brush and spread it out so that you're painting with several instances of the same shape, instead of all of them being in the same line. You can also control the density of the brush here (Fig.11a - b). To add some more texture to the brush you can click on the Texture button. Clicking on the picture of the texture brings up a dialog box where you can select which kinds of textures you want to use (Fig.12a - b). Finally, click on the Other Dynamics option. This controls the opacity of the brush based on pressure sensitivity. This is a little sample of what the new brush looks like after changing the settings (Fig.13). Here are some examples of other custom brushes in my collection (Fig.14): Brush A & B: This rectangular brush has some nice texture to it that I like to use when painting skin. I usually use this brush as the looking brush by playing around with these settings (Fig.09). I would advise you to spend some time dragging all the sliders back and forth so that you can get a feel of what each setting does, and ﬁnd which ones you like. For this particular brush, click on the ﬁrst setting, called "Shape Dynamics". This will bring up different options on the side. By selecting Size and Angle Jitter we can break up some of the repetitive shapes that are found in Fig.10a Fig.11a Fig.13 Fig.10b Fig.11b Fig.12a Fig.12b

21. 21. Fig.14 B r u s h a & B B r u s h c B r u s h d B r u s h E B r u s h f

22. 22. C h a p t e r 0 1 2 4 c u s t o m b r u s h e s base layer to get the main shapes in, and then I come in on top of it with other brushes (Fig.15a). I use this brush a lot because of its versatility. When used at a very small size, you can get some really sharp lines, while at larger sizes you can get a lot of texture (Fig.15b - c). Brush C: This is another brush that I use mainly for creating texture in the background (Fig.16a - b). Brush D: This speckle brush is really good for painting things like dust, hair, dirt, pores, etc. (Fig.17a - b). Brush E: I usually use this brush for creating texture in the background (Fig.18a - b). Brush F: The brush I use the most is the default round brush. Even though it has no texture attached to it, I can still get a lot of variety with this brush (Fig.19a - b). Fig.15b Fig.16a Fig.17a Fig.18a Fig.19a Fig.20 Fig.15c Fig.16b Fig.15a Fig.17b Fig.18b Fig.19b You can also rotate your brush in order to get brushstrokes in different directions. Just go to the Brush Tip Shape options and drag the circular slider around (Fig.20). B r u s h A B r u s h c B r u s h d B r u s h E B r u s h f B r u s h B

23. 23. © D a a r k e n

24. 24. C h a p t e r 0 1 2 6 c u s t o m b r u s h e s Fig.01 Fig.02 Fig.03 Fig.04 B y M a r c B r u n e t C r e at i n g C u s t o m B r u s h e s t o S av e T i m e Using Photoshop, we have all had this thought at one point: ''Man, wouldn't it be great if there was a brush that could do all this, instead of me wasting my life on it?!'' Well, in this tutorial, I will explain how I create my own custom brushes and how I use them in order to save me an incredible amount of time when I paint. We will ﬁrst try to mimic the stroke of a pencil - one of the main brushes I used to paint Sky Machina, along with a textured dry brush. At ﬁrst, the brush creating process seems a bit tedious, but as soon as you get the hang of it you'll pretty much fall in love with it. You can create a brush out of everything you paint! So ﬁrst, let's open a new ﬁle of about 500 S o f t w a r e U s e d : P h o t o s h o p © M a r c B r u n e t by 500 pixels and draw whatever you want (let's draw dots for the sake of this tutorial). Now go to Edit > Deﬁne Brush Preset (Fig.01 - 02). And that's it! Well, that's not exactly it, but following that the only things left to do are to rename your brush (Fig.03) and tweak it to get the effect you want, in the Brushes tab on the top menu. Opening the Brushes menu, we notice a bunch of options used to customize the basic brush that we just created (Fig.04). So, at this point, I suggest you open a new ﬁle with a white background to test the brush as you make the tweaks. You don't need to change that much to get a decent result though. There might seem to be a lot of options but they're all very intuitive and you can see the result right away in the Brush Preview window.

25. 25. C h a p t e r 0 12 7 c u s t o m b r u s h e s Fig.05 Fig.06 Fig.07 Fig.08 Fig.09 Fig.10 Fig.11 Fig.12 Fig.13 Fig.14 Fig.15 O p a c i t y D y n a m i c s O f f O p a c i t y D y n a m i c s O n Here we'll change the brush Spacing, since we want to eliminate the gap between each shape to make it look like a single stroke, so I'll change the spacing from 25 to 5%. Notice how the stroke now feels even and continuous (Fig.05). I then check Shape Dynamics so that the lighter I press with the tablet pen, the thinner the stroke will be (Fig.06). You can just leave everything else at the default settings. Now skip to Dual Brush - this option is really where the party's at! Here your brush can really become something special. For this brush I'll use the triangular-shaped brush in the Thumbnails menu, which is full of tiny holes so it'll give me the pencil look I'm trying to achieve. Simply change the values, as shown in Fig.07. If I try the brush at this point I already get the result I wanted (Fig.08). The only thing left now is to activate the Opacity change with the Pen Pressure so that, if I press lighter on the tablet, the stroke will be lighter too (Fig.09). It's just more intuitive and easier to work with this way. Save the newly created brush under something like "Pencil brush" - and that's it! See the difference (Fig.10)? Use this new brush as you would use a real pencil to create all the different opacities and brush sizes you need. It's a really nice brush to do line art digitally, or simply to get a little more texture than you would get with a regular round brush for example (Fig.11). The other main brush I use, besides the regular hard-edged round brush found in the default Photoshop brush set, is another custom brush. This one is kind of like the one we just created, as it's based on the same starting shape, but it has a texture associated to it. So let's start with the same previous dots and save it as something like "Dry brush". Again, in the Brushes tab menu, let's play with a couple of the options ... Firstly, drop the spacing to 5%, just like with the previous one, check Shape Dynamics and Other Dynamics, and leave everything else at default. Then check Texture, and leave everything at default there as well. Let's step back at this point, save the brush we have here, and move on to creating the texture that the brush will use. Source: CGTextures.com

26. 26. C h a p t e r 0 1 2 8 c u s t o m b r u s h e s There are a bunch of default textures you can ﬁnd when you click on Textures in the Brushes tab menu, but none of them will help us here. So let's make our own! A very quick and simple way I have found is to take a photo of concrete, or any similar surfaces, take it to Photoshop, play with the Brightness/Contrast until you have a really contrasted and uneven texture, invert the colors (Ctrl + I), desaturate it, and then go to Filter > Brush Strokes and throw an Accented Edges ﬁlter on it (Fig.12 - 15). This should do! Now all you have to do is go to Edit > Deﬁne Pattern, save it under something like Dry Brush Pattern (Fig.16), and it should automatically appear in the pattern library. Let's go back to where we were with our dry brush. In the Texture menu, browse the patterns and ﬁnd the one we just created (Fig.17), adjust the scale to 60% and make sure that Texture Each Tip is checked. Select Subtract as the blending mode and leave everything else at 100% (Fig.18). The brush is now done, so save it and enjoy the texture madness (Fig.19)! To get a little more diversity with the textures, I used the brushes seen in Fig.20 as well. Everything else, though, was done with the two custom brushes just created (Fig.21). Fig.16 Fig.17 Fig.18 Fig.19 Fig.20

27. 27. Fig.21 © M a r c B r u n e t

28. 28. C h a p t e r 0 1 3 0 c u s t o m b r u s h e s B y M é l a n i e D e l o n C u s t o m B r u s h e s f o r S k i n T h e S p e c k l e d B r u s h This brush is the best that I have used so far to achieve a painterly feel, and the great thing about it is that you can use it for everything! C r e at e I t ! The technique is really simple ... On a new white canvas with a basic round-edged brush, I'll paint little random black dots of different shapes and sizes. I usually start without a lot of dots, and I want my brush very low in opacity S o f t w a r e U s e d : P h o t o s h o p © M é l a n i e D e l o n Fig.01 Fig.02 Fig.03 Fig.04 Fig.05 (Fig.01). I'll then add more dots, but with a very low opacity, just to bring more texture to the future brush (Fig.02). Once this step is OK I'll deﬁne this image as a brush, by going into the Edit mode and clicking on Deﬁne Brush Preset

29. 29. C h a p t e r 0 13 1 c u s t o m b r u s h e s (Fig.03), and then clicking OK in the pop-up. Now I have my new brush in the list, ready to be used. B r u s h S e t t i n g s Now the fun part begins ... As you can see (Fig.04), this brush is basically unusable as it is (Fig.05), so I now have to tweak it. For this, I go into the brushes palette where I set the control setting under the Opacity Jitter to Pen Pressure (Fig.06) and the Spacing to 6% (Fig.07). The settings are now OK, and this new brush looks much better (Fig.08) so I'll save it (Fig.09). You can make different versions of the same brush, some with more dots or less - just try them! It's good to have several speckled brushes and combine them to create a great texture. T h e B r u s h i n A c t i o n Now, how to use it ... This kind of brush is good when you need to bring texture and color variation; you can use it to bring life to a base done with a basic round edge (Fig.10), to paint hair (Fig.11), or to paint fabric (Fig.12). This brush can be used for unlimited purposes! T h e " S m o o t h - T e x t u r e d " B r u s h This one is a kind of hybrid brush; it's a mix of a basic round edge and a speckled brush, so let's see how to create it. Fig.06 Fig.07 Fig.08 Fig.09 Fig.10 Fig.11 Fig.12 © M é l a n i e D e l o n © M é l a n i e D e l o n © M é l a n i e D e l o n

30. 30. C h a p t e r 0 1 3 2 c u s t o m b r u s h e s C r e at e I t ! For the base (on a white canvas), I'll use a speckled brush and scribble an oval shape softly with a very low opacity (Fig.13). Then I'll add more intensity here and there with another speckled brush, or a basic round edge (Fig.14). I'm now satisﬁed with the general shape so I'll deﬁne it as a new brush (Edit > Deﬁne Brush Preset) (Fig.15) and move on to the settings. B r u s h S e t t i n g s As usual, I set the Opacity Jitter to Pen Pressure and the Spacing to 12%, and then I save the new presets (Fig.16). The brush will now look like that shown in Fig.17. You can of course play with the different settings to ﬁnd nice effects, like the Scattering mode (Fig.18) which is pretty handy for creating textured brushes. T h e B r u s h i n A c t i o n Most of the time, I use this one (see Fig.17) after the speckled brush when I want to smooth the skin (Fig.19). This brush will not destroy those little color variations obtained previously, so you don't need to worry about that - the only rule is to use it with a very low opacity. This step will bring the last smoothing touches and unify the whole texture (Fig.20). You can also use it as a starting point for most textures! You can download a custom brush (ABR) ﬁle to accompany this tutorial from www.focalpress.com/digitalartmasters Fig.16 Fig.17 Fig.13 Fig.14 Fig.15 Fig.18 Fig.19 Fig.20 © M é l a n i e D e l o n © M é l a n i e D e l o n

31. 31. C h a p t e r 0 13 3 c u s t o m b r u s h e s © M é l a n i e D e l o n

32. 32. C h a p t e r 0 1 3 4 c u s t o m b r u s h e s Fig.01 Fig.02 Fig.03 B y M i k e C o r r i e r o C r e at i n g a B r u s h f r o m S c r at c h i n P h o t o s h o p The ﬁrst thing to do is create a blank canvas; I usually make sure it's set at 300 dpi resolution, around 500 by 500 pixels, so the brush itself doesn't become pixelated or incapable of scaling to larger sizes when working on a large image. J a p a n e s e M a p l e L e a f B r u s h This ﬁrst brush design is going to be geared toward foliage, speciﬁcally a Japanese Maple Leaf, which will be used to create quick, easy batches of leaves without going through too much rendering trouble. So to begin, grab any of the default brushes supplied by Photoshop and just start to draw out a silhouetted shape, in this case the Japanese Maple Leaf (Fig.01). Since we do want a bit of depth to the brush, block in some of S o f t w a r e U s e d : P h o t o s h o p © M i c h a e l C o r r i e r o

33. 33. C h a p t e r 0 13 5 c u s t o m b r u s h e s Fig.04 Fig.05 Fig.06 Fig.07 D e f a u lt O t h e r D y n a m i c s S h a p e D y n a m i c s the veins, rips and rugged edges of the leaf. You can also fade some areas so everything isn't on the same level which helps give a bit of variation (Fig.02). Now that you've created the brush shape itself, you need to save it. Go to Edit > Deﬁne Brush Preset and then choose a name and click OK (Fig.03). You'll notice that the new brush, with the name you've chosen, will show up in the brush list at the very bottom. The next step is to select the new brush you've just created and click the Brushes Option window, located at the top right with a little arrow next to it. This brings down the brush settings you can apply to your custom brush (Fig.04). Leaving the brush settings at a default doesn't allow for much control or variation in the strokes, so the ﬁrst thing to do is allow for some pressure sensitivity; you do this using the Other Dynamics setting (Fig.05). Set the Opacity Jitter to approximately 50% and make sure the control setting is set to Pen Pressure. To provide some variation in the direction and scale of the brush, choose the Shape Dynamics settings (Fig.06). Set the Size Jitter to 100% and make sure the control settings under Angle Jitter are set to Initial Direction. The control setting under the Roundness Jitter should be set to Pen Tilt, and a minimum roundness of approximately 25% (Fig.07). Now that we know where the settings for the brush options are, feel free to test them and play around with different variations, different percentages of control and varying dynamics, including Scatter and Dual Brush modes (Fig.08). One of the last settings I adjusted before ﬁnding the right feel for this custom brush was the Brush Tip Shape (Fig.09) where I applied 74% spacing to the separation of the brush ﬂow. OK, so now our brush settings are complete all that we need to do is save the brush options that have been applied. It's very important throughout this process that you don't choose another brush, or else you may lose all the settings you have applied to your custom brush. Click the Brushes Option window, located at the top right with a little arrow next to it, as previously, and now choose New Brush Preset. Label your new brush, click OK, and the custom brush you created earlier will now

34. 34. C h a p t e r 0 1 3 6 c u s t o m b r u s h e s be saved with the new settings you've applied, and located at the bottom of your brush list (Fig.10). A Va r i at i o n o n t h e J a p a n e s e M a p l e L e a f B r u s h The next step is just as quick and basically a recap of what we just went over. I'm going to create a quick variation of the Japanese Maple Leaf by getting rid of the stem and adjusting the shape of the points. First, erase the stem of the original brush, then choose Select > All, then Edit > Transform > Warp (Fig.11). You'll notice that the entire box has been selected with the dotted lines, and once you choose the Warp transformation option you can choose points on this graphed box to mould and skew the brush shape (Fig.12). You can also grab anywhere inside the box and just drag it to transform its original outline, and then apply the transformation to conﬁrm the change (Fig.13). After applying a few of the same brush options as before, such as the Other Dynamics and Shape Dynamics, I've played around with it and I'm happy with this variation on our original brush (Fig.14). Save the brush preset, as we did previously, and it will be added to your list. Lastly, now that we have two custom Japanese Maple Leaf brushes, both with the default shape and the brush settings saved as preset brushes, you'll want to save the brush list. On your brush list there is an arrow next to the top right of this box. Click the arrow then Save Brushes and label your brush list; they will be stored and can be used at any time you wish (Fig.15). To access your brush list, in the same manner as saving your list, choose Load Brushes and select your brush list ﬁle. Fig.08 Fig.09 Fig.10 Fig.11 Fig.12 Fig.13

35. 35. C h a p t e r 0 13 7 c u s t o m b r u s h e s The original version of the custom Japanese Maple Leaf brush can be seen in Fig.16. The modiﬁed version of the Japanese Maple Leaf brush can be seen in Fig.17. See Figs.18 - 19 for close-up detail showing the two brushes used together in a painting, using them in a few different methods, as a more muted back drop, and applying color dynamics and lighting effects. You can download a custom brush (ASE) ﬁle to accompany this tutorial from www.focalpress.com/ digitalartmasters Fig.14 Fig.15 Fig.16 Fig.17 Fig.18 Fig.19 © M i c h a e l C o r r i e r o

36. 36. O n c e a T h r i v i n g C i t y, N o w D e s e r t e d a n d Ta k e n O v e r b y V e g e t at i o n © S e r g S

37. 37. In any creative process the task of preliminary work and sketching is a proven way to explore ideas before committing to the ﬁnal piece. Speed painting has become common practice within digital painting and allows artists to experiment with core themes such as color, mood, lighting and composition. In an industry with an ever-quickening pace, this type of painting has carved a niche for itself within the CG sector and has become widely accepted as an effective way of communicating key ideas before any details are evolved. What follows are some different approaches to tackling a similar problem, but each demonstrating the importance of speed painting in establishing the structural devices behind most paintings. s p e e d p a i n t i n g

38. 38. C h a p t e r 0 2 4 0 s p e e d p a i n t i n g B y C a r l o s C a b r e r a T o r n a d o M o v i n g T o wa r d s F a r m h o u s e T h e S k e t c h i n g Pa r t I opened a new document of 2000 by 3000 pixels and started the quick sketching phase with a 50% zoom over the whole document. In this particular step I don't like to be held back by little details and prefer to work more on the harmony of the illustration, using quick and simple forms. Drawing in black and white is the quickest way that I know of for obtaining good compositional details without wasting too much time; it almost develops on its own and I always encourage people to try this technique. You can see how the twister and the farmhouse are there in the ﬁrst view with just a couple of strokes (Fig.01). Now it's time to add some gray colors to the sky and to the ground (Fig.02). S o f t w a r e U s e d : P h o t o s h o p We can start to give the farmhouse a little bit more detail now. For the twister I use black with 50% Opacity; this adds a cloud/smoke effect and allows you to accomplish the effect in a short space of time. After we've ﬁnished the gray coloring stage, we can start to add more detail to the farmhouse. You can see the chunks of wood on the house's roof are just little brush strokes - some of which are darker than others. This creates the effect of small, ﬂying pieces of wood. At this stage it's pretty obvious that you'll need to work the details in 100% zoom, to be more comfortable. We can then add some grass and a fence to the scene, and then we'll be done with the farmhouse - that easy, that quick (Fig.03)! © C a r l o s C a b r e r a Fig.01 Fig.02 Fig.03

39. 39. C h a p t e r 0 24 1 s p e e d p a i n t i n g If we compare this step with Fig.02, we can see how throwing some dark color at the farm will focus the viewer's attention exactly where we want it: on the farmhouse (Fig.04). Now we just need to add some light and shade to complete the drama of our scene. It isn't really that complicated; if you picture it in your mind it will come out naturally. One thing I added in the foreground was some extra detail (the fence), as I felt there was an empty space there to be ﬁlled (Fig.05). You just need to have fun and play with your illustration. There are a lot of rules of composition, but I think the best one is the eye, imagination and mind of each artist. It's better to be creative and have fun working on your illustration than to work over a pre- established grid. Now we need to make the twister something scary, and to do this we add a layer on top of everything and start adding some dust and clouds around the body and base of that mean twister - look how big it is! This particular part is pretty fun, and I bet you will spend quite some time on it (Fig.06). After we've ﬁnished our twister, we need to go to the next stage of the illustration, and, to be honest, this is the step I personally enjoy the most. By painting wood and dust ﬂying around the house in a mortal ballet, with just a few small strokes we can easily create the path of horror of this twister, and the fallen debris that it leaves behind (Fig.07). F i n a l l y, s o m e C o l o r ! Now we create a new layer and place it above all the others. Press Ctrl + Shift + E on your keyboard to merge all the layers in just one single Fig.04 Fig.05 Fig.06

40. 40. C h a p t e r 0 2 4 2 s p e e d p a i n t i n g layer, and then rename this layer "color". After this, we press Ctrl + U and the Hue window should pop up. We need to check the Colorize checkbox (it will be unchecked by default), and then set the values to Hue: 54, Saturation: 25, and Lightness: 0 (zero) (Fig.08). With these values we will get a nice sepia brown color that we can use for our illustration. We're almost there now! The initial grayscale painting technique used with this illustration is often used by artists to clear our minds from the color of our subjects, and to cut straight to the chase. On the other hand it's also good practice to upgrade our rendering skills, and so it's very useful either way. We now create another layer, above all the existing ones, and paint over the farm and the ﬂoor with all the colors that you can see added in Fig.09. We switch the layer to Overlay and leave everything at 100%. By doing this we change the ﬂoor tint and the farm tint, and ﬁnally we have given our illustration a new variety of color and contrast. Lastly, we just need to have some fun applying the last touches, and then we're done (Fig.10). Fig.07 Fig.08 Fig.09

41. 41. C h a p t e r 0 24 3 s p e e d p a i n t i n g © C a r l o s C a b r e r a Fig.10

42. 42. C h a p t e r 0 2 4 4 s p e e d p a i n t i n g B y D a n i e l L j u n g g r e n S t e a m - P o w e r e d M e c h a n i c a l D e s t r o y e r I n t r o d u c t i o n After thinking about the topic of this speed painting for a while, I started imagining something that would be suitable for a younger audience - perhaps a commercial for toys, with ﬁgures you can play with, and one of these toys being the "Steam-Powered Mechanical Destroyer" (or so the description on the back of the box would have you believe). I then thought that it would be more fun if it was a big robot, yet still friendly. The "destroyer" part was the main issue really, meaning I would have to turn it into something not so violent in order to keep the positive mood that I still wanted to achieve. I could've gone another route towards something more serious, dark and violent, but personally, it wouldn't feel very original. I'm not saying a friendly robot is original either, but perhaps a bit more of an unexpected approach to the subject title. I have interpreted the theme more like a concept artwork than a painting, so please treat it as such. S t e p 0 1 Before starting to draw or paint the full-sized concept with details and all, a great and quick way to ﬁnd your design is with a few small S o f t w a r e U s e d : P h o t o s h o p © D a n i e l L j u n g g r e n thumbnail sketches. This allows you to focus on the general shape, the silhouette, and the overall feeling of the concept. After a short while of thumbnail sketching, I see something that shows potential (Fig.01). I also put in a sloppy human ﬁgure to get a feeling of scale. Working a bit further with it I ﬁnd a design and feel that I want to see a fully rendered version of (Fig.02). S t e p 0 2 Using the thumbnail as a reference image, and keeping the main subject and the background on separate layers, I start to sketch the robot from a more interesting angle and in higher resolution. I'm still working in grayscale because I can focus on what I want to prioritize for the time being: design, proportions, pose and perspective. I ﬁnd that the main challenge Fig.01 Fig.02

43. 43. C h a p t e r 0 24 5 s p e e d p a i n t i n g Fig.03 Fig.04 Fig.05 Fig.06 in this part of the process is to achieve the same feeling in the perspective image as with the thumbnail. If I would go on with the next steps before nailing that feeling, I know I would probably abandon it later on because it didn't turn out the way I wanted, so being persistent in this step pays off (Fig.03). Adding some more volume and details to the robot, and some brushstrokes to the background, I try to ﬁnd the kind of lighting and contrast I want for this image. I add some highlights just to remind myself where the main light source will be (Fig.04). S t e p 0 3 I set my brush to Color mode and paint some big chunks of colors on the background, as well as on the robot (Fig.05). Sometimes I don't ﬁnd the color I'm looking for when using this method, because of the values of the painting underneath, but it's a quick way of deciding what general palette the image will have. I pause here, thinking about the impression I get from the robot. I ﬁgure that I really need to kill those highlights soon, as well as change the color to what I'm looking for. Creating a new layer (Normal mode), I start painting directly with colors, and soon I see something closer to what I had in mind (Fig.06).

