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Glasgow, United Kingdom
An illustrator and games artist living and working in Scotland. I have various hobbies: coding, travel, art and games; and I enjoy writing about them.

28 November 2012

The good, the bad and the ugly.

Finally finished the pre visualisation paintings for the Unreal Competition. Fun extremely fun to do and a challenge from the aesthetic point of view. How do you portray a place that is set absolutely nowhere? A surreal landscape of angular blocks and floating geometry?




Practice makes perfect, and with this one I had a chance to use a whole range of painting pipelines. The neutral environment follows closely Feng Zhu tutorials. It resembles traditional painting - one layer, one brush and off we go. This is a good way of working because it forces you to paint over mistakes and be a lot looser with paint, as if it was physical medium. The good environment follows a tutorial by Cynthia's approach from ImagineFX, I've explored and explained this topic at length in this blog post. The last painting, and imho most successful borrows from two sources - Carlos Huante and Feng Zhu. Carlos starts with a value sketch, a black and white painting of the piece. He then paints over it on a separate layer set to Overlay. Some tweaking is required because the colours and up over saturated. He then adds highlights and small details on yet another level set to Normal (or anything else depending on the situation). What I borrowed from Feng is the sky texture, which is added very subtly to add interest to the background. There is another layer with a stone texture set to Hard Light and very low opacity to add interest and texture to the ground. This trick is also borrowed from Feng Zhu.