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(rough outline of story and setting) Aut h or Foreword The brief that I have chosen to use was into the The story is of the brief suggest that something
woods, a fant a sy t y pe i n fluenced bri e f, so t h at I coul d pract i c e cert a i n aspect s of t h e genre t h at I enj o y so much. As a fan of i t ’ s genres root s , t h e l i k es of T o l k i e n’ s wrialwtaysen works, I enj o y l o oki n g at si m i l a r art and hav e want e d t o t r y and achi e v e t h e same qual i t y on t h e pithiescesbriethfatsoI thlatove Isocanmuch.furtThherereforedevelopI tdecihingsdedliketo horse choose anatoccur.omy, fantasy structures and environments if these topics T h e spi n t h at I woul d l i k e t o put on t h i s st o ry i s t o godo because for sometIhinglikea thliet lemagidark,cal whisidceh ofis tunsual for me t o h e fant a sy genre. But rhough l o oki n g at some art onl i n e, I hav e been iamnspirwanted ibyng tthoe portdarkrayandthisseductthroughive sisomedes ofof mythe keygenre.art Iand charact e r desi g ns. T h i s coul d pot e nt i a l y be creat e d t h rough painting Game dark femalof Tehrones s, suchwilasalswiotcservhes,e druiasdsheavor ysiirnens.fluence t o t h i s bri e f because i t i s a T V show t h at i s vdesierygneddarksoin welit’sl andown trihigshtshiandnes ththeroughfemalae lcharact e rs are o t of pai n t i n gs that I havAs eforseenthe onlwoodsine oraspectin books.to the brief, I have alwoulwaysd befelat thgreat at I opport am awfulunity atto atpaitenmptting thforest and so t h i s i s and t r y t o creat e some mood and dark at m osphere t h rough t h e l i g ht i n g in the woods, that would shine through the trees and could potential y be quite misty.
My set t i n g i s v e ry si m i l a r t o t h at of Game of Tmosthrones.of Mymy envworlironment d is sdomiwinlatebed byharshthe andwintecolr d.andVil soagers wicomel bebypoorand andso mostwithoutof crops, food wi l be hard t o t h ei r resources come from huntthe invg.il agesThis butwil tmeanhe envthiratonmenttheres wiarel bemorevastwarriandorsemptiny. Most of t h e worl d i s cov e red by forest , mount a i n s and lakes. Other characters that I could potential y create woulcreatduresbe resithatdentares wiscatthinteredthesearoundvil agestheorworlsomed. Thofis coulthe d range from skel e t o ns, ot h er undead creat u res, spi r i t s and mytrathherical gocreatforuresa moresuch West as centernuars.approachI thinandk I folwoullowd the ltihkeiesr ofliteratJ.ure.R.RMy. Tolkartien wiandl hopeful Georgely achiR.Re.veMartwhatin Iwith originally wrote here, to be dark, seductive and moody.
darkHobbiits, laurkipartng wiofthinthethebookwoods.in whiThisch remia nnecromancer ds me of Theis resiThis diinsg thien tpoihentwoodsaroundin whenwhich thGandal f goes t o i n v e st i g at e . e prot a goni s t s go i n t o Mi r kwood, a dark myst i c al forest i n whi c h gi a nt spi d ers l i v e . T h i s woulcovedredbethias partgreatofvistualhe bookreferenceand Iconsicanderilonokg tathe thmovis iefors reference. For my spi n t o t h e st o ry, I am want i n g t o use tfemal his module anate oasmy,anandopportso utnihety antto afurtgonihsert ofincrease my ski l s i n my st o ry wi l be a femaleThewianttch/siagoniren.st lives within the woods and sings to twihel surroundi n g v i l a ges t o l u re t h em i n t o her hut whi c h she use t h ei r soul s for dark spel l s . T h e si r en i s at t r act i v e andsirenseasiin lyanciluresent menmyths.to Itheicoulr ddeatpaihs,nt vtheirys charact much leikre asseaa keyallow artme pitoece,painshowit a nvgeryherdarkcreatande aseductspelilvewhibackch woulpiedce tcharact o highleigrhtdesithegn.charact e r t o o or I coul d pai n t her as a A charact e r desi g n approach i s one t h at Iforwoulher.d enjI ocouly tdoo albecause I can desi g n al t e rnat e cost u mes s o furt h er dev e l o p some armour renderi n g skimalles bywarristourdyicharact ng metearl plonatead horse. suits orThisarmourwould andbe quipaitnet aa Author of this journal hardhorse onebeforeto creatand emy, consiskil sderiatngrenderi I havneg nevmetearl icpaiobjnteedctsa is quite low when comparing my art to industry professionals. But I can counter this by practising more often.