44. 44. C h a p t e r 0 2 4 6 s p e e d p a i n t i n g S t e p 0 4 While developing the concept for this robot I came up with the idea of having it working in a junkyard, where he would be "the destroyer" of metal scraps. This would go well with the overall positive feel I was trying to achieve, and the background would be where I could suggest this (Fig.07). S t e p 0 5 During the previous steps I wasn't quite sure what to make of the robot's left arm and hand, but as I tried a few shapes I knew it would gain visual interest instead of having two similar arms. After a few quick designs I decide to go for some kind of drill (this makes the robot ﬁt better with the description of "destroyer", too). With that done, I feel ready to start working on more detailed shapes and textures (Fig.08). Moving on to adding more details and rendering (Fig.09), here I'm trying to make it look a bit more realistic; removing a lot of the black from the underlying sketch, as well as thinking of cast shadows and bounce lights from the ground. I put a few strokes on his head as well, trying to ﬁgure out what I want that part to be like. I do some more work on the background now, making the sky clearer and redesigning some of his ﬁrebox and chimneys on his back, as well as giving a warmer ground. I still wasn't sure at this stage what to make of his head (Fig.10). S t e p 0 6 - F i n a l Finally I approach the face of the robot. I considered having the robot being driven by a man for a while (with the head as the cockpit), but with the current scale of things I had trouble making the chauffeur read clearly, so I dropped that idea and went for a kind robot face instead. This also helps strengthen the overall positive feel. I put down some more work into the ﬁrebox, showing more clearly that it is something that could open and hold burning coal. Background details are also added here, as well as some stripes on the robot - and then he's done (Fig.11). Fig.07 Fig.08 Fig.09 Fig.10

45. 45. C h a p t e r 0 24 7 s p e e d p a i n t i n g Fig.11 © D a n i e l L j u n g g r e n

46. 46. C h a p t e r 0 2 4 8 s p e e d p a i n t i n g Fig.01 Fig.02 B y E m r a h E l m a s l i A l i e n H o t A i r B a l l o o n s I n t r o d u c t i o n When the 3DTotal team ﬁrst told me about this topic, "Alien Hot Air Balloons", the scene that I'm going to paint was already in mind. I therefore feel comfortable about what I'm going to do with this tutorial, and after making some initial thumbnail sketches I have enough to start painting. S t e p 0 1 I want to ﬁnish this painting in 90 minutes - maybe less than that, but no longer - so this is my target goal. Before starting to paint a "speedy", I suggest you set a time limit for yourself. This simply helps you not to overdetail your work and lose time in the process. I'll use Photoshop CS3 for the entire painting process. I open a new 2200 by 1200 pixel canvas and create a new layer. The scene that I'm going to paint will be an alien world, but I don't want it to be too different S o f t w a r e U s e d : P h o t o s h o p © E m r a h E l m a s l i from Earth - some minor changes will do. So the ﬁrst thing to do is to determine the colors - green and yellow sound cool. Now, let's block them in. I always use large, textured brushes when I'm blocking colors, so I'll do the same this time too. By using yellow, green and gray, I quickly create the background and foreground. I want to have two light sources in the scene so I put two suns into the green, alien sky. So that's it for this step (Fig.01) - let's now go into more detail. S t e p 0 2 I open a new layer and set it to Color Dodge from the blending mode options tab. I grab a soft round brush and glow both of the suns with a saturated, dark orange color. This gives the soft atmosphere I need. I can now start putting some details in. To do this, I use some textured and scattered brushes in order to create the water effect on the background, and some hard brushes for the rocky feel in the foreground (Fig.02).

47. 47. C h a p t e r 0 24 9 s p e e d p a i n t i n g Fig.03 Fig.04 S t e p 0 3 For this third step I continue to add details using my own custom-made brushes. I also need some contrast in my painting, so I open a Curves adjustment layer and bend the curve to gain some contrast. I do this a lot when I'm painting: I always start with light colors and darken them in the process. I also make some changes to the colors by opening a new Color Balance adjustment layer, adding some blue to the shadows, which makes the painting even richer in color (Fig.03). S t e p 0 4 I can hear you asking, "Where is the balloon?" Well, now is the time to add it - or them, in this case. I start painting in the alien balloons with a hard-edged brush. I want them to have arms, like squids, and glowing from inside. Keep in mind that you can always glow anything you want by opening a new layer and setting it to Color Dodge or Linear Dodge, and then paint in with a dark saturated color. My alien balloons are now hovering and glowing (Fig.04). S t e p 0 5 - F i n a l For the ﬁnal step I simply want to paint in some more details and add more contrast using the Curves again. For the very ﬁnal touch, I paint two ﬁgures with red staffs in their hands into the scene (Fig.05). I think they are aliens too, but I don't care really because the speedy is now ﬁnished: 90 minutes! © E m r a h E l m a s l i Fig.05

48. 48. C h a p t e r 0 2 5 0 s p e e d p a i n t i n g Fig.01 Fig.02 Fig.03 B y L e v e n t e P e t e r f f y F o r e s t F i r e L e t i t B u r n ! In this tutorial I will describe my methods for painting in silhouette, using the theme "Forest Fire". C h o o s i n g t h e R i g h t C o l o r The ﬁrst thing to do is to choose the right color scheme for your painting, which can depend on a lot of things. The topic is a common one, so I know that I'm going to need to use a lot of red, yellow and orange tones, representing the warmth and heat of the ﬁre. With this clear S o f t w a r e U s e d : P h o t o s h o p © L e v e n t e P e t e r f f y color scheme in mind, I start by selecting a background color. I chose a red brown tone. I ﬁnd painting with silhouettes easier if I have a dark background and paint with light colors onto it. I scribble with a brighter color on top of the dark background; I don't have an exact idea of what I want to paint, so at this point I'm just scribbling (Fig.01). L i g h t t h e T r e e Here you can see the result after some sketching and testing of colors (Fig.02). I'm using the same brush as before - for this

49. 49. C h a p t e r 0 25 1 s p e e d p a i n t i n g Fig.04 Fig.05a Fig.05b Fig.06 Fig.07 ﬁrst phase of the painting it's a rough brush, suitable for sketching. When sketching in silhouette, it's always important to paint whilst ﬁrst always considering the light, and secondly the shapes created. For example, I paint the light around the tree and not just the tree itself, as this is a fast way of painting when both light and shape are established. I'm bearing in mind here that I need a dark background, and a lighter color on the brush I'm using. B u r n i n g , B u r n i n g ! At this point of the painting, the basic colors have already been laid down. So in this next phase you can just reuse those colors to paint more objects, just as I have (Fig.03). The use of the Color Dodge layer style in Photoshop is pretty effective, but it's very important to always use very low opacity on it; I always have the Opacity set between 5 and 15%. The lighter tones in the ﬁre are painted with the Dodge mode for the brush (Fig.04). I also use a default Photoshop soft-edged brush here to add some of the smoke effects, which have a low opacity on them too. I continue to paint more on the trees, using the same colors as before. M u lt i p l y This step is simple: I duplicate the painted layer and change the layer mode to Multiply, making the image slightly darker. I also adjust the layer Opacity in order to tone it down a touch (Fig.05a - b).

50. 50. C h a p t e r 0 2 5 2 s p e e d p a i n t i n g T h e L a k e I felt that the bottom of the painting felt empty at this point, so I decide to add a small lake here. The process of creating this lake is as follows: draw a marquee around the painting; press Ctrl + T to make a Free Transform. Flip the image upside down, basically grabbing the top and pulling it down. You then need to squeeze together the image horizontally so that it looks like a narrow, broad box. Finish the Free Transform by hitting Enter on your keyboard. The last thing to do is to erase the hard edges of this ﬂipped box so that it melts together with the background painting (Fig.06). L a s t - M i n u t e C o n s i d e r at i o n I'm not totally happy with the background here because I feel I still have some space to be worked on - and also because I want to create more depth in the image. So, I decide to paint in some more trees, using a hard-edged brush for this task - one of the default brushes in Photoshop (Fig.07). T e x t u r i n g It's time for texturing at this stage, which is good if you have custom-made brushes just for this purpose. I have a custom-made brush (Fig.08a) that has a sprinkled effect, which I used to create ﬁre sparks (Fig.08b). Fig.08a Fig.08b Fig.09a

51. 51. C h a p t e r 0 25 3 s p e e d p a i n t i n g F i n a l T o u c h e s Alright, so the painting is nearly ﬁnished now, but I've decided to play around by adding some more highlights and enhance the light even more on the lake reﬂection, treetops, leaves, and so on (Fig.09a - b). There is also a pretty cool trick you can use to make the illustration look rougher: it involves a ﬂat texture - basically any kind used for 3D purposes. Here it is (Fig.10a). I changed the mode of the texture layer to Overlay as well, which was the last thing I did on this painting (Fig.10b). I'm very happy with the ﬁnal painting - I hope you are equally satisﬁed with your own forest ﬁre scene after following this tutorial. Fig.09bFig.10a Fig.10b © L e v e n t e P e t e r f f y S o u r c e : C G T e x t u r e s . c o m

52. 52. C h a p t e r 0 2 5 4 s p e e d p a i n t i n g Fig.01 Fig.02 B y L e v e n t e P e t e r f f y S h i p H i t b y T o r p e d o I n t r o d u c t i o n Build your conﬁdence in just an hour: I'm going to show you how to whip-up a "ship hit by a torpedo" with just a few digital strokes! Speed painting is an effective practice used to achieve good composition, color and light-interaction with shapes and forms, and, with the use of brushes - both default and custom-made - you can quickly create and simulate a realistic environment with just a few strokes. The topic, "Ship Hit by Torpedo", reminds me of World War II; I don't really know why, but I've always been interested in World War II, and so I was therefore quite taken with the topic set for this tutorial. There are probably a million stories to tell about that time period, which would all be very interesting to illustrate, and in this case it's a ship being struck by a torpedo. In this tutorial, the focus will be on the fact that S o f t w a r e U s e d : P h o t o s h o p © L e v e n t e P e t e r f f y realistic images - or colors, if you like - can be achieved quickly with the use of custom brushes and blending modes in Photoshop. The software used to create this speed painting is Photoshop CS2, along with a Wacom Intuos 2. So let's begin... B a c k g r o u n d C o l o r I start off with a colored background, as you can see in Fig.01. On this background I start to paint with custom soft-edged brushes, often with a very low Opacity of between 10 - 20% (Fig.02). I work in this way until I can see some shapes evolving (Fig.03). S h i p a n d F o g At this stage I start to develop more of the shapes from the previous image, which were slowly forming. Already, you can see that it shows the shape of a ship in the foggy atmosphere. I use similar kinds of colors to deﬁne the shape of the ship more and more.

53. 53. C h a p t e r 0 25 5 s p e e d p a i n t i n g Fig.03 Fig.04Fig.05 Fig.06 When I ﬁrst had my shapes deﬁned I started testing some new colors out. I use a light blue in this case, for the sky, and also deﬁne the horizontal sea-line (Fig.04). I used a simple gradient to make the ocean; the colors were all picked from the painting - one light color and one dark. I crop the image at this point, and at this stage I'm able to start going into more detail now. I pick a small, hard-edged brush (Fig.05) and start adding details on the ocean, as well as some smoky clouds (Fig.06). I like to ﬂip my painting horizontally a lot whilst painting, as it helps to refresh my eyes and allows me to see if there are any ﬂaws (proportions, perspective, and so on). I continue adding details and also building on the background, trying and testing hues of blue for the sky (Fig.07). There is one thing I usually try a lot in my paintings, which is to duplicate the painting layer and then use a Photo Filter on the duplicated layer, increasing the density on the Warming ﬁlter to 85. I choose Multiply as the blending mode for the duplicated layer on top. To ﬁnish it off, I take the layer Opacity

54. 54. C h a p t e r 0 2 5 6 s p e e d p a i n t i n g down to a fairly low level, until I feel that the colors are just right (Fig.08). If you want more control you can then erase parts of the top layer, as I have done. At this stage I add some more detail to the ship (Fig.09). There is an open crack on the ship's hull, just as if a torpedo tore a hole straight through it (hence the topic for this speed painting). D e t a i l i n g I like adding details. Adding details is kind of like adding more words to a story - there are certain details that you just have to add, simply because they help the picture to make more sense; for example, breaking waves, reﬂections on the water, and so on. I paint a silhouette of a bird on the left, because I feel that the sky area in that section is a little empty. Another detail which I think will help is the use of a rusty texture - look at the ship's lower part. I want to create something rusty-looking, so I paint with Fig.07Fig.08 Fig.09 Fig.10 Fig.11

55. 55. C h a p t e r 0 25 7 s p e e d p a i n t i n g a custom-made brush, which slightly resembles rust (Fig.10 - 11). I also continue adding more brushstrokes to the smoke (Fig.12). C o l o r T e s t These last stages of a speed painting are basically to test the colors to see if you can improve them, and add more to the mood (Fig.13). Again, I ﬁnd ﬂipping the canvas always helpful to refresh tired eyes. F i n a l T w e a k s Adjusting the resolution and adding sharpness are the last things that I do to my paintings. And there we go: speed painting complete (Fig.14). A rt i s t T i p s a n d S e c r e t s I can't stress this enough: practice and practice more. This is the key to success. Even with cool custom brushes as assets, you still need to train your eye to see shapes and colors interacting with light, in order to evolve a painting. Try not to get too dependent on tutorials; dare to experiment a lot, even if you don't know where to start - just scribble around. There are a lot of forums out there with speed painting threads, so post your work a lot and see what feedback you get. There are people out there willing to help you so use their advice wisely. However, do try to think about the problem for yourself, and try to solve it as best as you can. If you have a hard time starting to paint, then make studies from paintings by some of the Masters, or of screen shots from movies - that should help you to get started, at least. Fig.12 Fig.13 Fig.14 © L e v e n t e P e t e r f f y

56. 56. C h a p t e r 0 2 5 8 s p e e d p a i n t i n g B y N at h a n i e l W e s t A l i e n H o t A i r B a l l o o n s S t e p 0 1 For this speed painting I start off sketching freely, with no preconceived notions, and wait to see what will come out about. After a short time of messing around with different shapes and values, I begin to see a vision of a large balloon coming towards a foreground destination. In my mind, I view air balloons as very tranquil, and so the scene began to take on that quality. S o f t w a r e U s e d : P h o t o s h o p © N at h a n i e l W e s t Fig.01 Fig.02

57. 57. C h a p t e r 0 25 9 s p e e d p a i n t i n g Fig.03 Fig.04 When ﬁrst starting a piece I begin by laying down a rough grayscale sketch (Fig.01). It is very important to have a good value structure ﬁrst and foremost, with values grouped together to create a graphic and dynamic piece. I would say that this is the single most important stage in a painting, and should be simply because the lights and darks have not been pushed enough, thus resulting in a "ﬂat" appearance. S t e p 0 2 Now that my values are worked out, I proceed on to glazing color over the entire painting. This worked out before beginning with color. If your value structure works, then the rest of the painting will follow easily. But, if your value structure is off, then you will ﬁnd the next stages of the painting to be hopeless efforts until the value structure has been corrected. Often, a painting is not dynamic

58. 58. C h a p t e r 0 2 6 0 s p e e d p a i n t i n g can be subtle or extreme, but either way I glaze the whole painting with one color to keep the palette uniﬁed. I then begin to add additional color variations and levels of saturation to develop the piece further. I'm always careful to maintain the value structure throughout this stage of the painting process (Fig.02). S t e p 0 3 With the overall palette of the painting established, I can now begin to further develop some details. I add in the balloon portion of the hot air balloon, and then mirror it with the same color and shape in the upper right corner. I also add a couple of ﬁgures and decide to give them the same color and shape language (Fig.03). This is all in an effort to tie the balloon and the foreground together, from a story point of view. I had indicated some trails of smoke coming off of the ground, but I decide at this stage to get rid of them, so as not to disrupt the landscape too much. The sky begins to get tightened up now, along with the mountains. Fig.05b Fig.05a

59. 59. C h a p t e r 0 26 1 s p e e d p a i n t i n g S t e p 0 4 I continue detailing the landscape further, introducing textures and color washes to achieve the desired effect. The air balloon has changed quite a bit, and its design has started to take shape. I'm also introducing additional color shifts into the sky as well (Fig.04). S t e p 0 5 I'm now going to focus solely on the balloon, as that is our main subject matter. I give some loose detail to it, and then blend it into the environment with some ambient lighting on the outer edges of the balloon (Fig.05a - b). S t e p 0 6 - F i n a l I now add in additional details to the landscape and foreground. Once done with all the detailing, I put some rays of light coming through the clouds, hitting a couple of areas with some highlights, and push the contrast in some areas to make the scene a touch more dramatic. I add in some highlights on the edge of the foreground to help separate it from the landscape, and then happily call the painting done (Fig.06a - c). Fig.06b Fig.06a Fig.06c © N at h a n i e l W e s t

60. 60. C h a p t e r 0 2 6 2 s p e e d p a i n t i n g Fig.01 Fig.02 Fig.03 B y S e r g S o u l e i m a n O n c e a T h r i v i n g C i t y, N o w D e s e r t e d I n t r o d u c t i o n The outcome of a painting cannot be determined in the ﬁrst stages of its creation; an image usually evolves with the artist over time. The process that I used to approach this brief started out with some research into interesting shapes. It's always a good idea to have some kind of reference for whatever you're drawing, but this time around I wanted to see what I could achieve from a two-hour speed painting without using any speciﬁc references. So here we go... S o f t w a r e U s e d : P h o t o s h o p © S e r g S S t e p 0 1 For this painting, I start off with a standard round brush, size 13, with Pressure Dynamics turned off and Opacity set to 75%. The colors I went for, with the theme of an overgrown city in mind, were all neutral and earthy tones (Fig.01) a n d Ta k e n O v e r b y V e g e t at i o n

61. 61. C h a p t e r 0 26 3 s p e e d p a i n t i n g Fig.04 Fig.05 Fig.06 S t e p 0 2 In the beginning stages I try to focus on shapes and the negative space of the image, and aim to not let the perspective of the piece hinder my search for these shapes. At one point I had a cityscape, but it then turned into an interior shot once I put in the three vertical structures, and so I'm going to follow that path instead. I try not to put in perspective lines when starting an image, as I like to be able to search for shapes with the greatest freedom. At this point I decide on the composition and that the space I am painting is going to become the base of a building that has been taken over by vegetation, as the brief suggests (Fig.02). S t e p 0 3 Once the composition has been decided upon, I start to think about the lighting and shadows. Adding a complementary light source from the bottom left helps with the color contrast, and I use red to indicate rubble and to introduce some warmer color to the shadows (Fig.03). S t e p 0 4 At this stage, adding some perspective lines helps me out with the repetition of objects, and in deﬁning the shapes discovered in Step 01. At this point it's a good idea for me to check the values in the image. The order of values I used were: a value of 10 for the foreground, a value of 4 for the mid-ground (the area where the light hits the ﬂoor), and 6 for the background (Fig.04). A good way of thinking about this is: light, dark, light, dark - it's never ending! When you have dark next to dark, you lose the edge (although sometimes you may want that). S t e p 0 5 After adding a ﬁgure to set the scale, I decide that I want to create an uneasy feeling for the character. Having verticals in your image creates stability, and so angling them to the left and darkening the values of the image seems to help create the illusion that I'm aiming for. I then paint out one of the center pillars of the image in order to give the feeling of more hope, and to lose some of the repetitiveness (Fig.05). S t e p 0 6 At this stage I start bringing it all together. I add more detail using a standard brush with the texture option checked, and I angle the brush to the perspective of the image (Fig.06). The main change here is to separate the values of the atmospheric perspective of the image where the objects seem to become closer in value as they recede into the space (Fig.07). F i n a l T h o u g h t s At this point I was happy with the image because it conveyed the mood, environment and scale I had initially hoped for. If this image was to be used as a piece of concept art, it would give the 3D artist a good starting point to work from. If it was a matte painting then the use of photographic textures would be the next step, as well as cleaner edges and greater use of the Selection tool. a n g l e t h e b r u s h t o f i t t h e p e r s p e c t i v e o f t h e p a i n t i n g

62. 62. C h a p t e r 0 2 6 4 s p e e d p a i n t i n g

63. 63. C h a p t e r 0 26 5 s p e e d p a i n t i n g Fig.07 © S e r g S

64. 64. R e n a i s s a n c e © M a r c o B a u r i e d e l

65. 65. What was once a traditional art form has now adapted to become a purely digital practice. This very particular discipline allows ﬁlm makers to create scenes that would prove either too expensive or impossible to ﬁlm, and has become one of the staple ingredients in this industry. This chapter looks at the techniques behind matte painting and explores the value of photography and painting skills to seamlessly blend two distinct attitudes. m a t t e p a i n t i n g

66. 66. C h a p t e r 0 3 6 8 m a t t e p a i n t i n g Fig.01a Fig.01b Fig.01dFig.01c B y M a r c o B a u r i e d e l T h e M a k i n g o f " R e n a i s s a n c e " The base image needed to be cleaned up ﬁrst before anything else (Fig.01a). The second stage was to create an extension of the image, following the concept of leading onto a matte painting in which the National History Museum would be set in a natural environment, as if in existence sometime in the future. I started off by taking the base image of the National History Museum and painting/Clone Stamping the people out of it (Fig.01b). The Lasso tool S o f t w a r e U s e d : P h o t o s h o p © M a r c o B a u r i e d e l was used to select parts of the image, which were then copied, rotated, ﬂipped and scaled to ﬁt into another location (Fig.01c). Making selections of a shape by guessing how it would continue in a covered/extended area, then Clone Stamping in some noise from a similar part of the image and color correcting it, is another nice way to work (Fig.01d).

67. 67. C h a p t e r 0 36 9 m a t t e p a i n t i n g Fig.02 Fig.03 Fig.04 It is important to give some visual variation to duplicated parts. You can easily achieve this by painting some dirt, erasing things, or using the Sharpen brush. The idea is to imitate the colors, and the overall sharpness and grain of photography. After cleaning up the image, perspective lines were used to extend the image (Fig.02 - 03). I created some concepts in order to get an idea about how to put the museum into a natural environment. Clone Stamping some photography into your painted concepts might also help to imagine the desired look very early on in the process. For the concept to work it was important to color correct the building in a way that it could be integrated into the background scene (Fig.04). To be honest I should have spent more time thinking about perspective issues in the concept phase. As you can see here, I didn't take a lot of care with the rocky shore concept (Fig.05); I wanted to sort of zoom out of the building to give the viewer a glimpse of the surrounding landscape, although I did expect to encounter a lot of problems with the lens distortion of the original photograph with this idea. I decided to continue with the rocky water landscape concept, because of the drama that it expressed to me. And so I started by extending a rocky shore photograph (Fig.06). Sharpness, shapes and colors were imitated, without copying elements one-to-one from the landscape image, by painting and Clone Stamping. After extending and color correcting the image, a sky and several objects were

68. 68. C h a p t e r 0 3 7 0 m a t t e p a i n t i n g then added. The National History Museum was roughly adjusted into perspective and shaped to match the look of the concept. Adding some rough reﬂections and shadows helped me to tie the image together at this stage, and allowed me to spot any problems (Fig.07). I chose to get away from the dark mood and went for a warmer color instead. Adding the sun and lighting, the whole scene was done by painting light on different layers, with some set to Dodge blending mode. To achieve the glossy look of the stones, I painted sharp highlights, such as on the water's surface. I used a custom brush that scattered the tint depending on the pen pressure, and used a Fig.05 Fig.06 Fig.07

69. 69. C h a p t e r 0 37 1 m a t t e p a i n t i n g motion-blurred noise layer for most highlights (Fig.08). I was then able to add all of the really fun details. Finally, some more perspective correction of the building was done, without destroying the drama of its alignment in the whole image. Seaweed and water movement were painted around the foreground rocks to get some more variation in the whole piece. The cityscape on the right was also added at this point, and the background rock beside Big Ben was given a more realistic, hazy look to set it further into the distance. The stairs of the National History Museum were then broken down into pieces, and the lighting was adjusted accordingly (Fig.09 - 10). And here is the ﬁnal image. Sometimes it's hard to keep photorealism in photographic parts when color correcting and painting. Of course, the perfection of those skills comes with time, and I'm always personally learning and trying to improve and hone my techniques. I'd like to thank Dave Edwards for providing the photo for this matte painting; I hope this tutorial can give you an interesting insight into how an image such as this can be created. Fig.08 Fig.09 Fig.10

70. 70. © M a r c o B a u r i e d e l

71. 71. C h a p t e r 0 3 7 4 m a t t e p a i n t i n g Fig.01 Fig.02 B y S e r g e y M u s i n T h e M a k i n g o f " F i n d i n g U n k n o w n K a d at h " The Dream-Quest of Unknown Kadath is considered a combination of several Lovecraft stories. It features Randolph Carter, a mystic whose unique gifts allow him to walk through dreams. He uses these talents to locate Kadath, a fortress of the Gods. Carter's adventures include traveling to good and evil dimensions, talking to cats, and sailing on the seas. After reading this novella by H.P. Lovecraft I was mostly interested in the idea about The Dream-Quest of Unknown Kadath. Before starting, I searched the internet for reference images to free my imagination and S o f t w a r e U s e d : P h o t o s h o p © S e r g e y M u s i n to ensure that I would get the right idea for the concept (Fig.01 - 02). I wanted the scene to be set in a snowy climate, so I also searched for reference images of snow (Fig.03 - 05). The concept sketch was drawn on white paper (Fig.06). I then turned the horizon line in order to achieve an effect similar to that of a ﬁlm camera. I scanned the sketch and opened the ﬁle up in Photoshop CS2. The black and white picture was showing, and on top of that I built up a layer of color using the Multiply blending mode (Fig.07). S o u r c e : C o r b i s S o u r c e : C o r b i s

72. 72. C h a p t e r 0 37 5 m a t t e p a i n t i n g Fig.03 Fig.04 Fig.05 Fig.06 Fig.07 Fig.08 Fig.09 I created a new layer under the sketch to use as the fundamental color draft, with the Opacity set to 60%. I removed the original black and white sketch at this point as I no longer needed it and was happy working with the blocked-out colors as a guide. I started building up my scene using the photos that I found as reference, layering them up following my concept (Fig.08 - 09). I found the main object in the sketch looked too clear at this point, and Kadath's fortress was being "squeezed" by the two iceberg cliffs, so I decided to move them apart to open up the scene a bit (Fig.10). You'll notice that, for this piece, I was using photo references of mountains without skies. I removed the sky from the mountains by looking at the color channels from the original image and selecting the one with the most contrast between the sky and the rest of the image. I duplicated the blue channel and used the Curves to increase the contrast until the black and white image separated the sky from the foreground. To create texture on the mountain on the right, I used a S o u r c e : C o r b i s © S e r g e y M u s i n Fig.04 S o u r c e : h t t p : / / w w w. w p a n o r a m a . c o m

73. 73. C h a p t e r 0 3 7 6 m a t t e p a i n t i n g photo of an iceberg (see Fig.05) and created a clipping mask layer (Alt + click between two layers) on the layer of painted ice. I changed the upper layer's Opacity to 60%, and then cleaned things up using the Eraser tool. On the left, I used another photograph of a mountain (Fig.11) and rotated it. I painted out the forest from the icy mountain in Fig.11. To paint Kadath itself, I used a clear-cut, jitter brush, and the Clone Stamp tool, taking reference from the photographs which I cut up into three parts (Fig.12 - 13). I painted the walls and lengthened them. I hand-painted and copied the stairs several times to increase the imposing height. Painting the snow and ice was very tedious. Most parts of this piece were painted using a hard brush (between 1 and 4 pixels in size). The block of ice in the foreground (Fig.14) was painted thoroughly using a small standard brush (sometimes as little as 1 pixel), and custom brushes with 50% Opacity to achieve cross movement (Fig.15). The picture was ﬁnished off with lots of mist to achieve good depth of ﬁeld. I also decided to add an observation tower to increase the interesting features of the composition (Fig.16). The man in the boat was also hand-painted (Fig.17). Fig.10 Fig.11 Fig.12Fig.13 Fig.14 S o u r c e : C o r b i s

74. 74. C h a p t e r 0 37 7 m a t t e p a i n t i n g To ﬁnish off the painting, I created a new layer for the shadows set to 50% Opacity. I used a ﬁrm brush, and with the Opacity set to 35% I painted in the areas that needed some attention - in the lower right area and on the mountains on the left - because the sunlight could not reach there. I then created some adjustments layers with alpha masks, that is, Hue/Saturation and Brightness/Contrast, to achieve a single gamma. I painted onto the adjustment layers on the mask, to create the different tones and contrast areas on various sections of the picture. Here you can see a breakdown of the ﬁnal set of layers used to complete the image (Fig.18). With all layers combined, the ﬁnal image was complete, as can be seen in Fig.19 (5600 by 5200 pixels in size). Fig.15 Fig.16 Fig.17 Fig.18 Fig.19 © S e r g e y M u s i n

75. 75. C h a p t e r 0 3 7 8 m a t t e p a i n t i n g Fig.01 B y T i b e r i u s V i r i s S e a s o n C h a n g e : A W i n t e r S c e n e M at t e Pa i n t i n g This tutorial is aimed at beginners to matte painting, as well as those who already have some experience; however, please note that advanced knowledge of Photoshop is required in both cases. If you are not familiar with adjustment layers, layer masks or channels (RGB), you should read about these topics prior to starting this tutorial. I n t r o d u c t i o n We will start with a common transformation: season change. More speciﬁcally, we'll be turning our base image into a winter scene. While the process itself is not hard, the difﬁcult part is in ﬁnding the right shapes, shades and places for the snow, as well as ﬁnding a cool (literally) yet realistic color palette. In Fig.01 you can see the before and after results of this tutorial, so let's get to work. W h at a r e w e a f t e r ? So, we are after a winter scene. We have been provided with a raw photo which, as you can see (left of Fig.01), was taken most likely during the summer, and we want to see how it will look six months later. The problem with this photo is that it's full of green trees that S o f t w a r e U s e d : P h o t o s h o p plan your image. Sure, as artists we often tend to rush ahead under the heat of passion, but as professionals we should ﬁrst of all learn how to tame that ﬁre, and to make it last as long as we need it to, especially when we work on big and long-term projects. So, the ﬁrst step is to think about what you are after. See what you have and, more importantly, what you don't have. See what you need to get for the project (maybe you have to ask your team mates for a 3D render or a cloud formation). When you feel like you have everything you need, plan your creation steps will lose their leaves in winter; however, we have no information of what's behind them and we can't recreate that information from other parts of the image (we are not going to change architecture, so no Clone Stamping!). This case is perfect tutorial material, because we will do more than just the average summer to winter; we will see how to get a little creative, even if limited by certain restrictions. I'm going to try to show you a good working habit that can be applied anywhere - not just in matte painting - which will save you a lot of time and nervousness. The key is to think and

76. 76. C h a p t e r 0 37 9 m a t t e p a i n t i n g Fig.02 Fig.03 Fig.04 so that you don't work chaotically and lose precious time. In this case, we are after a summer-to-winter transition. We have a raw photo (see left of Fig.01) which shouldn't be altered too much in terms of elements, so this is pretty straightforward as far as material is concerned. So let's plan out the creation steps and see what we are supposed to do. Let's say we have two major restrictions: * We must not make major alterations to the castle architecture * We should keep the size and placement of all the major elements (such as the river, position of the trees, and so on). So with all this in mind, I'll start by planning the steps I will need to take: * Firstly, I should begin by changing the color palette into a colder, less saturated one. I also want to reduce the contrast * I want to "move" this castle to somewhere in the mountains, which will contribute to the overall cold feel and will give more depth. So for this next step, I will need to replace the sky and the background, and add some nice mountain peaks. I will also want to remove the large tree in the foreground on the left * I should consider recreating the mid- areas, especially the group of trees on the left and right of the castle. I should also connect these areas with the background, probably with an in-between forest and some mist. This is a process often referred to as "surgery" * Then it's time to adjust the front lake/river, give it a frosty look, paint some snow over As for reducing the contrast, there are tons of ways of doing this, amongst which are: using a Curves adjustment layer; using a Brightness/ Contrast layer and reducing the contrast (not as accurate as Levels/Curves); using layer transitions, and so on. (I always use Curves and Color Balance adjustment layers to create moods because, from my experience, it creates better results than using just one of them alone.) M o v e t h e H u e s t o wa r d s C o l d e r Va l u e s This is generally done with a Color Balance adjustment layer using a combination of Cyan/ Blue sliders, where needed. The amount and size depends on the hues of your base image. In Fig.03 you can see my values for the shadow part. Note that the values are quite small, but they produce very visible effects, so don't go too wild. Also note that while this effect is applied to the entire image, it alters the hue by keeping the contrast with its neighbors, which means that for low values the effect is subtle and suitable for in-detail hue changes. Don't forget that if you have more areas which need different adjustments, you can use several layers and paint into their mask. C h a n g e t h e O v e r a l l M o o d w i t h a C u r v e s A d j u s t m e n t L a y e r We will use the red channel of a Curves adjustment layer to pull the levels towards Cyan. Some people prefer to use just Color Balance, whilst others will tell you anything but Curves is wrong. However, I have found that using both (with smaller intensities) produces much better results. In the end, it doesn't matter what tool you use as long as you produce good results, so feel free to experiment (Fig.04). it and then paint some snow in front of the castle * When all this is done we should start painting in the snow on the castle itself; ﬁrstly on the basic parts, then onto the more obscure/hidden parts * After I'm done with the snow painting I should reﬁne the atmosphere and light. I don't like the fact that the original plate is so uniformly lit, so I'll want to change that as well. B a s i c S t e p s In any matte painting, the key is to work with many layers and use adjustment layers for transformation in order to achieve a lot of ﬂexibility. By painting the layer's mask, you can select which areas to affect and you can discard/modify any layer at any time. Everything begins with the preparation of our working area. In this case we are going for a cold atmosphere, yet not too overcast, so we must do a series of adjustments, amongst which will involve reducing the contrast and desaturating and moving the hues towards colder values, like cyan and blue. Depending on your base image, it might take some time to create the proper feel, so have patience and experiment with various adjustment layers. There's no recipe for this, but I'll try to point out the most important changes that you should make: R e d u c e t h e S at u r at i o n & C o n t r a s t This is usually done with a Hue/Saturation adjustment layer; in our case I've used -26 for Saturation (Fig.02) and I've also slightly increased the brightness. You can also use this layer to shift the hues a little, but don't go too wild - a plus/minus 4 maximum will do.

77. 77. C h a p t e r 0 3 8 0 m a t t e p a i n t i n g After applying all the changes I have ended up with what you can see in Fig05. It doesn't seem very "cold" right now, but that's just because there's a lot of greenery in the scene which affects the overall mood. However, if you look at the original image you'll see the difference already (see left of Fig.01 for reference). C h a n g i n g t h e B a c k g r o u n d Luckily for us, the original image has a clear sky which means changing the background should be pretty easy. First of all, ﬁnd a nice mountain stock photo that suits the image, and which also doesn't load the image too much. We already have a lot of positive space so we need as much sky as possible to compensate. The general process of replacing the background involves the following steps: * Creating a mask for the new background layer * Selecting the sky (and other areas you want to replace) from the original layer * Going into the mask, inverting the selection and ﬁlling it with black (which will render those parts invisible while keeping the rest of the layer) (Fig.06). What is more or less difﬁcult, depending on the base image, is the extraction of the area(s). There are several methods to do this. In our case, which is one of the simplest, we can simply use the Magic Wand tool to quickly select the sky. Moderate problems arrive when the area you want to replace has many ungrouped hue values, or, on the contrary, the whole image has shades of the same hue (think of sepia) and/or the separation edge contains many small details (like a tree, for instance). In this case the most common method is channel, extraction, generally using the blue channel, which has the best contrast. Lastly, the hardest cases are those which combine all of the above and, in addition, have also about the same brightness levels, or their distribution is random. These require hand work, combining the Lasso tool with painting into their mask. Here's what I get after roughly replacing the background (Fig.07). A d j u s t i n g t h e M i d d l e G r o u n d a n d F o r e g r o u n d Now that we have moved the castle it's time to adjust the rest of the elements to ﬁt their new location. We will start by recreating the left middle-ground part, which was in the original Fig.05 Fig.06

78. 78. C h a p t e r 0 38 1 m a t t e p a i n t i n g Fig.08 photo behind the big tree in the foreground. Since we don't know exactly what was there, we have a lot of freedom for this step (unless we are given speciﬁc instructions, of course), so it's up to us to choose what to place in there. For this tutorial, I've decided to replace this part with some pine trees, obviously covered with snow. The fastest way to do this is to ﬁnd a nice stock photo; it doesn't have to be a full forest - two trees are enough. You can then duplicate them all around and modify their edges for variety. However, do pay attention to the scale. In this image, one of those front towers has the height of a two-to-three story building, so the pine trees should be scaled accordingly. Now we're done with the last step, I feel the need to connect the group of trees with the distant mountain for more natural depth. This is achieved by adding a distant forest in between and painting some mist over it to help integration. I also enhance the mist at this point by adding more details to it (Fig.08). It is now time to powder some snow over the two trees inside the castle ground, to match in with the rest of the scene. This is done with a hard round brush with a Scattering effect applied. In the end, I roughly paint some snow in front of the castle as well, to get a better idea as to whether I am on the right path, and also to spot any ﬂaws (Fig.09). Finally, we need to adjust the water in order to give it a frosty, cold, wintry look. What contributes the most to this effect is some Fig.07

79. 79. C h a p t e r 0 3 8 2 m a t t e p a i n t i n g drastic desaturation and snow painting on the places where the lake meets the shore. And don't forget about reﬂections! Once it's been frosted over in places it will reﬂect much more detail than in the original photo (Fig.10). S t a r t i n g t o L o o k C o l d . . . ? One thing that I don't like at this point, which is a heritage from the original photo, is the fact that the whole image is quite uniformly lit. There's nothing wrong with this in terms of realism but since the subject is so big and centered, the eye gets lost in the image. One way to correct this, at least partially, is to create a gradually increasing brightness from left to right, but we'll address this later. P a i n t i n g t h e S n o w At last, we get to take care of our castle. For some, this might prove to be a boring step because it involves a lot of thinking and detail painting. You have to go in and check every spot where snow would naturally fall; a high quality original will help the process a lot. When painting snow, use a rough brush to create irregular shapes. Choose two colors: one for the regular snow (a white) and one for the shadowed parts (a gray or a slightly blue- tinted white). Painting snow involves working alternatively with these two colors. In Fig.11 you can see a suggested palette for painting snow and ice with realistic shades (not too saturated). Begin by adding snow on the edges and small parts where the snow would naturally fall. Then move on to the roofs and bigger areas (always do this afterwards because it will be easier to spot details before you do it). The hardest part of this process is to think about how the snow would actually look on the structure and not Fig.09 Fig.10 Fig.11

80. 80. C h a p t e r 0 38 3 m a t t e p a i n t i n g just mindlessly spray it everywhere. If in doubt, reference photos will help. Don't be ashamed to type "castle in winter" into Google and look at some photos. Don't forget to paint in at least 1.5 times higher resolution - double resolution is recommended. Here's a close-up of the painting (Fig.12a - b). And after all the painting work is complete, this is what I end up with (Fig.13). R e f i n i n g t h e At m o s p h e r e Finally, when we have everything ready, it's time to create that gradual transition I was talking about. Using two Levels adjustment layers - one that makes everything darker and one that makes everything brighter - I paint in (using their mask) shadows and highlights to break up the monotony and make the image more interesting; darker to the left, brighter to the right. I've also move the highlights a little towards yellow to match the sun's natural color for this kind of setting (Fig.14). You can download the photo (JPG) used as a plate in this matte painting tutorial from www.focalpress.com/ digitalartmasters Fig.12a Fig.12b Fig.13 Fig.14

81. 81. C h a p t e r 0 3 8 4 m a t t e p a i n t i n g Fig.01 Fig.02 B y T i b e r i u s V i r i s P y r o t e c h n i c s : F i r e a n d S m o k e Again, this tutorial is aimed at beginners to matte painting, as well as those who already have some experience; however, please note that advanced knowledge of Photoshop is required in both cases. If you are not familiar with adjustment layers, layer masks or channels (RGB), you should read about these topics prior to starting this tutorial. I n t r o d u c t i o n Here we go with our next matte painting workshop. This time we will tackle some pyrotechnic effects as we will try to set our nice castle on ﬁre. What?! Well, at least we're not doing it for real! I must say from the beginning that ﬁre and smoke have an illustrative character and are not the subject of classical matte paintings, S o f t w a r e U s e d : P h o t o s h o p which are supposed to be "invisible art" and not contain any moving elements such as smoke, water and birds, and so on (which are later added to the live plate by means of compositing). However, as before, we will assume that this is an establishing shot or an illustration of some sort and carry on tackling this brief. So let's get started! In Fig.01 you can see the before and after results of what we're going to do. W h at a r e w e a f t e r ? So we've taken our sunny castle and subjected it to the wrath of winter ... Now let's see how it will handle ﬁre! We will assume that some heavy explosion took place just 15-minutes ago in the upper part of the castle. So, with that in mind, we will focus less on adjusting the rest of the scene and more on how to create the pyrotechnic effects. Let's start as we should do by thinking things through.