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Cont e nt s Brainstorming Style Moodboard Similar Artists Key Art Moodboard Thumbnails Key Art 1 Key Art 2 Environment Moodboard Environment Character Moodboard Character Evaluation
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(analysis of my pieces) Ev a l u at i o n Key Art 1 Key Art 2 Tmyhe first first keypieceartofpieconcept art t h at I creat e d was ce t h at was dev e l o ped from an itno-cldoassquittheumbnaia fewl sketthcumbnai h thatl sketI made. I i n i t i a l y pl a nned c hes at first and t o piI ckstafromrted tthooseenjofory thwhiis cprocess h piecesfolIlowiwoulng dandevEyteloapn furtZanaher. tdetutoariilal inforto thtehumbnai l i n g pract i s e so I kept addi n g more t h umbnai l and so i t st a rt e d t o dev e l o p i n t o afirstfinalenvipironment ece whistcyhle Ipiewasce tthoatsubmiI havt. eAsmade,this waswithoutmy photpositoiobashin andng, howI hadthingsto loresearch a l o t more i n t o comok i n t h e di s t a nce, i n order t o creat e dept h i n my pai n t i n g. But , because t h i s was my first pi e ce i t i s not t h e best t h at I hav e submi t e d because t h rough t o my final env i r onment pi e ce you can seesame thteechniamountque andof changes i n my ski l s t h rough usi n g t h e get t i n g used t o t h e new workflow tishtats. IThehadmethpiodckedthatupI fromdid usea fewwas ofbymydrawifavnoguritshapes e artusiareasng thusie nglassocusttoomol shapes and paitnhtating weredetailsamplinto etdhosefromselected photpartographs, t h i s I wi l t a l k about furt h er i n t h e second of my ev a l u at i o n. I had al s o ori g i n al l y pl a nned t o adda lit ilne aimpatstriuctentureandin wantthe eddisttaoncemovebutontIo tsthaertenextd topigetece. Ifthe Istructwasureto anddeverefine lop this pitehece mountfurtaherins Iso woultheyd adddon’t in look40as flat.
Forchosethoneis piethceat woulI actd ufit ally drewthe nameout someof ththeumbnaibriefls bestand. At first when I chose t h i s bri e f I was not v e ry confident because I di d n’ t t h i n k t h at I coul d pai n t a forest v e ry wel l , butassigwinmentth t,heI process of pai n t i n g t h at I hav e l e arnt for t h i s figured t h at I coul d gi v e i t a go and use lforots tofhis reference for t h e pi e ce. T h e research t h at I di d was most l y j u st gat h eri n g t h e reference for di f ferent featthat utreshe llaikssoe trpaieentshapes and what snow l o oks l i k e. I t h i n k i n g t e chni q ue defini t e l y ai d ed t h i s pi e ce because t h e t r ees and charact e r i s ni c e and sharp and l o ok realbecausely effectit reduced ive. I alproduct so realionly tiadore t h i s way of pai n t i n g m e for a pi e ce by a whol e lcompl ot whenetion Itimle,ook yetat tmyhesefirstlook moreever effect photobashed concept i v e and I bel i e v e areindustrgoody thatforI quiwantck concept s whi c h i s what i s needed for t h e t o work i n . I t h i n k i f I was t o dev e l o p tmore, his piemaybe ce furtstherart Ito woulrealdly trrender y to detthaeil ttrheese snowto giinve athemlit le ahavsubte wileth barkthis paitextntuinreg. andFor fixexamplsomee, theof shadow the issuesof ththeatstaIg iist lwrong because t h e hoov e s l o ok t o o sharp i n t h e snow and othat oksthe licolke oursit wasof tjhuest watplaecedr lowiokthian tlhitele photwrongo. Iwhenalso lothokiinkng atreusethe arestwatofer tpaihe ntpaiingntitneg.chniIquemostthlaty creat e d t h i s pi e ce t o I pi c ked up from my first piece, using the mixer brush tool and a stringy hair type brush to add in subtle waves.