82. 82. C h a p t e r 0 38 5 m a t t e p a i n t i n g Fig.03 Fig.04 Fig.05 S c e n e P r e p a r at i o n As mentioned at the beginning of this tutorial, we'll consider this to be an illustrative piece. It is therefore very important that we sell the subject using appropriate moods and lighting to emphasize the feeling. For this very reason I choose to replace the sky with an overcast one, in order to bring more heaviness upon the scene. The process of replacing the sky by using a mask is the same as in the previous article on the winter scene, so I won't go into too much detail on this again here. Now we need to tone down the rest of the scene to match both the sky and the scenario. We will have to bring down the saturation and also darken it. We will bring down the saturation using a Hue/ Saturation layer and we'll darken it using two identical Levels layers, half valued (Fig.02 - 03). The reason I used two layers is because I wanted to simulate hints of light passing through the clouds by painting in the second one's mask, and I thought this would give me better control. The result of my adjustments can be seen in Fig.04. Next we will break the monotony of the highlights in the original photo by creating scarce cloud shadows. We will do this by simulating random cast shadows by painting into the mask of a Solid Color layer with a fairly dark color set to about 65% Opacity (Fig.05). Note that because the distance between the clouds and the land is relatively high, the shadows cast are always going to be blurry and rather diffused. If the clouds are quite small, or the sun manages to peak through, you will see those typical cloud shadowed areas on the land. You can control the shadow intensity by various means, like a gray shade used in the mask, overall Opacity value, or the transfer mode, but pay attention never to exceed the 60 - 70% of the value of direct shadows (which you can reference from the original photo). For our scene I choose a pretty light and diffused shadow for more subtlety (Fig.06). L e t i t B u r n ! Fire and smoke have always been considered pretty tough elements to paint if you're aiming for realism in your work. In matte painting, you have the optional choice of ﬁnding a stock photo that ﬁts your needs (although these are rare), or to use a smoke or gas simulation software (but the result is not always so good with this option). However, shockingly enough, we won't talk about either of these here. Instead, I'll show you how you can paint realistic smoke using custom brushes and some good old thinking! C r e at i n g t h e B r u s h When creating the custom brush we have to consider the various smoke properties and think how they can be translated into brush properties. The most important aspects that should be taken into account are shape, opacity and variation. G e n e r a l C o n s i d e r at i o n s : Although smoke has a structure that resembles a cloud formation, its composition is different from a chemical point of view, and that affects the expansion pattern and speed. Smoke disperses a lot faster than a cloud. Another important difference is that smoke is generated; hence it's thicker near the source and breaks up as it goes farther. B r u s h Pa r a m e t e r s : * Shape - Smoke has a typical shape with irregular edges and resembles a cloud structure. The basic brush shape can be sampled from an existing cloud texture - almost any would do. The element should be around 120 to 200 pixels in size. See Fig.07 for an example. * Shape Dynamics - Smoke tends to gather in clusters of various sizes, which disperse faster or slower depending on their densities and composition. We can mimic this by using a Shape Dynamics modiﬁer set to Pen Pressure (Fig.08). * Scattering - This completes the above effect by scattering around the groups within a certain limit. Use both axes at about 120 to 130%

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1. 1. Illustration annual2014£9.99 the most inspiring illustration from the world's leading creatives featuringInside: JeanJullienHvass&HannibalSimonSpilsburyMVMCraig&KarL YukoShimizuNomaBarMalikaFavreMcBessAndmanymore... i l l u s t r a t i o n A n n u a l 2 0 1 4

2. 2. Welcome to the Computer Arts Collection Illustration Annual - our showcase of the year's most outstanding illustrative work, and a vivid celebration of emotive and technical craft. Over the next 130 pages you'll find an incredible wealth of illustration that's bursting with conceptual and aesthetic impact. You'll also gain exclusive access into the minds of some of the global creative industry's leading lights. To help us unearth the finest talent in the field, we teamed up with the likes of Jessica Walsh, Gary Taxali, Noma Bar, Justin Maller and more, and asked them to nominate five stand-out illustration projects that caught their eye over the past 12 months. We've included their comments throughout the Annual - and you can find out more about all 30 members of our expert panel on page 126. We also called on the considerable talents of graphic artist Nikki Farquharson. She handcrafted 10 elaborate typographic images for the publication, which you'll find at the start of each new section. And a huge thank you, once again, to our friends at British finishing house Celloglas, who went all out with our cover - embossing it with a stunning magenta foil. If one thing's clear from the world-class work showcased inside these pages, it's that illustration is fighting back. Factors that once heralded the field's decline - stock libraries, the digital revolution, a growing preference for graphic design - are now providing new avenues for savvy illustrators. As our 2014 Illustration Annual demonstrates, opportunities exist - if you know where to look for them. Enjoy the Annual. Julia Sagar Editor Computer Arts Collection julia@computerarts.co.uk @JuliaSagar / @ComputerArts facebook.com/computerarts E d i t o r i a l

3. 3. 6 Behind the scene s 12 A DV ERTISING 24 COR PORATE 36 FASHION 44 ENV IRON M ENTAL 54 BOOKS 64 EDITORIAL 80 in MOT ION 90 SELF - INITIATED 106 E X HIB ITIONs 114 PACK AG ING a nd produc t s 126 M EE T THE PANEL C o n t e n t s

4. 4. B e h i n d t h e s c e n e s Meet the über-talented graphic artist who adorned our Illustration Annual with fluid type and vibrant splashes of colour NIKKI FARQUHARSON 6 Behind the scenes Nikki Farquharson

5. 5. Nikki Farquharson specialises in creating abstract patterned artwork for clients ranging from Myspace to Malibu Rum. www.nikkifarquharson.com 7 Behind the scenes Nikki Farquharson

6. 6. "I try to walk the line between consistency and spontaneity: I want some sense of order combined with little, unexpected surprises" hen we asked mixed- media maestro Nikki Farquharson to help us celebrate the Computer Arts Collection Illustration Annual with a touch of typographic magic, we knew we wouldn't be disappointed. The London-based graphic artist pulled out all the stops, handcrafting 10 elaborate images to mark each different section inside the publication. We caught up with her to find out what inspired her intricately patterned designs - and what else she's been up to this year. You often create your drawings with a "made-up story" in mind. What's the story behind your openers for our 2014 Illustration Annual? I knew straight away I wanted to illustrate the type itself. After a little thought, I came up with the concept of having each opener in the typographic set look as though it was made up of small, primitive-style creatures that had clustered together to form groups of random shapes, which happened to mimic the basic appearance of recognisable characters. With the concept for the section openers nailed, where did you start in bringing your ideas to life? The first step was to choose a typeface for my templates as I very rarely draw type freehand. Once I found the typeface with the right frame to aid my illustration, I put together some rough compositions and printed them out. I used those templates to sketch the illustrations in pencil, which then became the template I used for the final ink outlines. On separate sheets, I mocked up colour and pattern combinations until I was happy with my final choices. The next stage was to start inking everything in. It's a slow and methodical process - but it's the stage I enjoy the most. The lettering almost appears to be moving on the page - was this intentional? How did you achieve this effect? I wanted the overall aesthetic to have a very organic feel. I chose a bold typeface for my initial template, but deliberately softened its framework by sticking to fluid, curved lines in order to create these little, individual shapes. I hoped to generate a sense of life, as though these pieces really are otherworldly, invertebrate creatures. Why did you break the type so unconventionally on each spread? One of the design problems I was struck by straight away was working with titles of varying lengths. I knew that not all of them would be laid out 'whole'. Sticking with the concept that these aren't really letters anyway, I concluded that having every word broken up haphazardly not only made more sense, but also added some playfulness. There is no necessity on their part to be conventional. However, I can only be unconstrained up to a point. I have a background in graphic design, which still heavily influences how I treat type in my illustrative work. In this instance, I wanted the type size to remain the same throughout, regardless of word length. Another example is choosing to align the type to the left. As much as my work looks impromptu, I try to plan everything I draw. Given that your work is hand-drawn, was it tricky to meet the deadline? As much as I enjoy creating work with whimsical stories to inspire me, I also had to be very practical. Knowing that I had a short space of time to produce 10 original pieces of artwork by hand, I had to bear many things in mind - but the main one was time. I often do quite structured pieces with the aid of rulers, which tends to mean lots of measurements and calculations. In this case, I deliberately chose to abandon those extra steps. Working with soft, flexible lines is not only one of my favourite styles, it also has the added benefit of being quick. Apart from the pens, my hand and my imagination were the only tools I needed. What was the most challenging aspect of the brief? Unexpectedly, it was finalising the colour and pattern combinations for the four palettes. The original idea was to keep it basic by alternating between red, green, yellow and blue. I didn't want to create anything too plain; but I wanted to avoid combinations that could be too time-consuming. Also, I wanted the patterns to resemble one another, while letting the palettes exhibit their individual personalities. 8 Behind the scenes Nikki Farquharson

7. 7. Missbehave magazine commissioned a variety of mixed-media artwork for its final issue An image from Mixed Media Girls, an experimental project Farquharson started in 2007 that combines found imagery with illustrated patternwork Promotional material for international club night LoveDough, with original photography by Anna Victoria Best As well as creating artwork for Malibu's limited edition summer 2011 bottle, Farquharson also decorated a range of Malibu rum pitchers and tote bags photography:KarolinaKrasuska,www.karolinakrasuska.com 9 Behind the scenes Nikki Farquharson

8. 8. A task I thought would take me 30 minutes took considerably longer - but it paid off. I try to walk the line between consistency and spontaneity in my work: I want there to be some sense of order combined with little, unexpected surprises. In this case, once I decided I was sticking with one style for the typography, it was necessary to break up that repetitiveness with alternating palettes. It wouldn't have felt right if I didn't throw as many colours as I could at this huge project. Your portfolio is full of vivid and intricate pieces. Where do you stand in the minimalist versus expressive debate? Believe it or not, I do have a really strong affection for minimalism in design but, if I'm honest, I don't really keep up with what's on trend. One reason I changed my creative path from graphic design to illustration was because I desired the freedom to be more expressive without the obligation of sticking to 'design rules'. I think it's far more important for creatives to be authentic to themselves and produce work that matches their own personal aesthetic, regardless of how popular that style is in the moment. I don't want to get lost in chasing fleeting fashions. As a commercial illustrator, I realise I create work for an audience but I also draw for myself. The hardest jobs to complete are when it feels like I'm compromising my personal aesthetics to suit another. What's been your favourite project in the past 12 months? A recent project I'm proud of is the illustration I created for AnyForty, a UK-based streetwear brand founded by [ex-Computer Arts staffer] Alan Wardle. It got a lot of great feedback and sold really well, but I regard it a success because the final visual outcome was exactly what I intended. I was trusted to create whatever I wanted and was also given the opportunity to take my time, which is so rare in this industry. Illustration was a challenging field to work in a few years ago. Is it an easier career choice these days? It isn't easy freelancing in illustration, especially if your specialty is regarded as niche. I construct most of my artwork by hand so I often have to turn down great jobs simply because the deadline is too tight, and it could be a little while before the next great opportunity arrives. Having said that I love what I do for a living. What do you have in the pipeline? I'm currently working on a new mixed-media set called Mythos with international photographer, Scott A. Woodward. With this project I'm taking my mixed-media style in a brand new direction, so I'm looking forward to showcasing that. I'm also planning to start producing politically motivated typographic illustrations and I'm interested in creating mixed- media art based on photos of myself, too. I really like the idea of being in full control of the whole image, from original photo to final outcome. What would be your dream commission - and who for? I would love the opportunity to collaborate with an iconic fashion label. Brands like American Apparel and Nike are working with designers to produce beautiful, unique patterns for their clothing and footwear. I'm often told my illustrations would work well on fabric so a commission of that calibre would be perfect. What's the best piece of advice you've ever received? I still go by an old piece of advice from a tutor at university who encouraged me to swap 'clever' concepts with little meaning for ideas I genuinely believe in. More recently, Adrian Shaughnessy tweeted that we should never agree to do anything in the future that we'd say no to if it presented itself tomorrow. That's really smart advice. Tell us something about you that we don't know... My friends and family would say I'm a bit of an over-organiser - from colour co-ordinating my clothes, cataloguing my shoes and categorising books by genre to arranging where food is placed in the fridge and on the plate. But I simply believe that a tidy space goes hand-in-hand with a tidy mind. "I don't want to get lost in chasing fleeting fashions. As an illustrator I create work for an audience - but I also draw for myself" Words: Julia Sagar Photography: Rob Monk

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10. 10. B o dy pa i n t i n g a n d S c a n d i n av i a n S p r i n g i m ag e s C l i e n t Minna Parikka i l l u s t r ato r Janine Rewell Helsinki, Finland www.janinerewell.com This is next-level illustration, away from the sketchbook and Adobe software. It's pure, exciting creativity. This is 21st century advertising: no agency - just imaginative creatives, making images that promote Minna's product as well as Janine's skills. Ben the Illustrator, Huddle Formation 14 Advertising Art direction

11. 11. S u n l i g h t C l i n gy c a m pa i g n C l i e n t Unilever Sunlight I l l u s t r ato r Illusion CGI Studio Bangkok, Thailand www.illusion.co.th A g e n c y Lowe bangkok Bangkok, Thailand www.lowethailand.com Lowe Bangkok took a playful approach to its animal-based campaign for Unilever's Sunlight dishwashing liquid. Humorously illustrating the idea that Sunlight helps separate clingy grease from kitchenware, the adverts picked up two Gold Lions at Cannes. Fa r m e r s ' S u i c i d e C l i e n t Bennett Coleman Co. Ltd I l l u s t r ato r Anant Nanvare Mumbai, India www.behance.net/ nanvareanant A g e n c y Taproot India Mumbai, India www.taprootindia.co.in Plagued by drought and crop failure, nearly 300,000 Indian farmers committed suicide in 2012. To help raise awareness, Taproot India created an extensive print and outdoor campaign, illustrating portraits of 12 deceased farmers using hay and auctioning them, giving the proceeds to the families. This campaign for farming families affected by suicide is powerful and has amazing craft. Russell Barrett, BBH India 15 Advertising Art direction

12. 12. 1616 Advertising Art direction O r e o T i m e s S q u a r e d i g i ta l b i l l b oa r d C l i e n t Oreo/Mondelez S t u d i o Brand New School New York and LA, USA www.brandnewschool.com A g e n c y Martin Agency Richmond and New York, USA www.martinagency.com Cutting through the 2013 Christmas chaos of Times Square, an expansive display for Oreo captured the attention of both tourists and locals alike. Spread across multiple digital billboards, the advert showed larger-than-life pairs of characters - Santa Claus and a reindeer, octopus and diver, and so on - swapping and dunking the cookies high above the busy intersection. RM B i l l u s t r at i o n C l i e n t HSBC I l l u s t r ato r Eiko Ojala Tallinn, Estonia www.ploom.tv Estonian illustrator and graphic designer Eiko Ojala was commissioned through Grey London to create this digital papercut illustration about China's currency for HSBC RMB.

13. 13. t h e Ess e n t i a l C l i e n t Michelin I l l u s t r ato r Mecanique Générale 3D Paris, France www.mecanique-g.com A g e n c y TBWAParis Paris, France www.tbwa-paris.com 'What's important to agree on is what matters the most' reads the tagline on TBWA Paris' Gold Epica award- winning print campaign for Michelin. French 3D print and animation film production studio Mécanique Générale modelled the characters and handled the illustration for the eye-catching adverts. 17 Advertising Print campaign

14. 14. S m a l l Wo u n d s B i g S to r i e s C l i e n t Johnson Johnson MENA A g e n c y IMPACT BBDO Dubai Dubai, UAE www.impactbbdo.com Challenged to transform Band-Aid into an accessory that triggers the imagination of children, Impact BBDO created a charming typography-based print campaign that illustrates fantastical, child-like explanations for wounds - like 'A dragon bit me' - with images showing the real story behind the injury. The message? There's always a happy ending with a Band-Aid. 18 Advertising Print campaign A n g ry C r ow d s C l i e n t Al Sabeh Cement A g e n c y Impact BBDO Dubai Dubai, UAE www.impactbbdo.com Crafted by illustrators Sakiroo Choi, Oscar Ramos and Andrey Gordeev, Impact BBDO's ad for Al Sabeh Cement painstakingly depicts an angry crowd, with each person enacting an imaginary revenge on "someone they love to hate" - a politician or referee, for example. The potential victims are safe, fortunately, protected by their walls made of Al Sabeh Cement.

15. 15. J o h n n i e Wa l k e r : M i d Au t u m n F e s t i va l C l i e n t Johnnie Walker (Diagio) s t u d i o Shotopop London, UK www.shotopop.com This Chinese folklore-inspired campaign for whisky brand Johnnie Walker evokes a sense of magic with its gothic, almost steampunk feel. I really like the special- edition packaging for the Black and Gold Label bottles - but I love the 3D set that was built for the key visuals (captured by photographer Sam Hofman). The moon surface was made from flour and black pigment! Fantastic level of craft here. Jo Gulliver, Computer Arts 19 Advertising Print campaign

16. 16. 20 Advertising Print campaign20

17. 17. 21 Advertising Print campaign W h i s k a s , M a p s C l i e n t Mars Petcare I l l u s t r ato r Dave Hopkins London, UK www.phosphorart. com/dave-hopkins A g e n c y AMV BBDO London, UK www.amvbbdo.com AMV BBDO turned traditional cat food advertising on its head with this heartwarming press campaign, illustrated by Phosphor Art's Dave Hopkins. Featuring a series of sepia maps charted from a cat's perspective - a kitchen chair is "Viewing Platform A"; the washing machine is "Earthquake Zone" - the ads make for a refreshing and unusual take on the subject matter.

18. 18. H e i n e k e n : T h e L e g e n da ry p o s t e r s C l i e n t Reporters without borders A g e n c y W+K Amsterdam Amsterdam, the Netherlands www.wkamst.com To support Reporters Without Borders, Heineken invited 40 individuals from the worlds of art, design and sport to create posters to be sold on eBay. This one by Ricardo Cavolo joined work from the likes of tennis legend Jimmy Connors. Wieden+Kennedy's Legendary Posters project is fantastic in that it's social, it's art and it's great illustration, in parts. The posters are rich with stories. Russell Barrett, BBH India 22 Advertising Print campaign T h i s i s n ot a c h o c o l at e b a r C l i e n t Green Black's A g e n c y Mother London London, UK www.mother london.com Shot by photographer Carl Kleiner, Mother London's inspired print and outdoor campaign for confectionery brand Green Black's gives different chocolate bars in the range their own alluring persona.

19. 19. AU S MERICA C l i e n t Qantas Airlines S t u d i o Serial Cut Madrid, Spain www.serialcut.com A g e n c y Droga5 New York, USA www.droga5.com Serial Cut was briefed by Droga5 to illustrate the word 'Ausmerica' - a portmanteau of 'Australia' and 'America' - to represent Qantas' extensive flight network. Starting in Sydney for the 'A' and working through Los Angeles, Las Vegas, Dallas and finally New York, the studio packed each of the nine letterforms with scenery and landmarks representing each city. 23 Advertising Mixed-media campaign

20. 20. Ga l l e r i e t 2 0 1 4 i d e n t i t y C l i e n t Galleriet A g e n c y ANTI Oslo and Bergen, Norway www.anti.as Inspired by Classical Greek and Roman art, this stunning series of illustrations for the Galleriet shopping centre in Bergen, Norway fuses on-set props with digitally added illustrations. 26 Corporate Branding and identity

21. 21. S i n f o n i a d 'A m i c i i d e n t i t y C l i e n t Sinfonia d'Amici A g e n c y Purpose London, UK www.purpose.co.uk Forget any preconceptions you may have about classical music being stuffy, set in its ways and of the establishment. Sinfonia D'Amici is an innovative young pretender on the scene and Purpose's characterful, hand-scrawled identity feels suitably fresh, free and irreverent. Nick Carson, Computer Arts 27 Corporate Branding and identity

22. 22. Lo n d o n L i v e b r a n d i n g C l i e n t London Live i l l u s t rato r Yoni Alter London, UK www.yoniishappy.com A GEN C Y Kemistry London, UK www.kemistry.co.uk O p t u s r e b r a n d C l i e n t Optus s t u d i o Re Sydney, Australia www.re-sydney.co Intended to express all the vibrancy of London, this collaborative branding project saw design agency Kemistry animating a series of bright, colourful idents created by Israeli-born graphic artist Yoni Alter for local TV channel London Live. Faced with a saturated market, telecommunications company Optus knew it needed to take a different approach. RE was called in to rebrand Optus and turn it into Australia's most-loved service provider. Realising the identity needed a new voice that was friendly, easy to understand and laced with humour, RE introduced a cheeky illustrated brand character to help establish a greater emotional connection with Optus customers. 28 Corporate Branding and identity

23. 23. CORONA CALENDAR C l i e n t Grupo Modelo A GEN C Y TBWASingapore Singapore www.tbwa.com.sg Designed as a daily reason to "crack open a Corona and let the world wait", this stylishly crafted illustrated calendar sports the Mexican beer's trademark blue-and- yellow colour palette. V i t e n pa r k e n i d e n t i t y C l i e n t Vitenparken I l l u s t rato r Magnus Voll Mathiassen Drammen, Norway www.themvm.com S t u d i o Bielke+Yang Oslo, Norway www.bielkeyang.no Used across stationery and both print and digital promo materials, MVM's vibrant illustrations for Norwegian science centre Vitenparken add a splash of colour to a potentially dry brief. 29 Corporate Branding and identity

24. 24. T h e G r e e n M a n F e s t i va l i d e n t i t y C l i e n t The Green Man I l l u s t rato r Sarah Mazzetti Milan, Italy www.sarahmazzetti.com When Sarah Mazzetti was tasked by YCN Studio to develop an identity for the Green Man Festival, she drew on the Welsh music event's pagan cultural roots by creating a "weird and fun" world in which humans live alongside strange creatures. The aesthetic was carried across all promotional materials, and life-size models were brought on- site. On the website, parallax scrolling was used to draw users from the treetops to the forest floor, and each of the festival's 10 main areas was given its own unique illustrated introduction. 30 Branding and identity Corporate

25. 25. 31Branding and identity Corporate

26. 26. i n f o g r a p h i c s X X X L Pa r t 2 C l i e n t Ablynx s t u d i o Soon Wettern, Belgium www.coming-soon.be Having set a rather impressive precedent creating super-sized infographics for biopharmaceutical firm Ablynx's 2012 annual report, Belgian agency Soon took it a step further for 2013. The team interpreted the company's data with 750 sticks, hundreds of metres of rope and 22 tonnes of black sand in a field. 32 Corporate Financial literature

27. 27. P o r i Ja z z F e s t i va l 2 0 1 4 o f f i c i a l p o s t e r C l i e n t Pori Jazz Festival I l l u s t rato r Merijn Hos Utrecht, the Netherlands www.merijnhos.com When Pori Jazz Festival needed a slick illustrated image for its 2014 poster, the organisers turned to Dutch illustrator Merijn Hos. His combination of intricate cross- hatched drawing with a muted palette of yellow, pink and blue did the job admirably. W E OW N THE NI G HT C l i e n t NIKE EHQ I l l u s t rato r JAMIE CULLEN London, UK www.jamiecullen.net Jamie Cullen's eye-catching promotional graphic for Nike's Women's 10k race combines vibrant illustrated elements - including several running figures - into the shape of a women's face. R e e d C o l l e g e c a m p u s m a p C l i e n t Reed College I l l u s t rato r vesa sammalisto Helsinki, Finland www.vesa-s.com Reed College in Portland, Oregon approached illustration agency Synergy Art for a map highlighting the spectacular, quirky aspects of the university's campus. Finnish illustrator and Synergy Art image-maker Vesa Sammalisto rose to the challenge, creating a cheerful fold-out poster that was used in a self-mailing brochure. 33 Corporate Promotional illustration

28. 28. 34 Promotional illustration Corporate 34 T h e at r e p o s t e r s C l i e n t Das Deutsches Schauspielhaus Hamburg I l l u s t rato r Aad Goudappel Rotterdam, Netherlands www.aadgoudappel.nl Aad Goudappel is an expert in translating complex, abstract ideas into deceptively simple illustrations with multiple layers - and he's a Computer Arts favourite. I love his theatre posters for Das Deutsches Schauspielhaus Hamburg. They're wacky and mildly alienating - as requested by art director Patrica Wetzel - and brilliantly engaging. Julia Sagar, Computer Arts

29. 29. Va l e n t i n a Ac q u a F lo r e a l e i l l u s t r at i o n s C l i e n t Valentino I l l u s t rato r Sabine Pieper Berlin, Germany www.sabinepieper.com Inspired by the distinctive bottle design for Valentino's Acqua Floreale fragrance - as well as Freja Beha Erichsen, the model chosen to front the campaign - Sabine Pieper crafted a beautiful series of illustrations to be featured on the Valentino Parfums website and social media channels. J o n B u r g e r m a n p o r t r a i t C l i e n t OFFSET 2014 I l l u s t rato r Steve Simpson Dublin, Ireland www.stevesimpson.com Steve Simpson's interpretation of Jon Burgerman was just one highlight from an impressive series of portraits of the Offset 2014 speakers, created by various members of Illustrators Ireland. As well as being on display at the venue during the three-day conference alongside depictions of design icons like Milton Glaser and Neville Brody, it was also used in the brochure and other promotional materials. 35 Corporate Promotional illustration

30. 30. A N Y F O R T Y x TO M M AC P R I D E t-s h irt C l i e n t ANYFORTY I l l u s t r ato r Tom mac London, UK tommacdraws.co.uk AnyForty was founded by former Computer Arts Projects art editor Alan Wardle. Based in London, the streetwear brand is built on strong collaborations with artists and illustrators around the world. This particular lion design by Tom Mac was reworked and relaunched as a limited run of tees to celebrate the FIFA World Cup in Brazil. A N U N C I AÇ ÃO ' S S U M M E R 2 0 1 4 C O L L E C T I O N C l i e n t ANUNCIAÇÃO I l l u s t r ato r Catalina Estrada Barcelona, Spain www.catalinaestrada.com Maria Elvira Crosara, founder of Brazilian fashion brand Anunciação, worked with Catalina Estrada on a stunning tropical-style range for the summer 2014 collection - featuring the Barcelona-based, Colombia-born illustrator's trademark style of bold, vibrant shapes and patterns. 38 Apparel FASHION

31. 31. M i s ericordia AW 1 4 ran g e C l i e n t Misericordia i l l u s t r ato r s Alexandra Compain-Tissier Paris, France www.alexandra compaintissier.com Vincent Bergerat Paris, France www.vincentbergerat.com This project by Alexandra Compain- Tissier and Vincent Bergerat for Peruvian fair trade clothing brand Misericordia has a style that the duo calls "future nostalgia". D ie s el SS 1 4 C ollection C l i e n t DIESEL I l l u s t r ato r Jesse Auersalo Helsinki, Finland; New York, USA www.jesseauersalo.com Briefed to design the prints for Diesel's SS14 collection, Finnish illustrator extraordinaire Jesse Auersalo produced a shadowy series of surreal images that were printed across the range. 39Apparel FASHION

32. 32. E ye s on t h e Hori z on C ollection C l i e n t MCM S t u d i o Craig Karl New York, USA; London, UK www.craigandkarl.com This Spring-Summer 2013 collection for German leather fashion brand MCM (Mode Creation Munich) brings Craig Karl's playful style to a whole range of wallets, purses and bags - with a colourful travel theme. 40 Accessories Fashion

33. 33. F or E ye s s un g la s s e s collection C l i e n t Le Specs S t u d i o Craig Karl New York, USA; London, UK www.craigandkarl.com This collaboration is one of my favourite examples of how illustrators are working across new and different media. It's an incredible example of how an artist's work can seamlessly cross over onto a product. Jeremy Wortsman, The Jacky Winter Group I M G M odel s S h ow Pac k ag e SS 1 4 C l i e n t IMG models s t u d i o Anti Oslo and Bergen, Norway www.anti.as Traditional show cards are still invaluable tools used by fashion photographers to select models for a shoot, making it critical for agencies like IMG Models to get each season's show package spot-on. For SS14, Anti created a show- stopping package, with over 500 unique illustrations split between four boxes - each containing up to 80 double-sided model cards. 41Accessories FASHION

34. 34. Havaiana s A rt s C l i e n t Havaianas S t u d i o Mulheres Barbadas São Paulo, Brazil www.mulheresbarbadas.com 'Mulheres Barbadas' translates as 'the bearded ladies' in Portuguese - and even though the latter doesn't apply, these Brazilian illustrators do sport serious beards. In a recent campaign for Havaianas, the Bearded Ladies created a hand-drawn advert in which they covered desk objects with their detailed yet laid back signature style. We really like this campaign and Louise owns a pair of Mulheres Barbadas Havaianas - although they're no longer as white as the ones in this advert. Louise Chappell and Becky Bolton, Good Wives And Warriors 42 Footwear FASHION T h e Girl s of B la z e D i s c C ollection C l i e n t PUMA ILLUSTRATOR Hisham Akira Bharoocha New York, USA www.hishamb.net Japanese-born, Brooklyn-based artist Hisham Akira Bharoocha worked with Solange Knowles on this eye-catching SS14 line of shoes for Puma.

35. 35. T H E R E A P E R Tattoo A r t i s t GIANLUCA FUSCO London, UK www.thefamilybusinesstattoo.com For me, pretty much every tattooist at The Family Business is inspiring. The speed at which tattoo artists can turn designs around without losing quality is something I aspire to, and this piece by Gianluca Fusco is a very good example. I like the linework without colour even more than the final design, but both are awesome. It has a great flow, thanks to the way the skeletal snake shape weaves from the foreground to background creating depth, and the scythe and flowers are really nice touches as well. A great piece amongst many from this art form. Ollie Munden, ilovedust 43Tattoos FASHION C U S TO M SK U L L tattoo s C l i e n t Gavin strange ARTIST MEGAMUNDEN Brighton, UK www.megamunden.com Senior designer at Aardman by day and working under the alias JamFactory by night, Gavin Strange turned to fellow dual-life creative Ollie Munden - senior designer at ilovedust, who also freelances as MegaMunden - to design twin custom skull tattoos to adorn the tops of his feet.

36. 36. C r ow d G o e s W i l d T V s e t p r i n t s C l i e n t Fox Sports I l l u s t r ato r Tavis Coburn Toronto, Canada www.dutchuncle.co.uk Canadian artist Tavis Coburn picked up a Gold Cube at the 93rd Annual Awards of Art and Craft in Advertising and Design this year for Crowd Goes Wild, a striking series of five sport illustrations commissioned by Fox Sports to decorate a television set. The project was art directed by Embassy Row's Gerg Groggel and neatly showcases Coburn's unique style, which is influenced by 1940s' comic book art and the Russian avant garde movement. C a s t l e I n T h e S k y m u r a l C l i e n t Private commission I l l u s t r ato r Takeshi New York, USA www.stillontherun.com Takeshi - aka Emeric Trahand - created this ornamental mural for a shared office space in his hometown of Saint Etienne, France. Emeric's masterful use of assembled form and colour is elegant to behold. His journey through digital aesthetics has always been a study in grace. Justin Maller, illustrator 46 ENVIRONMENTAL Interior

37. 37. C a l l o f t h e L i z a r d K i n g p r i n t C l i e n t Private buyer I l l u s t r ato r Gerhard Human Cape Town, South Africa www.gerhardhuman.com The work of Gerhard Human embodies the idea of staying a kid forever. His work has freedom and energy, filled with enjoyment and a hint of subtle tension. His minimalist, monochromatic use of colour draws the viewer into his strong compositions, making the choice of text and titling ever so relevant. Am I Collective 47 Environmental Interior E p i c R e c o r d s B oa r d R o o m M u r a l C l i e n t Epic Records I l l u s t r ato r Jimi Crayon London, UK www.jimicrayonworld.com When British artist Jimi Crayon was asked to inject some energy into the boardroom at American record label Epic Records, he immediately began working digitally, building a vibrant mural from start to finish in one go.

38. 38. C a f f e WHAT IF s h ow r o o m I l l u s t r ato r Pomme Chan Bangkok, Thailand; London, UK www.pommepomme.com Thai designer Pomme Chan opened Caffe What If, her Bangkok-based café showroom, in late 2013. From the windows and wallpaper to the tea towels, tableware and beyond, every corner is covered in Chan's elegant drawings. Alongside her own products, visitors can also purchase a selection of pieces crafted by local artists. 48 Interior Environmental

39. 39. A n O d e To C a l i f o r n i a i n d o o r m u r a l A r t i s t kozyndan Los Angeles, USA www.kozyndan.com A personal project, the husband-and- wife team's psychedelic mural for the SuperAwesome: Art and Giant Robot exhibition at the Oakland Museum of California conveys the wonder and grandeur of nature in California. In the piece, the pair explore a shamanistic vision in which humans have rewilded themselves in an effort to restore a sense of balance in the natural world. 49 Environmental Interior

40. 40. L e Q u i V i v e M u r a l To u r I l l u s t r ato r s Brett Flanigan Oakland, USA www.brettflanigan.com Cannon Dill Oakland, USA www.cannondill.com In May 2013, artists Brett Flanigan and Cannon Dill drove across America on a spontaneous 30-day tour, painting nine collaborative murals in seven cities. Themed around nature, each piece - like this one, in Chicago - marries Dill's detailed black-and-white style with vibrant jets of colour from Flanigan to transform the local environment. Y e s ! D u m b o u n d e r pa s s M u r a l C l i e n t DUMBO Improvement District i l l u s t r ato r Yuko Shimizu New York, USA www.yukoart.com S t u d i o Sagmeister Walsh New York, USA www.sagmeisterwalsh.com Tasked with painting two 80-foot murals on the walls of the Brooklyn-Queens Expressway underpass in Dumbo, Sagmeister Walsh teamed up with Japanese illustrator Yuko Shimizu. Both typographic pieces feature the word 'yes', and were hand-painted by talented American artist Coby Kennedy. 50 ENVIRONMENTAL Mural

41. 41. Au d r e y o f M u l b e r ry o u t d o o r m u r a l C l i e n t The Little Italy Merchants Association NYC I l l u s t r ato r Tristan Eaton New York, USA www.tristaneaton.net I fell in love with Tristan Eaton's work the first time I saw it. In particular, his mural in New York called Audrey of Mulberry really stood out to me. All the interesting and unexpected textures of layering in his work draws your attention to his detail and craft. Tristan's work is both refreshing and exciting. Carson Ting, Chairman Ting 51 Environmental Mural

42. 42. B F C IN AMS T ERDAM : NDSM e x h i b i t i o n WALL A r t i s t BROKEN FINGAZ Haifa, Israel www.brokenfingaz.com I love how the Broken Fingaz crew break up their pieces like a comic strip. Their imagery is bold and detailed, yet simple and striking. The palettes are limited and they like drawing skulls, which is never a bad thing. It's hard not to be inspired by these guys from Israel. Ollie Munden, ilovedust 52 ENVIRONMENTAL Outdoor E d i n b u r g h B o o k F e s t i va l i l l u s t r at i o n s C l i e n t the Guardian I l l u s t r ato r Frances Castle London, UK www.francescastle.com Commissioned to produce a series of illustrated drop capitals that could be used everywhere from deck chairs to bags and beer matts for the Guardian Books stand at the Edinburgh International Book Festival in 2012 and 2013, Frances Castle based each image on a quote from a famous author.

43. 43. 53 Environmental Outdoor Da r l i n g h a r b o u r r e b r a n d C l i e n t Sydney Harbour Foreshore Authority Ag e n cy Interbrand Australia Sydney, Australia www.interbrand.com Interbrand Australia was commissioned to develop a new brand platform for Sydney's Darling Harbour that would unite the entire precinct experience under one brand. The agency created a highly innovative identity, which included a bespoke balloon typeface and an inflatable wayfinding system.

44. 44. B l ac k E y e 2 P u b l i s h e r Rotland press Detroit i l l u s t r ato r Ben Jones Manchester, UK www.benjonesillustration.com Funded through Kickstarter, the long-awaited sequel to the Black Eye anthology is another collection of art, fiction, poetry and essays exploring humour and despair - themes that Ben Jones' distinctive noir-style cover illustration captures perfectly. P u f f i n C h a l k C h i l d r e n ' s C l a s s i c s P u b l i s h e r Puffin Books I l l u s t r ato r Dana Tanamachi New York, USA www.tanamachistudio.com Hand-drawn using chalk, this beautifully whimsical series of book jackets by Dana Tanamachi - art directed by Puffin's Deborah Kaplan and Kristin Logsdon - includes children's classics like Peter Pan and Pippi Longstocking. 56 Books Jacket illustration

45. 45. A r m s W i d e O pe n P u b l i s h e r Constable Robinson i l l u s t r ato r Jim Tierney New York, USA www.jimtierneyart.com Art directed by Constable Robinson's Dominic Wakeford, Jim Tierney's stylish typographical jacket for Tom Winter's novel about a dysfunctional family searching for the truth about their apparently deceased father makes great use of a pared- back colour palette. B a r be d W i r e B a s eb a l l P u b l i s h e r Abrams i l l u s t r ato r Yuko Shimizu New York, USA www.yukoart.com I n s ta n t To u c h P u b l i s h e r Belly Kids i l l u s t r ato r Becca Allen Cornwall, UK www.beccaallen.co.uk Marissa Moss' Barbed Wire Baseball tells the story of Japanese baseball player Kenichi Zenimura. Illustrated by Yuko Shimizu - her first-ever children's book - and art directed by Chad Beckerman, the title has won Shimizu a multitude of awards since its publication in April 2013. Cornwall-based illustrator Becca Allen crafted this beautifully textured, collage-style cover image for Instant Touch, a scratch-and-sniff book filled with fruity, tropical fragrances. 57 Books Jacket illustration

46. 46. 58 Interactive Books O pe n A l l Day: S k e tc h boo k s a n d e x h i b i t i o n C o l l e c t i v e Unit Experimental Publishing Valencia, Spain www.unitexperimental.com Demonstrating how traditional books can thrive alongside their digital counterparts, the Open All Day exhibition showcases the intricately illustrated notebooks of Isidro Ferrer and Pep Carrió both in print and via the Los Cuadernos app, which enables interaction with the show through 2D and 3D animations, videos and other bonus content. Open All Day was an incredibly inspiring exhibition. Hundreds of spreads from the sketchbooks of artists Isidro Ferrer and Pep Carrio were on display, plus sculptures, collages and paintings - but what made it even more amazing was the augmented reality aspect. You could walk around with an iPad watching the ideas spring to life or leaf through digital versions of the books, watch interviews and so on. Hats off to all the guys at Polytechnic University of Valencia for pulling it off. Bjørn Rune Lie, illustrator

47. 47. G RA P HIC INT E R V I E W S F O R G RA P HIC ARTISTS D e s i g n e r BrÁulio Amado New York, USA www.braul.io This is a nice collection of interviews in which each artist included was asked to answer the questions visually, rather than through words. I think this should be a must for every journalist who interviews graphic artists. Noma Bar, graphic artist 59 Books Interior T h e M i d d l e o f t h e N i g h t C l i e n t Via Bus Stop I l l u s t r ato r Julia Pott New York, USA www.juliapott.com After Julia Pott wrote and illustrated an adult short story for Japanese fashion brand Via Bus Stop's Spring-Summer 2014 lookbook, various extracts were pulled out for use as posters, cut-outs and other promotional materials, both in-store and online.