EnvMyironment env i r onment i s my fav o uri t e pi e ce t h at I wi l be submi t i n g for t h i s assi g nment because not onl y was i t tbecause he fastestof tothecreatcoloeurs, Iandbelitehvee composi that istioaln.soI mybasibesetcalprevlyiousjusttwusedo paitnhteingssamebut tethchniis qtiuesme morethat Ieffici have einntlymy andlot betfastterer.tooMywithusetheofblecustndinogm shapes i s get t i n g a and warpi n g t o sui t . Ithehadresearch also nevforer thpaiis npiteedcewavwentes before so most of i n t o l o oki n g and how tfarhoseinarethe done.distance,In tIhe juend,st paibecause t h ey were so n t e d i n some di r ect i o nal lunderneat ines usingh tao gisinvgle ethebrushil usioandn ofaddithneg wava edarkercurlingcolour ovhavere ontwitoh tthheis surface of t h e wat e r. T h e onl y i s sue I pi e ce i s t h at t h e rock t o wards t h e ri g ht lloitoksle moretoo flat and I coul d hav e rendered t h i s a t o gi v e i t some more dept h . If I was t o tsuper ake thphotis furto realheristIic woulmattde usepaintiitng-lto iktery piandece creatbecausee a Iforrealthatly stloyvlee tofhe acomposipainttiinog.n andI woulthindk alit sowoulexperid workment wimoodyth thecolocolurours,paletbecause al t h ough I real l y l i k e t h e e , I don’ t t h i n k i t real l y cat c hes yourreally atpoptentioorn ata vfirst but somet h i n g wi t h col o urs t h at e ry phot o real i s t i c pi e ce woul d be more eye catching.
Charact e r Inassigmynmentopinibecause on, this iIs thavhe eworstcreatpiedececharacof my ttehirss onein thbute pastdue thtoat mylookpoora ltoimt enicmanagement er than Iter hadtoo tomuch.cut Tbackhe initonial detideaailinIg hadthis characwas t o creat e a kni g ht t o t r y and dev e l o p my armour paipainnttinga skidragon. l s or Into gothe realendlyIambiwastiouslookiandng atsomesomepiratconcept art on Pi n t e rest and found e -l i k e women and real l y want e d tfabrio gicves. tThhate meta hgoods because I l o v e pai n t i n g I used for t h i s was stinartsomeing wibaseth a coldetoursailedanddesipaignntisketng conh, taddihe ng tofop. myThischaract is theersmetbuthod itI tausekes forquitepaiantinlogngall ttiometryandandif leIarnhadsomemorenewtimewaysI woulof dpailikneting charact e rs. If I was t o t a ke t h i s furt h er I woulter, dmakikeepng renderi n g det a i l i n t o t h e charact h e mat e ri a l s l o ok more real i s t i c andreference fix mattheerifaceal. Thtereo lookwereclosera lotto ofmy cut backs on t h i s pi e ce, l i k e t h e det a i l i n g of t h e haibecause r and ofsomelackfeatofurestimethsoat II coulwantdedtatkeo add this a lot further than it currently is.
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(an analysis of a digital painting process) Ev a l u at i o n At the beginning of assignment planning I was key art piece that a games company would actually use
kienvndironment of nervs obefore us becauseso I Ididhavae lonott ofrealresearch ly painteindto how Ito coullookd atcreat. Thies itshesewhenandI thfoundey wianl startil ibest calquileted niHelceen Norcot t , whom I hav e spoken about numerous t i m es i n t h i s jpiournal . Her pai n t i n gs heav i l y i n fluenced my env i r onment ethroughces andstudyiaindgedhermy sketcomposiches.tionsTheandprocesspaintintghatteshechniqusesues itshattheI onecan thpaiat ntI quihavtee nistcelartyedwittho tusehis. She becausepaiInts foundusing mosther lyedgesthe laonssohertoolrocks s, whicandh youelementcans seeare,frombut howshe sharp uses aLuckilotlyofI custalroeadym shapeshad atoofewfor custdetoamilinshape g certasetins eltheatments. were sampl e d from di f ferent rocks and mount a i n s, but aftthatershebrowsirelengasedherherArtssettatioofn page, I al s o di s cov e red cust o m shapes t o o so I downloadAdvthoseantagesand ofusedpaithnoseting alusiongsing dtheis mytechnicurrentque isset. tthhate paiis nheavted illoyokreduces product i o n t i m e and I real l y l i k e t h ey hav e t o o. But , usi n g t h i s hel p s me concent r at e more on t h e composi t i o n and col o urs of t h e pipaiecent moreand tihnis thies afutuprocess t h at I wi l be usi n g i f I re t o keep pract i s i n g t h at unt i l I feela limicomfort a bl e wi t h pai n t i n g wi t h good composi t i o n and t e d col o ur pal e t e . I t h i n k t h at a pai n t i n g made like this would serve as a good base to start painting somet42hing that is heavily detailed to be a more effective
elements of his paintings.