48. 48. A l l T h e B u i l d i n g s I n New Yo r k P u b l i s h e r Universe Publishing I l l u s t r ato r James Gulliver Hancock New York, USA www.jamesgulliverhancock.com Apart from being beautifully done, this is a true success story of how a self-initiated project - a blog in this case - can turn into a commercial success on many fronts. From steady work with real estate developers and individual personal commissions to TV interviews on Good Morning America, this is a beautiful love letter to the city. Jeremy Wortsman, The Jacky Winter Group 60 Books Interior

49. 49. B i g Mot h e r 4 P u b l i s h e r Nobrow Press I l l u s t r ato r Raymond Lemstra Amsterdam, the Netherlands www.raymondlemstra.nl Nobrow-published monograph Big Mother 4 collects highlights from four years of work by Dutch illustrator Raymond Lemstra, whose surreal graphite-on-paper style is demonstrated in the two pieces above, entitled Fox and Snout. Seve n G ot h i c Ta l e s P u b l i s h e r The Folio Society I l l u s t r ato r Kate Baylay London, UK www.katebaylay.com London-based illustrator Kate Baylay was commissioned to produce a series of 10 pieces for The Folio Society's edition of Seven Gothic Tales, by Isak Dinesen - including The Deluge at Norderney, pictured above. 61 Books Interior

50. 50. P r o f e s s o r A s t r o C at ' s F r o n t i e r s O f Spac e P u b l i s h e r Flying Eye Books I l l u s t r ato r Ben Newman London, UK www.bennewman.co.uk Anyone who has made a picture book knows how difficult it is to see it through from beginning to end without going mad. Maintaining the quality throughout, while keeping it fresh and varied, is really hard. Ben makes it look easy, and this is a mammoth amount of work - over 60 pages! So much information is conveyed, but thanks to Ben's bold graphic style, amazing sense of colour and sensitive layouts it is utterly readable. A feast for both eyes and brain. Bjorn Rune Lie, illustrator 62 Books Interior

51. 51. T h e B r ave B e a s t P u b l i s h e r ANDERSEN PRESS I l l u s t r ato r Chris Judge Dublin, Ireland www.chrisjudge.com N u m be r s B oo k P UBLISHER Hodder Publishing i l l u s t r ato r Paul Thurlby London, UK www.paulthurlby.com C h i n e a s y P UBLISHER Thames Hudson i l l u s t r ato r Noma Bar London, UK www.dutchuncle. co.uk/noma-bar An innovative project by ShaoLan Hsueh to teach the Chinese language to children, Chineasy makes use of Noma Bar's considerable illustration talents to combine the symbolic characters with a visual representation of what they mean. The result: a series of stylised graphical artworks that are beautiful and educational in equal measure. Following the huge success of his best-selling illustrated children's book The Lonely Beast, Chris Judge's hairy black hero is back - and this time he's tasked with restoring peace to an island under threat from a scary monster. Although he faces his fears bravely, the Beast discovers that perhaps the monster isn't such a threat after all. In this follow-up to his 2011 illustrated alphabet, Thurlby created characters for the numbers 0 to 100, including a pair of flamingo 2s and a 7-shaped croc. 63 Books Interior

52. 52. I OS ssTNs NStt MDog TTNNS NHsss g MALIAAVRE N D o S o m e t h i n g C l i e n t The Guardian I l l u s t r ato r Owen Gildersleeve London, UK www.owengilder sleeve.com Packed with illustrated type in all manner of different styles, Owen Gildersleeve's cover illustration for the Guardian's new lifestyle magazine Do Something references every article featured, and was animated for the iPad edition. 66 Magazine cover n e w s c i e n t i s t: T h e N i g h t s p e c i a l C l i e n t New Scientist i l l u s t r ato r Tim McDonagh Brighton, UK www.mcdonagh illustration.com This gatefold cover for The Night issue of New Scientist incorporates many aspects and symbols associated with the night, referencing several stories explored within the themed special. B r u m m e l l : N e w H o r i z o n s i ss u e C l i e n t Brummell magazine i l l u s t r ato r MALIKA FAVRE London, UK www.malika favre.com Malika Favre's eye- catching cover art for Brummell magazine expresses the issue's New Horizons theme as a multi-coloured hot- air balloon, its intrepid occupants gazing into the distance.

53. 53. LWLs bh ofoo ALLTLLUTILL L i t t l e W h i t e L i e s P u b l i s h e r The church of london London, UK www.tcolondon.com Award-winning independent movie magazine Little White Lies is at the vanguard of contemporary illustration. The design of each issue is inspired by a new film, and the team has continued to push boundaries over the past 12 months. For the Muppets Most Wanted issue (LWL 52), MUTI paid tribute to Kermit with a fairy dust-sprinkled cover, while Kristian Hammerstad gave a nod to graphic novels for the Boyhood issue (LWL 53). 67Magazine cover

54. 54. ICONUTURE ICNMAAZINE I CHARLESWILLIAMS PHOTOCHROMICCOERORNOUM NVUMMAAZINE Sd ootNt UUTNN TWEEENGRAPHICss WEEEND Sd VD T II ICON : F UTURE 5 0 C l i e n t ICON MAGAZINE I l l u s t r ato r CHARLES WILLIAMS London, UK www.madeup.org PHOTOCHROMIC COV ER F OR NOV UM C l i e n t NOVUM MAGAZINE S t u d i o TwoPoints.Net Barcelona, Spain; Berlin, Germany www.twopoints.net Using photochromic ink - which changes colour when exposed to UV rays - TwoPoints.Net developed this innovative cover for Munich- based graphic design magazine Novum, drawing inspiration from a group of sunburnt German tourists on a terrace in Barcelona. F T WEE K EN D : GRAPHICs s p e c i a l C l i e n t FT WEEKEND S t u d i o Vallée Duhamel Montréal, Canada www.valleeduhamel.com Made entirely from paper, Vallée Duhamel's cover for the FT Weekend Magazine's special graphics-themed issue conveys the theme with panache. Icon's Future 50 issue highlighted 50 people or practices that the magazine believes will have a significant impact on architecture and design in the coming years. Illustrator Charles Williams received a relatively open brief to express the title theme in his trademark pattern-based, geometric style. 68 Magazine cover

55. 55. MCvs tMg I oRtff RTS F l a i r M aga z i n e C ov e r s C l i e n t Flair italy Magazine I l l u s t r ato r Jo Ratcliffe London, UK www.jocandraw.com Milan-based fashion magazine Flair commissioned Jo Ratcliffe, who's represented by The Collective Shift, to create two covers in her highly distinctive signature style, which blends painting with illustration. 69Magazine cover Editorial

56. 56. EUIREWEELss ESUIREWEELY I ACHUHES EA THECIRCLE NYokMg I CtopN TNTETAN E S Q UIRE WEE K LY: i ss u e 3 1 C l i e n t ESQUIRE WEEKLY I l l u s t r ato r JACK HUGHES London, UK www.jack-hughes.com Coinciding with the final series of Mad Men, this issue of Esquire Weekly explored the impact that the much- lauded depiction of 1960s Madison Avenue has had on modern male culture. Jack Hughes' captures the essence of Don Draper perfectly. THE CIRCLE C l i e n t The New York Times Magazine I l l u s t r ato r Christoph Niemann New York, USA christophniemann.com When The New York Times Magazine published excerpts from Dave Eggers' novel The Circle, the publication's art director Arem Duplessis commissioned Christoph Niemann to produce this vision-warping, optical illusion-style cover. September 8,2013 We Like You a Lot, and Want to knoW You B e tt e r Fic tion BY daveeggers 70 Magazine cover

57. 57. TydsfCvy DANCEAZEE I Ht I Gk oMg I Lofott SLOASS T h e J oy a n d D e m o n s o f C r e at i v i t y C l i e n t DANCE GAZETTE I l l u s t r ato r Helen musselwhite Manchester, UK helenmusselwhite.co.uk For the launch issue of Dance Gazette, Helen Musselwhite constructed skulls using various types of paper to accompany a piece debunking the myths of being creative. "I focused on the extremities," she explains. "From that light bulb moment when you've nailed it, to the crushing feeling of despair and insecurity when the creative juices aren't flowing." Gau lt i e r , t h e p e ac o c k m a n C l i e n t Form Magazine I l l u s t r ato r Linn Olofsdotter Seattle, USA www.olofsdotter.com Swedish magazine Form briefed Linn Olofsdotter to illustrate an essay about 'peacock man' Jean Paul Gaultier, to coincide with a forthcoming exhibition at the Arkitekturmuseet in Stockholm. She rose to the challenge with a surreal human-bird fusion reminiscent of a masquerade ball mask. 71Feature illustration

58. 58. Eto NykGsRd RkMg I MoHgo 72 Feature illustration Editorial 72 Nyk h o r G o e s R e d C l i e n t Redmilk Magazine I l l u s t r ato r Mario Hugo New York City, USA www.mariohugo.com Mario Hugo's stylised artwork for an editorial in Milan-based fashion magazine Redmilk gives Erez Sabag's original photography an edgy, noir makeover.

59. 59. ANLE CRMEARIER NYok I LoEpo According to this New Yorker article, authors are increasingly finding success in writing about their failures as writers. Leo Espinosa illustrates the rather paradoxical discovery in a poetic piece reminiscent of 9/11's iconic Falling Man photograph. CRY ME A RI V ER C l i e n t The New Yorker I l l u s t r ato r Leo Espinosa Salt Lake City, USA studioespinosa.com 73Feature illustration

60. 60. Tyys LICIELHMMESIALIA I MVM NTLOI TssfLd WkMg MoWg AT To n y B rya n i l l u s t r at i o n C l i e n t L'OFFICIEL HOMMES ITALIA I l l u s t r ato r MVM Drammen, Norway www.themvm.com MVM - Norway-based graphic designer and illustrator Magnus Voll Matthiassen - created these beautifully striking abstract portraits of fashion model Tony Bryan for L'Officiel Hommes Italia in March 2014. T h e lo s t pag e s o f Lo n g i t u d e C l i e n t FT Weekend Magazine i l l u s t r ato r Mario Wagner Berkeley, USA www.mario-wagner.com We met Mario Wagner when we were making an Absolut Vodka advert in 2011. He creates wonderfully intelligent collage and is, in our opinion, one of the finest illustrators working in this medium. He also makes paintings and installations, and has started to work in animation and digital printing. We really liked this piece for the Financial Times because it's bold and communicative, yet smart, whimsical and also funny. Louise Chappell and Becky Bolton, Good Wives And Warriors 74 Feature illustration

61. 61. OkCy IMg I Rt IRNI IvLbs tCopMg IO Ok l a h o m a C o n t e m p o r a ry C l i e n t Inc. Magazine I l l u s t r ato r Ruth Gwily Ramat Gan, Israel www.ruthgwily.com Israeli illustrator Ruth Gwily created this haunting image of a terrified man floating in his bed amidst a turbulent ocean for New York-based Inc. magazine, to illustrate a piece exploring the darker side of entrepreneurship. I n n ovat i o n L a bs C l i e n t Fast Company Magazine i l l u s t r ato r Owen Gildersleeve London, UK www.owengildersleeve.com In a creative portrayal of the growing trend for large firms to acquire smaller companies and research labs in order to enhance their own products, Owen Gildersleeve's illustration for Fast Company magazine binds together a huddle of vibrant building blocks in a corporate, grey 'hug'. 75Feature illustration

62. 62. Eto GdsPM c Ng d o ITSNNA 76 Feature illustration Editorial 76 G r e at S w e d i s h P o p M ac h i n e c l i e n t N magazine s t u d i o Thomas Burden Chichester, UK www.therewillbeunicorns.com Ink Publishing briefed Thomas Burden to create three illustrations about the proliferation of Swedish producers in the pop music business for N magazine, Norwegian Airlines' in-flight title. With each piece expressing a different aspect of a song's production, Burden's designs impressed the client so much, his commission was extended to include the cover.

63. 63. LdE YoNgo AN TPNTk ASSE INERNAINAL Yg TNTIO TOfCy SoMgtMg I Aopp AS Lo d ow n m aga z i n E i l l u s t r ato r Yoh Nagao Berlin, Germany www.yohnagao.com A prolific artist and illustrator who splits his time between his native Japan and his adopted home, Berlin, Yoh Nagao makes work that's as bright, cheerful and fun as his colourful clothes. We like his rich use of surface, colour and composition. Louise Chappell and Becky Bolton, Good Wives And Warriors T h e Pat h N ot Ta k e n C l i e n t ASSET INTERNATIONAL i l l u s t r ato r James Yang New York, USA www.jamesyang.com Depicting a character lost in a foreboding forest with four possible routes to choose, this illustration accompanied an article entitled The Path Not Taken in international finance magazine aiCIO. T h e F u t u r e Of C o p y r i g h t C l i e n t Slow Management Magazine I l l u s t r ato r Aad Goudappel Rotterdam, the Netherlands www.aadgoudappel.com 'Copyright is dead as a dodo' is the deftly illustrated metaphor at the heart of Aad Goudappel's piece for Slow Management Magazine. 77Feature illustration

64. 64. Nbs HtDgb I MjHo T Tvyvss NZZtg I MgMot SNI N u m b e r s C l i e n t Het Financieel Dagblad I l l u s t r ato r Merijn Hos Utrecht, the Netherlands www.merijnhos.com When Het Financieel Dagblad (the Dutch Financial Times) planned a list of the top 10 finance tips to see in the new year, the paper asked Merijn Hos to create some intricate hand-drawn numerals to accompany them. T h e h e avy i n v e s tm e n t s C l i e n t Neue Zürcher Zeitung I l l u s t r ato r Miguel Montaner Barcelona, Spain www.miguelmontaner.com Swiss newspaper Neue Zürcher Zeitung needed an illustration to express the idea that over-zealous investment causes risky economic bubbles. In a simple metaphor that speaks volumes, Miguel Montaner's bar chart is grown unsustainably by a man taking a chunk from his own body. 78 Feature illustration

65. 65. LT ILLUSTRATOR Sbot STLTTRE L u n c h w i t h t h e F T C l i e n t The Financial Times ILLUSTRATOR Seb Jarnot Nîmes, France www.sebjarnot.com French illustrator Seb Jarnot has created various portraits in his characteristically rough-sketched style for the Financial Times' regular feature, Lunch With The FT - in which, as the name implies, an in-depth interview takes place over food. Clockwise from top left are Carolina Herrera, M. Rhee and E. Badinter, also shown in situ. 79Feature illustration

66. 66. T R I P : V ir g i n At l a n ti c S a f e t y Fi l m C l i e n t Virgin Atlantic s t u d i o Art Graft London, UK www.artandgraft.com Flight safety briefings are no laughing matter, but let's be honest - most simply go through the motions, leaving plenty of passengers glazed over. Art Graft's inspired six-minute animation for Virgin Atlantic completely turns this concept on its head, taking viewers on a stylish journey inspired by classic cinema that's packed with playful references to iconic scenes, and ensures that even frequent flyers pay attention. Vot e f o r C h i l d R i g h ts C l i e n t Cry: Child Rights and You A g e n c y BBH India Mumbai, India www.bartleboglehegarty.com After voting, every Indian citizen gets a dot of ink of the tip of their index finger. This moving animated film for CRY takes that familiar concept and recasts it as the 'ChildMark' to promote children's rights. 82 In MOTION Animation

67. 67. S h ap e C l i e n t Pivot Dublin and Dublin City Council D i r e c to r Johnny Kelly W r i t e r Scott Burnett P r o d u c e r Nexus Productions London, UK www.nexusproductions.com I absolutely love this. On one level it's so simple, but actually it's incredibly clever and elaborate - you can see that everything has been considered. It's also promoting design to young people, so it's a very worthwhile cause. Jon Cockley, Handsome Frank 83Animation in MOTION

68. 68. T h e S to ry O f ' I ' C l i e n t Dave Thomas Foundation for Adoption Canada D i r e c to r CADUX São Paulo, Brazil www.cadux.com A g e n c y MacLaren McCann Toronto, Canada www.maclaren.com Packed with colourful typographic characters, The Story of 'i' explores how a foster child's life transforms when a loving family adopts him. S o m e w h e r e A n i mato r Nicolas Ménard London, UK www.nicolasmenard.com I love Ménard's new film. It's dark and emotional - I love the movement of the fingers, the wind and the atmosphere. Noma Bar, graphic artist 84 In MOTION Animation

69. 69. H e r m è s M é ta m o rp h o s e C l i e n t s Publicis Et Nous and Digitas LBi P r o d u c e r Vallée Duhamel Montreal, Canada www.valleeduhamel.com A n i mato r / V F X The Workshop Montréal, Canada www.workshopmileend.com I love the colour choices. And I love Julien and Eve. Jessica Walsh, Sagmeister Walsh 85Commercial film in MOTION

70. 70. Dis c lo s u r e - F F o r Yo u f t. Mary J . B l i g e C l i e n t Universal Island Records D i r e c to r a n d a n i mato r Studio Moross London, UK www.studiomoross.com A NI M ATo r Ruff Mercy Bristol, UK www.ruffmercy.com Featuring over 3,000 hand-drawn images rotoscoped over live footage of the band and guest artist Mary J. Blige, this Kate Moross-directed promo for Disclosure's F For You has an edgy, improvised feel. 86 In motion Music video

71. 71. C o lo u rb l i n d C l i e n t Elliot the Bull pr o d u c e r Oh Yeah Wow Melbourne, Australia www.ohyeahwow.com Oh Yeah Wow delivered a blinder with this dynamic, wooden stop-motion short for alternative rock band Elliot the Bull's single, Colourblind. Bursting with charm and character, the piece tells the story of two creatures born into a world of light and dark, struggling to find a balance with each other. Beautiful! Julia Sagar, Computer Arts 87Music video In motion

72. 72. A n ti D e n i m 6 6 6 Fra m e s A g e n c y Anti Oslo and Bergen, Norway www.antidenim.no This ambitious concept film for Anti's own denim brand comprises 666 frames, every one of which has been reworked by a different artist. 88 Short film In Motion

73. 73. 89Short film IN MOtion T h e Ev e n t C l i e n t Random Acts DI R E C TO R Julia Pott New York, USA www.juliapott.com P R ODU C e r Underwater Gardening London, UK www.underwatergardening.com Hornet Inc New York, USA; London, UK www.hornetinc.com Commissioned as part of Random Acts, a Channel 4 scheme to support bold and original short film-making, The Event is based on a poem by Tom Chivers and features "love and a severed foot at the end of the world".

74. 74. Ko h Ko o d i l l u s t r ato r Daan Botlek Rotterdam, the Netherlands www.behance.net/daanbotlek Charming and ingenious in equal measure, this project saw Dutch illustrator Daan Botlek paint quirky characters onto the rocky scenery of the Thai island of Koh Kood. Just hilarious! I wish I had done that. Jonas Bergstrand, illustrator TA N TA L I z I N G T Y P E s t u d i o VAULT49 New York, USA www.vault49.com These are just the first couple of designs in an entire self-initiated series, intended to develop Vault49's in-house typographical skills across various different media. 92 Self-initiated Experimental

75. 75. S h ips in t h e N ig h t I l l u s t r ato r Luke Choice New York, USA www.velvetspectrum.com Pape r , C u ts Tape I l l u s t r ato r Takeshi New York, USA www.stillontherun.com Part of a concerted effort to explore new techniques, this piece of graphic artwork - entitled Paper, Cuts Tape - demonstrates a totally fresh style of art direction for Emeric Trahand, aka Takeshi. This personal piece by graphic artist Luke Choice is an exploration into bringing a tattoo flash to life in 3D. The image was inspired by a tattoo originally designed by illustrator Ollie Munden - aka MegaMunden - for designer Gavin Strange. 93 Self-initiated Experimental

76. 76. P o r t r aits f r o m b e h in d i l l u s t r ato r Karolis Strautniekas Vilnius, Lithuania www.strautniekas.com Fairly self-explanatory in subject matter, Portraits From Behind is an ongoing personal project by Lithuanian illustrator Karolis Strautniekas. The series presents a creative way to draw the viewer into each situation the subject is witnessing. M I D L I F E C YC L I S T i l l u s t r ato r Simon Spilsbury Bath, UK www.spilsbury.co.uk I look up to Simon not only for his fast-and-loose working style (quite the opposite to mine) but also for the length of time he's been in the game, while still going strong. His Midlife Cyclist print is a perfect example of how he blends his observations, intelligence, wit and quick drawing style together to make great artworks over and over again. The way each illustration is neatly laid out reminds me of a tattoo flash sheet. Ollie Munden, ilovedust 94 Self-initiated For sale

77. 77. W h at ' s I nsi d e ? i l l u s t r ato r BROSMIND Barcelona, Spain www.brosmind.com Brosmind's first ever self-initiated project, What's Inside? actually began shortly after the studio was founded back in 2006, but once client work kicked in, ended up taking years to complete. "This makes the material comprising it an unplanned chronicle of the development of the studio over time," remarks co-founder Alejandro Mingarro. 95For sale Self-initiated

78. 78. 96 Self-initiated For sale Facets i l l u s t r ato r Justin Maller New York, USA www.justinmaller.com At the start of 2013, Depthcore co-founder and creative director Justin Maller challenged himself to create one unique piece of digital art every day for the entire year. The only rule was that each piece had to be made in one day, with no later revisions. "It's the kind of thing that draws people and brands to you, as they wait to see what you will do next," says Maller.

79. 79. T ennis P o ste r s i l l u s t r ato r Paul Thurlby London, UK www.paulthurlby.com Since he's both a keen tennis fan and passionate about posters, it was a small leap for Paul Thurlby to create a series of tennis posters. "I wanted to produce one for each of the four grand slams," he explains. 97 Self-initiated For sale P h a r m acy o n Yo r k i l l u s t r ato r Chris Turnham Los Angeles, USA www.christurnham.com I've always been a sucker for that 50s and 60s style, and Chris Turnham does it so well. Jonas Bergstrand, illustrator

80. 80. E scalato r s i l l u s t r ato r Eero Johannes Helsinki, Finland www.agentpekka.com/ talent/eero-johannes In this personal piece from late 2013, Eero Johannes uses his trademark isometric style to capture the essence of the Finnish commuting experience, with neatly ordered, evenly spaced figures riding up and down escalators. 98 Self-initiated Non-commercial ca r ni vo r o u s ; an d cat islan d i l l u s t r ato r JESSICA DAS Paris, France www.jessicadas.com Jessica Das has a bit of a thing for cats, and her website has a section dedicated to them. Created for her agency Outline Artists, Carnivorous (left) was part of a jungle-themed room at Pick Me Up festival, while Cat Island (right) started life as a self- initiated collage and was later used on a T-shirt for Monsieur Poulet.

81. 81. N ews o f t h e ti m es i l l u s t r ato r Jean Jullien London, UK www.jeanjullien.com Jean Jullien has become one of my main news sources. His timely, illuminating and sharply satirical drawings on Instagram offer a very unique viewpoint on our age. Paul Willoughby, Human After All 99Non-commercial Self-initiated

82. 82. S c r a m b le C r o ssing i l l u s t r ato r Hisashi Okawa Tokyo, Japan www.pon-chan.tumblr.com o r gan t h ie f; T h e Otto C ycle i l l u s t r ato r Otto Steininger New York, USA www.ottosteininger.com Two of four pieces displayed at the SOI's 56th Annual Exhibition. Whimsical collage The Organ Thief depicts the eponymous character riding a penknife; The Otto Cycle visualises the inner workings of Steininger's brain. It's amazing what this illustrator can do with a felt-tip pen. He conveys a huge amount of character and wit with simple forms and shapes. Paul Willoughby, Human After All 100 Self-initiated Non-commercial

83. 83. B I N A RY P R I N T S i l l u s t r ato r alex trochut Barcelona, Spain www.alextrochut.com When Alex Trochut invented a process by which two completely different images could be seen on the same surface, it caught my attention immediately. He collaborated with top electronic musicians to explore their identity by day and night. They come alive in the dark, as one might expect of an electronic musician. Liz Leavitt, Levine/Leavitt 101 Self-initiated Prints

84. 84. t h e C ity o f E d m o nto n o n 1 J u ly 1 9 8 3 i l l u s t r ato r Raymond Biesinger Montréal, Canada www.fifteen.ca What began as a series of four 24-inch two-colour screenprints of Montréal, Québec, Toronto and Ottawa expanded in May 2014 to include Edmonton (featured here), Hamilton, Vancouver and Sherbrooke. Each print combines research on heritage websites, architecture books and Google Maps to capture the buildings and landmarks as they were at a specific time: in Edmonton's case, on the 1 July 1983. P ete C r o m e r A r t P r ints i l l u s t r ato r Pete Cromer Melbourne, Australia www.petecromer.bigcartel.com Pete Cromer's illustrations are gloriously whimsical, full of round childlike delight as well as sophisticated detail and texture. Every time that I see new work from him I smile. A rare delight. Justin Maller, illustrator 102 Self-initiated Prints

85. 85. E llas i l l u s t r ato r Pietari Posti Barcelona, Spain www.studioposti.com Born as a spin-off from a commission from French Cosmopolitan to create some illustrated tarot cards, Pietari Posti's Ellas project is a series of "moody pin-ups" in his distinctive three-colour, minimalist style. "The girl upside-down was called La Mauvaise Passe, meaning 'to go through a rough time'. That image inspired me to do the whole series," explains Posti. 103 Self-initiated Prints

86. 86. On t h e R o cks I l l u s t r ato r Jennifer Dionisio London, UK www.jenniferdionisio.com Originally created to accompany her (successful) application to join Puck Collective, Jennifer Dionisio's On The Rocks was inspired by vintage photography - and combines pencil, ink and a dash of Photoshop. P o r t r aits I l l u s t r ato r Eugenia Mello Buenos Aires, Argentina www.behance.net/eu_ I really like the technique and approach demonstrated in these images. There's something very refreshing and cutting-edge in the work that I find interesting and unique. Leandro Castelao, graphic artist 104 Self-initiated Promotional

87. 87. Fai ry an d F o lk Tales o f t h e I r is h P easant ry I l l u s t r ato r Zara Picken Newcastle, UK www.zaraillustrates.com Inspired by W. B. Yeats' Irish folklore anthology of the same name, this series of illustrations by Newcastle-based Zara Picken was intended for self-promotional use across print and online. Ze b r a I l l u s t r ato r Greg Mably Toronto, Canada www.gregmably.com Every holiday season, Greg Mably creates a limited-edition print of a different animal to use for gifts and self-promotion. In 2013, it was the zebra's turn to receive Mably's geometric treatment. "It was intended to evoke African folk art, but with a modern sensibility," he explains. 105 Self-initiated Promotional

88. 88. 1 0 0/ 1 0 0 e x h i b i t i o n I l l u s t r ato r s Various S t u d i o SB Studio Liverpool, UK www.sb-studio.co.uk To mark the launch of its own craft beer, Liverpool's SB Studio invited 100 leading design studios and illustrators - including Spin, Emily Forgot, Adrian Johnson and Crispin Finn - to design 100 labels. The bottles will be auctioned off for charity, with all proceeds going to the Art Fund. I love this collaborative way of working. It creates a very powerful feeling of creative movement. Great project! Rich Carter, Computer Arts 108 Group show EXHIBITION

89. 89. I f I wa s S m a l l I l l u s t r ato r Jack Hudson London, UK www.jack-hudson.com A conceptual project that imagines what the world would be like if humans were tiny, Jack Hudson's If I Was Small series includes The Expressionist (left) and The Tiny Splash (right), which was originally commissioned for the cover of The Poetry School's brochure. Hudson presented the colourful series at London's contemporary graphic arts festival, Pick Me Up. S u n da n c e I l l u s t r ato r Jessica das Paris, France www.jessicadas.com After sales of Moondance - a bold print featuring flamingos, which California-born, Paris-based Jessica Das created in 2012 - fared well, it was a logical step to create a sequel. With a lighter colour palette and sunny backdrop, Sundance swaps flamingos for toucans, while another in the series, Seadance, focuses on fish. You'll find the whole series exhibited on the Outline Artists website (www.outlineartists.com). 109Group show EXHIBITION

90. 90. I Wo u l d R at h e r J u s t H a n g O u t W i t h Yo u I l l u s t r ato r Julia Pott Brooklyn, New York www.juliapott.com Featuring a whole range of everyday objects relating to different hobbies, foods and experiences, I Would Rather Just Hang Out With You is a self-initiated print that talented British-born, New-York based illustrator and animator Julia Pott created for the Pick Me Up exhibition. 110 Group show EXHIBITION

91. 91. A m b u l a n c e C l ien t VA Museum Memory Palace exhibition s t u d i o Le Gun London, UK www.legun.co.uk I wasn't fortunate enough to visit the exhibition at the VA where Le Gun's magical ambulance was shown. The photos I saw of it afterwards though really blew me away. Insanely good! Jonas Bergstrand, illustrator 111Group show ExHIBITION

92. 92. S l e e p i n g w i t h B o o k s S t u d i o Bryce Wymer Brooklyn, New York www.brycewymer.com Created for a personal gallery show, Sleeping With Books is a whole series of India ink paintings based on dreams, ranging from the surreal to the sexual. The original artworks were also printed and bound into a limited-edition, hand- sewn art book. A Br u s h W i t h S h a k e s p e a r e C l ien t Northern Broadsides Theatre Company I l l u s t r ato r Chris Vine London, UK www.chrisvine.org Chris Vine's ink-and-watercolour series A Brush With Shakespeare interprets every one of the bard's 37 plays using several different methods, including plot summaries, analyses of particular characters and visual representations of key scenes. Shown here are Married At Last, based on Romeo and Juliet; and Kiss Me Kate, which represents The Taming of the Shew. 112 Solo show EXHIBITION

93. 93. COSMOS S t u d i o Julian Callos Los Angeles, USA www.juliancallos.com A whole series of prints that explore the nature of the universe, Julian Callos' Cosmos project includes the unsettling Eclipse (left) - which depicts a man spearing a giant lion, while both are mauled by an even larger wolf - and a trio of circular designs entitled Sun, Earth and Moon (right). Julian's drawings are like a dream and a nightmare, all in one. He draws like he knows something that we don't. Tomas Garcia, PepperMelon 113Solo show EXHIBITION F lot s a m J e t s a m I l l u s t r ato r Juliana Neufeld Toronto, Canada www.juliana-neufeld.com Entitled Flotsam Jetsam, Juliana Neufeld's solo exhibition explores the contents of her own unconscious mind. "Like flotsam and jetsam from a shipwreck, these odds and ends of characters, symbols and faraway places float to the surface of my consciousness, seeking new context and definition," she explains.

94. 94. G r a f f i t i 6 a l b u m A r t wo r k C l i e n t Capitol Records I l l u s t r ato r Jimi Crayon London, UK www.jimicrayonworld.com Illustrator Jimi Crayon developed a bold, psychedelic aesthetic for Graffiti6, a London-based musical duo with which he is a long-standing collaborator. When creating artwork for the pair's second album, The Bridge, Crayon decided to evolve his style. "I wanted to loosen things up," he says. "The trippy vibe is still present but the overall look is a little more erratic and unpredictable." LA FORM E L E N T E r e c o r d s i l l u s t r ato r Moonassi Seoul, South Korea www.moonassi.com South Korean creative Moonassi created these two illustrations for French musician HNN's L'Île Nue album. The designs, which were inspired by HNN's songs, were screenprinted and hand-numbered on the vinyl sleeves by Atelier Vertical in Brussels. Se c r e t 7 " A l b u m s l ee v e 2 0 1 4 I l l u s t r ato r Jules Julien Amsterdam, Netherlands www.julesjulien.com Secret 7" is a fundraising project combining music and art for a good cause. Hundreds of creatives were invited to design a one-off vinyl sleeve featuring a secret track, which was then sold to raise money for charity. Dutch illustrator Jules Julien created his Hand sleeve to accompany Jake Bugg's Strange Creatures. 116 Packaging and products Album artwork

95. 95. BLOM O G MY N STUR COLL E CTIO N I l l u s t r ato r Kristjana S Williams Studio London, UK www.kristjanaswilliams.com Like much of her delicate, colourful work, Kristjana S Williams' SS14 collection combines elements of the natural world of flora and fauna with the structure and pattern of William Morris. This particular collection draws inspiration from the iconic designer's Strawberry Thief and Brer Rabbit patterns in particular. 117 Packaging and products Textiles

96. 96. 118 Textiles Pack aging and products

97. 97. H e a l' s Te x t i l e De s i gn C l i e n t Heal's s t u d i o HvassHannibal Copenhagen, Denmark www.hvasshannibal.dk Hvass Hannibal designed Herbarium, a textile print for UK furniture store Heal's, as part of the brand's first fabric design collection since the 1970s. 119Textiles Packaging and products

98. 98. E l M a r i ac h i w i ne l a b e l s C l i e n t Bodegas Hermosillo I l l u s t r ato r Steve Simpson Dublin, Ireland www.stevesimpson.com A G EN C Y Ikon BC Moscow, Russia www.ikonbcworld.com Tasked with creating wine labels that appealed to young adults, Russian agency Ikon BC and illustrator Steve Simpson eschewed conventional packaging with the addition of an accompanying neck-hanger element - in the form of a Mariachi head. Simpson then translated the concept across the entire red wine brand. N a da pac k ag i ng D e s i g n e r Eve Warren Leeds, UK www.evewarren.com Graphic designer Eve Warren teamed up with product designer Thomas Squire to create this bright, geometric packaging and accompanying bespoke typeface for heath food brand Nada. 120 Packaging and products Food and beverage

99. 99. C a r l u c c i o ' s Ch r i s tm a s C l i e n t Carluccio's I l l u s t r ato r Malika Favre London www.malikafavre.com When Malika presented this project at a talk, she reminded me why it's important to really immerse yourself in a subject as an illustrator. A trip to Bologna to study the culture, food and expression of the city provided her with the insight she needed to produce some of the best illustrated packaging that I've seen in recent times. Paul Willoughby, Human After All 121 Packaging and products Food and beverage

100. 100. 122 Food and beverage Pack aging and products

101. 101. C o m a x u r r o s C l i e n t Comaxurros I l l u s t r at i o n Brosmind Barcelona, Spain www.brosmind.com pa ck a g i n g Lo siento Barcelona, Spain www.losiento.net Comaxurros is a new Barcelona eatery specialising in traditional Spanish treat, the churro. Creative duo Brosmind injected a large dose of personality into the brand's new identity with a range of hot pink illustrations featuring badly behaved churros in crazy situations. 123Food and beverage Packaging and products

102. 102. PROP E RCOR N c l i e n t PROPERCORN www.propercorn.com I l l u s t r ato r Zoe More O'Ferrall, London UK www.zoemof.com S t u d i o BB studio London UK www.bandb-studio.co.uk BB studio's refreshed look for Propercorn is packaging done properly: ownable logotype, evocative imagery, appetising product shot and clear communication. The resulting packs retain and heighten the charm of the originals, while adding impact, consistency and taste. M a r o u c h o c o l aTe pac k ag i ng s t u d i o RICE CREATIVE Ho Chi Minh City, Vietnam www.rice-creative.com c l i e n t Marou CHOCOLATE Exclusively for La Grande Épicerie de Paris, the designs for three new Marou chocolate bars depict the grocer's iconic building. 124 Packaging and products Food and beverage

103. 103. # w y t r aw n a r o b ota s t u d i o Hopa Studio Warsaw, Poland www.hopastudio.com Self-promotion with a boozy twist, Hopa Studio's #wytrawnarobota project takes the gesture of gifting bottles of wine to friends and clients to the next level by developing limited-edition, screenprinted labels and accompanying posters - ensuring the Warsaw-based studio's design and illustration skills are front and centre with every pour. PROMOTIO N AL B E E R MATS s t u d i o ilovedust Southsea, UK www.ilovedust.com Originally created as part of a wider promotional pack, this collection of beer mats from ilovedust features phrases such as 'Roll like thunder, gone like smoke', 'Breakin' necks, cashin' cheques' and 'The action is the juice' surrounded by intricate black-and-white artwork. The project showcases the Southsea-based studio's inimitable attitude alongside its considerable illustration prowess. 125 Packaging and products Food and beverage

104. 104. Am I collective Full team Am I Collective offers award-winning creative solutions to clients worldwide, specialising in packaging, corporate identity, animation and illustration. Animation director Ruan Vermeulen, creative director Christo Basson and head of design Chris Moore nominated projects for the Annual. www.amicollective.com Jonas Bergstrand Illustrator As a child, Jonas would spend hours at the kitchen table, trying to copy the styles of illustrators such as Mort Drucker and Mad Magazine's Jack Davis. His obsession with images lasted through the years, and he's now an internationally renowned illustrator. www.jonasbergstrand.com Russell Barrett BBH, India Russell has spent 16-odd years in the advertising industry, including stints as a senior writer at Ogilvy, creative director at Leo Burnett and executive creative director at Bates India, where he led his department to one of its most successful years. He is now CCO and managing partner at BBH India. www.bartleboglehegarty.com Gemma O'Brien Typographer and illustrator Gemma is a Sydney- based typographer and artist represented by The Jacky Winter Group. Known for her slick illustrated type treatments, brush styles and hand-lettering, she splits her time between commercial commissions, art projects and hosting hand-lettering workshops. jackywinter.com/artists/gemma-obrien Raymond Biesinger Artist Raymond is a self- taught illustrator based in Montréal, whose work has appeared in everything from The New Yorker to Le Monde to The Walrus. He has created over 1,400 projects since the year 2000, using a mix of "physical things, electronic means and complex geometry". www.fifteen.ca Ben the Illustrator Huddle Formation For over a decade, Ben has created vibrant vector artwork for use across everything from interactive advertising to retail interiors and textiles. In 2014, he launched multidisciplinary studio Huddle Formation with his wife and business partner, textile product designer Fiona. huddleformation.prosite.com Leandro Castelao Graphic artist After several years teaching typography and illustration at the University of Buenos Aires, Argentine graphic artist Leandro relocated to New York in 2013. His portfolio is packed with beautiful print, 3D and motion work for clients including Nike, Esquire, Nokia and GQ. www.leandrocastelao.com Gaute Tenold Aase Anti Gaute is a senior designer and partner at acclaimed Norwegian agency Anti, where he handles everything from big identity work for DNB - Norway´s biggest bank - and The Norwegian Tax Administration to stunning illustration work for IMG Models, fashion magazine SVA and local fashion store Galleriet. Gaute was previously co-owner and designer at Grandpeople, which merged with Anti in 2013. The internationally renowned studio was celebrated for its experimental illustration and type treatment for clients like Nike, Converse, Carl´s Cars and Datarock. www.anti.as M e e t t h e p a n e l Noma Bar Graphic artist Israeli-born Noma studied graphic design and typography at the Jerusalem Academy of Art and Design before moving to London in 2001. He describes his craft as visual communication, combining the skills of an artist, illustrator and designer. His work has been exhibited worldwide, and he has two highly acclaimed books: Guess Who? The Many Faces of Noma Bar, and Negative Space. In 2012, he was awarded a Yellow Pencil at the DAD Professional Awards for his series of Don DeLilo covers, created with It's Nice That. www.dutchuncle.co.uk/noma-bar Jon Cockley Handsome Frank Jon set up London- based illustration agency Handsome Frank with his cousin Tom Robinson four years ago, following a decade working in publishing. He now represents some of the world's leading illustrators and is involved with projects in the worlds of advertising, design and publishing. www.handsomefrank.com Meet the panel Our team of experts126