tphoto advo erealrtisiestictheiorr heavproductily , stasyliseda ltootwardsof thtesehe game. tend toSome be ditosadvmakeantagesrocks thandoughthareings tlhoatok somet i m es i t can be qui t e hard real i s t i c wi t h t h em bei n g so sharp because rocks can al s o be round t o o and not j u st spipaiknedt deptor hwiitnh rocks super because sharp edges.of theI detfindails ofit tquihesete hardwhich tois somet h i n g t h at I shoul d pract i s e and t r y t o achi e v e t h e same level of detail that Helen employs in her daily sketches. on her One of her more det a i l e d pai n t i n gs, feat u red Art s t a t i o n port f ol i o , has al s o been pai n t e d usi n g aart.lotIofhadthealsame t e chni q ues, as T h e Di v i s i o n fan w ays t h ought t h at pai n t i n g a ci t y scape woulHeledn’sbepaiquintitneg aher,hardI thfeeling tao ldoit lebutmorebecause of confident knowi n g t h at I coul d t r y and do t h e same usi n g t h i s tofechnithiqsue.oneI torealo, landy lovtehe thusee composi t i o n and l i g ht i n g of her cust o m shapes. T h i s i s one of her si m pl e r, mi n i m al i s t i c pai n t i n gs whi c h I had al s o found t h at , l i k e Eyt a n Zana, she mi g ht shecomposihastionmademakesusinthgis thpiiseceprocessreally andeffectheriveuse. Herof lcolightoeurr and occasi o nal l y al s o use phot o graphs for t e xt u ri n g final pi e ces l i k e t h e one abov e and t h i s i s somet h i n g t h at I colthisourspiecearebecause warm butof herthe shadows are col d , so i t real l y ai d s coul d t r y i n t h e fut u re once I get more confident subt l e moody l i g ht i n g t h at gi v e s t h e wi t h addi n g and bl e ndi n g t e xt u res i n t o my final paibecause nting ait focalinspirespoinmet. Ito realcreatly eadmimorere pilookiecesng usiat nghersimworkilar pioneces.her YouArtstacantion alwhisochfindreally aaidlot myof paiherntintghumbnai l s process composi t i o n t e chni q ues t h at she has used and I real l y l i k e t h i s because I can see how much det a i l she put s i n t o oneof Eytbecause of t h e smal l e r l i g ht source whi c h remi n ds me t h ose first before she dev e l o ps a sket c h i n t o a an Zana’s way of painting with only selected areas final piece. being lit quite vibrantly and that is one of my favourite
Ibe thusedink alforso threalat lythisquiprocess i s one t h at can be used i n t h e games i n dust r y l o oki n g at some of t h e art books t h at I hav e col l e ct e d ov e r t i m e. I bel i e v e t h ese coul d c k env i r onment concept sket c hes but a l o t of compani e s t h at I woul d l i k e t o work for t e nd t o render t h ei r pai n t i n gs a l o t more by fil l i n g i t wi t h aaretonalsofo quidetcakil toanddo litbutle exttheyras.do Itahavke ea notloticedof alskisol ttohatmakemost thofem thloeokcompani e s t h at I woul d l i k e t o work for t e nd t o phot o bash t h ei r di g i t a l pai n t i n gs because t h ese good, l i k e concept s for T h e Last of Us and Unchart e d 4. Al t h ough I do not wi s h t o go i n t o concept art , I t h i n k t h at i f I want e d t o I coul d pract i s e t h i s t e chni q ue t o no end because i t ai d s my t e xt u re bl e ndi n g ski l s and each t i m e I creat e a pi e ce usi n g t h i s tofechnihowquefastthe itproduct i o n t i m e l o wers. I t h i n k I mi g ht occasi o nal l y part i c i p at e i n some of t h e Dai l y Spi t p ai n t s , a Facebook sket c hi n g group, usi n g t h i s t e chni q ue because i s but al s o how ni c e t h ey l o ok upon compl e t i o n. But i f I do ev e r want t o ent e r t h e games i n dust r y as a concept art i s t I woul d hav e t o ev e nt u al l y l e arn how to photobash professionally and I think this is the path that I would go down to get to that point. Useful Li n ks HelHeleenn Norcot t Port f ol i o ht t p : / /www. h el e nnorcot t . c o. u k/concept art / Norcot t Art s t a t i o n ht t p s: / /www. a rt s t a t i o n. c om/art i s t / skraww Eytan Zana Tutorials - https://gumroad.com/eytanzana
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