105. 105. Bjorn Rune Lie Illustrator and artist Bristol-based illustrator Bjorn's images are inspired by childhood memories, Norwegian nature, folk art and noir films. He's written and illustrated two award-winning children's books in his native Norway, and his third book, The Wolf's Whistle, was published by Nobrow in 2010. www.bjornlie.com Chris Judge Illustrator Chris is an award- winning author and illustrator from Dublin. His picture books include the Beast series, The Great Explorer and TiN. He's recently illustrated Roddy Doyle's Brilliant, and is collaborating on a new book with comedian David O'Doherty called Danger is Everywhere! www.chrisjudge.com Sarah Mazzetti Illustrator Sarah is an Italian illustrator based in Milan. She works for international clients such as The New York Times, Eni, Feltrinelli, YCN and The Fader, and has been featured in 3X3 magazine and American Illustration. She also co-curates a self-publishing label called Teiera, and teaches at IED in Milan. www.cargocollective.com/sarahmazzetti Justin Maller Illustrator Justin is an Australian illustrator and art director based in New York. He's been creating digital art for over 15 years, and has been a full-time freelance artist for the past eight. He's also the creative director of the Depthcore collective, an international modern art group he established in 2002. www.justinmaller.com Liz Leavitt Levine/Leavitt Liz is one of the owners of Levine/ Leavitt, an international artists' management agency representing a select roster of outstanding photographers, illustrators, designers and directors. Prior to founding the agency in 1999, Liz spent several years at Magnum Photos and Stockland Martel. www.llreps.com Juan Molinet Illustrator Buenos Aires-born Juan is an illustrator, character designer and art director with a global client list including Cartoon Network, Le Monde, the Guardian and Cadbury. His freelance work is mainly for television and printed media, and he has several personal side projects involving illustration and fine art. www.lebureau.tv Pomme Chan Illustrator Bangkok-born illustrator Pomme picked up a BA in interior design before studying graphic design and communication at London College of Communication. Since then, she's worked freelance in the worlds of advertising, fashion and editorial, creating art for the likes of Liberty, Nike, Microsoft, Converse, Conde Nast, Atlantic Records, Mercedes-Benz, La Perla and Topshop. Pomme's passion for prints and patterns has led to her producing a plethora of products, including scarves, cushions, bags and clothing, which can be found on her website. www.pommepomme.com Louise Chappell and Becky Bolton Good Wives and Warriors Louise and Becky make up creative partnership Good Wives And Warriors. The pair met while studying painting at Glasgow School of Art, and began working together in 2007, shortly after graduating. They now divide their time between designing large-scale installations for fine art settings, and undertaking design commissions for companies in the UK and abroad, including Absolut Vodka, Swarovski, Adidas, Swatch and MTV. The duo's work has been exhibited everywhere from Berlin to Melbourne, Buenos Aires, San Francisco and beyond. www.goodwivesandwarriors.co.uk Tomás Garcia Creative director Tomás is a creative director and art director based in Buenos Aires. He's one of the founders of CG animation and character design studio PepperMelon, where he creates vibrant animated, motion and design projects. He's currently working on projects related to technology, educations and arts. www.tomasgarcia.co jennifer Gonzalez and Mario Hugo Hugo Marie Founded in 2008, this agency specialises in artist management. Business director Jennifer handles the management side, while creative director Mario is a talented illustrator in his own right. Thanks to the whole team, who all helped nominate projects for the Annual. www.hugoandmarie.com Meet the panel Our team of experts 127

106. 106. Matt W Moore MWM Graphics Matt graduated from Maine College of Art in 2005 and went on to found design, illustration and fine art studio MWM Graphics, where he's racked up a client list that includes Coca-Cola, Burton, Citroën, Diesel, Nike and Microsoft. He works to the credo: 'range is conducive to growth'. www.mwmgraphics.com Carson Ting Chairman Ting Having launched his career in advertising, Carson now works as a freelance art director and runs his own illustration and creative studio - Chairman Ting - working on projects for clients including Microsoft, Adidas Originals, Cartoon Network, Kidrobot and IdN magazine. www.carsonting.com Serge Seidlitz Illustrator Serge links his decision to become an illustrator to "a steady diet of MTV and Mad Magazine" while growing up. After studying graphic design at Camberwell, he worked as a designer at Cartoon Network before leaving to focus on illustration. His client list includes NME magazine and MTV. www.sergeseidlitz.com Jeremy Wortsman The Jacky Winter Group Jeremy is founder and director of The Jacky Winter Group, Australia's leading creative services agency, and its associated gallery space, Lamington Drive. Previously, he co- founded design practice Chase Galley, and also launched Is Not Magazine. www.jackywinter.com Camilla Parsons and Gavin Lucas Outline Artists Camilla of Outline Editions teamed up with ex-Creative Review senior writer Gavin to set up illustration agency and consultancy Outline Artists. The agency now represents a small but diverse roster of international image-making and design talent. www.outlineartists.com Paul Willoughby Human After All Paul is an award- winning creative director, co-founder of creative agency Human After All and has been creative director of Little White Lies magazine since its inception in 2005. Paul has also worked as an illustrator for clients including the Guardian, IBM and Nike. www.paulwilloughby.com Simon Spilsbury Illustrator Simon's creations have been described as spontaneous, humorous and elegant, with one US art director once commenting: "Spilsbury's drawings jump off the page and bite me on the ass". He has two decades of experience in illustration, and has won awards from DAD and British Illustration. www.spilsbury.co.uk Ollie Munden ilovedust Ollie currently works at ilovedust as senior designer, a role he previously held at McFaul Studio. He also freelances as MegaMunden, taking on commissions for illustration, mural work and tattoo design - you'll find some of the latter inside this Annual. He's as happy working for corporate giants as he is for private clients, and describes his style as a melding pot of vintage skate art, psychedelia, nature and the essence of the Far East. Previous clients have included the likes of Nike, Toshiba, Vodafone, Penguin Books and Levi's. www.megamunden.com Jessica Walsh Sagmeister Walsh Designer and art director Jessica worked with Pentagram and Print Magazine before famously joining Sagmeister Inc. to form Sagmeister Walsh, an NYC-based design firm with a global reputation and a client list including Red Bull, BMW, the Guggenheim Museum, MOMA, Random House, Lou Reed and Jay-Z. In 2009, Computer Arts pegged her as a rising star of the design world, and she has since gone on to win numerous accolades from the Art Directors Club, the Type Directors Club, the Society of Publication Designers, Print, Graphis and more. www.sagmeisterwalsh.com Gary Taxali Artist One of North America's foremost contemporary fine artists, Gary has won hundreds of illustration and design awards, including a Grammy nomination for his album cover artwork for Aimee Mann in 2009. His art can be seen in galleries all around the world. www.garytaxali.com Meet the panel Our team of experts128

107. 107. P r o d u c t i o n n o t e s E d i t o r i a l Julia Sagar Editor julia.sagar@futurenet.com Nick Carson Associate editor nick.carson@futurenet.com Jo Gulliver Art editor jo.gulliver@futurenet.com RICH CARTER DESIGNER rich.carter@futurenet.com Ruth Hamilton Production assistant ruth.hamilton@futurenet.com C o n t r i b u t o r s Tristan Eaton, Tim Hardwick W i t h s p e c i a l t h a n k s t o Celloglas, Nikki Farquharson and all panelists A dv e r t i s i n g 0207 042 4122 Charlie Said Ad sales director charlie.said@futurenet.com JAS RAI Ad sales manager jas.rai@futurenet.com SUZANNE SMITH Account manager suzanne.smith@futurenet.com victoria sanders Senior sales exec victoria.sanders@futurenet.com D i s t r i b u t e d by Seymour Distribution Ltd, 2 East Poultry Avenue, London EC1A 9PT Tel: 0207 429 4000 M a r k e t i n g Philippa Newman Group marketing manager philippa.newman@futurenet.com SAMantha BOOK Marketing manager samantha.book@futurenet.com Alexandra Geary Marketing executive alexandra.geary@futurenet.com P r i n t P r o d u c t i o n Mark Constance Production manager Viv Turner Production co-ordinator Nola Cokely Ad production manager C i r c u l at i o n JAMES RYAN Direct marketing executive james.ryan@futurenet.com Daniel Foley Trade marketing manager daniel.foley@futurenet.com Richard Jefferies International account manager richard.jefferies@futurenet.com L i c e n s i n g Regina Erak Licensing director regina.erak@futurenet.com F u t u r e p u b l i s h i n g LTD Declan Gough Head of Creative and Design Nial Ferguson Managing director, Technology, Film and Games DAN OLIVER Editor-in-chief Steve Gotobed Group art director Robin Abbott Creative director Jim Douglas Editorial director S u b s c r i p t i o n s 0844 848 2852 www.myfavouritemagazines.co.uk © Future Publishing Limited 2014. All rights reserved. No part of this magazine may be used or reproduced without the written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England and Wales. The registered office of Future Publishing Limited is at Beauford Court, 30 Monmouth Street, Bath BA1 2BW. All information contained in this magazine is for information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. Readers are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this magazine. If you submit unsolicited material to us, you automatically grant Future a licence to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your risk and, although every care is taken, neither Future nor its employees, agents or subcontractors shall be liable for loss or damage. We are committed to only using magazine paper which is derived from well managed, certified forestry and chlorine-free manufacture. Future Publishing and its paper suppliers have been independently certified in accordance with the rules of the FSC (Forest Stewardship Council). Future plc is a public company quoted on the London Stock Exchange (symbol: FUTR). www.futureplc.com Chief executive Zillah Byng-Maddick Non-executive chairman Peter Allen Interrim chief financial officer Simon Poulton Tel +44 (0)207 042 4000 (London) Tel +44 (0)1225 442 244 (Bath) Future produces high-quality multimedia products which reach our audiences online, on mobile and in print. Future attracts over 50 million consumers to its brands every month across five core sectors: Technology, Entertainment, Music, Creative and Sports Auto. We export and license our publications. Future Publishing Ltd, 30 Monmouth Street, Bath BA1 2BW Phone 01225 442 244 Fax 01225 732 275 hello@computerarts.co.uk computerarts.creativebloq.com cover printer: Philtone Litho Ltd text printer: William Gibbons Cover Finising: Celloglas Ltd magenta foil, fluted emboss and soft-touch varnish Paper cover: Precision Special Gloss FSC 350gsm text stock: Precision Special Gloss FSC 150gsm typefaces Trump Gothic West, Simplo

108. 108. The world's best Illustration From the past 12 months, curated by an expert industry panel including: PRINTED IN THE UK Vault49 Pomme Chan Simon Spilsbury Gemma O'Brien Raymond Biesinger Amicollective Ben the Illustrator Jonas Bergstrand Gaute Tenold Aase Levine/Leavitt Juan Molinet Chris Judge MegaMunden Handsome Frank Outline Artists Jeremy Wortsman TomÁs GarcÍa Russell Barrett Jessica Walsh Noma Bar Gary Taxali Good Wives Warriors Paul Willoughby Sarah Mazzetti Hugo Marie Serge Seidlitz Leandro Castelao BjØrn Rune Lie Matt W. Moore Carson Ting 9000 9015

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1. 1. ÓMO DIBUJAR biblioteca creativa

2. 2. ^ ¿QUÉ ES E L C E N T R O D E G R A V E D A D ?El centro de gravedad es el punto donde se concentra todo el peso del cuerpo. En el caso del manga, no esnecesario tener en cuenta el centro de gravedad de todos y cada uno de los personajes que se dibujen, pero hayque tener clara esta noción. Si se dibuja un personaje pensando dónde está su centro de gravedad, es mucho másfácil que salga de forma natural una postura con gancho. Centro de A la pata coja Peso sobre el Peso sobre el pie De perfil Peso repartido en pie derecho izquierdo ambos pies En las posturas en que el personaje está de pie, el centro de El centro de gravedad también puede situarse en la línea de movimiento. 9

3. 3. PROPORCIONES J La diferencia de proporción entre el cuerpo femenino y el masculino reside en el tronco. La mujer tiene una caja torácica más pequeña, y los costados, más cortos que los del hombre, se ensanchan enseguida para formar la curva de las caderas.14

4. 5. (EL VOLUMEN D E L A C A B E Z A ) Es necesario tener en cuenta el relieve básico de la cabeza para sombrear y dibujar personajes.Una caramirando alfrente y haciaarriba, vistade frente,tiene pocaszonas planas. Sombra de la nariz Hay que pensar en la sombra que proyecta la nariz 18

5. 6. (ACERCA D E L O S O J O S ) Posición deLos ojos están la pupilaconstituidos por el globoocular, y, por lo tanto,tienen un volumen en elque es necesario fijarse. Posición de la pupila equivocada En función del ángulo se puede ver la curva del Iris. Los reflejos sirven para resaltar el volumen. En función del ángulo adonde se mire, la forma del ojo va variando y no está mal tenerlo en cuenta para dibujar personajes manga. Sin embargo, si al dibujante le falta técnica puede que el diseño se estropee. Por lo tanto, será mejor y más fácil dibujar sin variar demasiado la forma de los ojos y, por el contrario, pensar bien en la luz, las sombras, la posición 4 de la pupila y el carácter esférico del ojo. Vista frontal i Teniendo en cuenta la posición de la pupila, Aunque los ojos estén cerrados, hay que se marcan el ángulo y el relieve. marcar la forma del ojo con líneas como éstas. 23

6. 7. ( L A BOCA: VARIACIONES^

7. 8. (LAS OREJAS: VARlACIOTMEs) (DESDE ARRIBA) (DESDE ABAJO) (VISTA FRONTAL) 27

8. 9. (VISTO DESDE ABAJO (MUJER))

9. 11. (MIRANDO DE LADO HACIA ABAJO )

10. 12. (MIRANDO HACIA ARRI JA)

11. 13. (MIRANDO DE LADO HACIA ARRIBA")

12. 14. (ANATOMÍA D E L APARATO L O C O M O T O R )La anatomía muscular es igual en elcuerpo del hombre y en el de la mujer O 1 Deltoides Bíceps braquial Oblicuo mayor del abdomen Glúteo medio Grupo psoas-ilíaco Tensor de la fascia lata-4 Pectíneo -7 > V Aductor largo J _ Sartorio 1 Recto interno Recto anterior Vasto externo Tendón cuadricipital Gemelo interno Tibial anterior Soleo LULL)42

13. 15. cLOS HOMBROS: MOVIMIENTOS HACIA ADELANTE Y ATRAS En función de la postura, los hombros están proyectados hacia adelante c retirados hacia atrás. Si se saca el pecho, los hombros quedan hacia atrás, si se arquea la espalda, el pecho se contrae y los hombros quedan proyect dos hacia adelante. Espalda arquedada, Pecho extendido, hombros hacia adelante. hombros hacia atrás. El peso del cuerpo recae en los hombros: hombros hacia adelante y brazos proyectados hacia atrás.

14. 16. Al levantar el hombro, la clavículatambién se desplaza hacia arriba y sesuperpone al trapecio.

15. 19. ( B R A Z O ALZADO EN DIRECCIÓN FRONTAL)62

16. 21. (VARIACIONES DEL SISTEMA MUSCULAR DORSAL) Desplazamiento hacia atrásEl deltoides permitemover la clavícula yel omóplato. Simovemos los brazoshacia atrás, lasclavículas y losomóplatos tambiénse desplazarán haciaatrás. 73

17. 22. (LA MAMO: V A R I A C I O N E S ) Para dibujar correctamente la mano son importantes las membranas. Tomando como modelo tu mano, puedes empezar a practicar. Los dedos abiertos no deben vi/y, quedar en forma de V. Atención a la membrana. El movimiento reside aquí Separar Cuando separamos Si sólo dibujamos los los dedos, los huesos dedos abiertos no de la mano también parece una mano de se separan. verdad. 81

18. 23. ( C U E R P O I N C L I N A D O H A C I A A D E L A N T E (MUJER))84

19. 25. ((CUERPO G I R A D O (MUJER))

20. 26. En el planopicado, atenciónla perspectiva.

21. 27. (TRANSICIÓN (HOMBRE))

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Cómo dibujar MANGA, el cuerpo humano. (Norma Editorial)

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Published on 1. ÓMO DIBUJAR biblioteca creativa 2. ^ ¿QUÉ ES E L C E N T R O D E G R A V E D A D ?El centro de gravedad es el punto donde se concentra todo el peso del cuerpo.

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1. 1. ÓMO DIBUJAR biblioteca creativa

2. 2. ^ ¿QUÉ ES E L C E N T R O D E G R A V E D A D ?El centro de gravedad es el punto donde se concentra todo el peso del cuerpo. En el caso del manga, no esnecesario tener en cuenta el centro de gravedad de todos y cada uno de los personajes que se dibujen, pero hayque tener clara esta noción. Si se dibuja un personaje pensando dónde está su centro de gravedad, es mucho másfácil que salga de forma natural una postura con gancho. Centro de A la pata coja Peso sobre el Peso sobre el pie De perfil Peso repartido en pie derecho izquierdo ambos pies En las posturas en que el personaje está de pie, el centro de El centro de gravedad también puede situarse en la línea de movimiento. 9

3. 3. PROPORCIONES J La diferencia de proporción entre el cuerpo femenino y el masculino reside en el tronco. La mujer tiene una caja torácica más pequeña, y los costados, más cortos que los del hombre, se ensanchan enseguida para formar la curva de las caderas.14

4. 5. (EL VOLUMEN D E L A C A B E Z A ) Es necesario tener en cuenta el relieve básico de la cabeza para sombrear y dibujar personajes.Una caramirando alfrente y haciaarriba, vistade frente,tiene pocaszonas planas. Sombra de la nariz Hay que pensar en la sombra que proyecta la nariz 18

5. 6. (ACERCA D E L O S O J O S ) Posición deLos ojos están la pupilaconstituidos por el globoocular, y, por lo tanto,tienen un volumen en elque es necesario fijarse. Posición de la pupila equivocada En función del ángulo se puede ver la curva del Iris. Los reflejos sirven para resaltar el volumen. En función del ángulo adonde se mire, la forma del ojo va variando y no está mal tenerlo en cuenta para dibujar personajes manga. Sin embargo, si al dibujante le falta técnica puede que el diseño se estropee. Por lo tanto, será mejor y más fácil dibujar sin variar demasiado la forma de los ojos y, por el contrario, pensar bien en la luz, las sombras, la posición 4 de la pupila y el carácter esférico del ojo. Vista frontal i Teniendo en cuenta la posición de la pupila, Aunque los ojos estén cerrados, hay que se marcan el ángulo y el relieve. marcar la forma del ojo con líneas como éstas. 23

6. 7. ( L A BOCA: VARIACIONES^

7. 8. (LAS OREJAS: VARlACIOTMEs) (DESDE ARRIBA) (DESDE ABAJO) (VISTA FRONTAL) 27

8. 9. (VISTO DESDE ABAJO (MUJER))

9. 11. (MIRANDO DE LADO HACIA ABAJO )

10. 12. (MIRANDO HACIA ARRI JA)

11. 13. (MIRANDO DE LADO HACIA ARRIBA")

12. 14. (ANATOMÍA D E L APARATO L O C O M O T O R )La anatomía muscular es igual en elcuerpo del hombre y en el de la mujer O 1 Deltoides Bíceps braquial Oblicuo mayor del abdomen Glúteo medio Grupo psoas-ilíaco Tensor de la fascia lata-4 Pectíneo -7 > V Aductor largo J _ Sartorio 1 Recto interno Recto anterior Vasto externo Tendón cuadricipital Gemelo interno Tibial anterior Soleo LULL)42

13. 15. cLOS HOMBROS: MOVIMIENTOS HACIA ADELANTE Y ATRAS En función de la postura, los hombros están proyectados hacia adelante c retirados hacia atrás. Si se saca el pecho, los hombros quedan hacia atrás, si se arquea la espalda, el pecho se contrae y los hombros quedan proyect dos hacia adelante. Espalda arquedada, Pecho extendido, hombros hacia adelante. hombros hacia atrás. El peso del cuerpo recae en los hombros: hombros hacia adelante y brazos proyectados hacia atrás.

14. 16. Al levantar el hombro, la clavículatambién se desplaza hacia arriba y sesuperpone al trapecio.

15. 19. ( B R A Z O ALZADO EN DIRECCIÓN FRONTAL)62

16. 21. (VARIACIONES DEL SISTEMA MUSCULAR DORSAL) Desplazamiento hacia atrásEl deltoides permitemover la clavícula yel omóplato. Simovemos los brazoshacia atrás, lasclavículas y losomóplatos tambiénse desplazarán haciaatrás. 73

17. 22. (LA MAMO: V A R I A C I O N E S ) Para dibujar correctamente la mano son importantes las membranas. Tomando como modelo tu mano, puedes empezar a practicar. Los dedos abiertos no deben vi/y, quedar en forma de V. Atención a la membrana. El movimiento reside aquí Separar Cuando separamos Si sólo dibujamos los los dedos, los huesos dedos abiertos no de la mano también parece una mano de se separan. verdad. 81

18. 23. ( C U E R P O I N C L I N A D O H A C I A A D E L A N T E (MUJER))84

19. 25. ((CUERPO G I R A D O (MUJER))

20. 26. En el planopicado, atenciónla perspectiva.

21. 27. (TRANSICIÓN (HOMBRE))

# data[].attributes.attachment_link.title
Cómo dibujar MANGA, el cuerpo humano. (Norma Editorial)

# data[].attributes.attachment_link.description
Published on 1. ÓMO DIBUJAR biblioteca creativa 2. ^ ¿QUÉ ES E L C E N T R O D E G R A V E D A D ?El centro de gravedad es el punto donde se concentra todo el peso del cuerpo.

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https://www.educaciontrespuntocero.com/recursos/blogs-dibujo-artistico-bachillerato/33303.html

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TERMINADO

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Foto

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Foto

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Terminado:

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Proceso

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Fotografía original

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Proceso

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Terminado

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Mapamundi con acuarela y tinta china. Terminado:

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Mapamundi con acuarela y tinta china. Proceso

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HIBRIDOS

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Mi móvil no tiene más calidad de imagen.

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Los dibujos  de abajo son ejercicios de otros años pero te pueden servir como inspiración

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Title Slide of Aprende a dibujar comic vol 1

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Curso para quien quiera aprender a dibujar comics.

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Share your videos with friends, family, and the world

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APUNTES DE PROFESIONALES SOBRE DIBUJO Y ANIMACIÓN Para descargar