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10
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TOP TIPS FOR
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WITH MASTER ARTIST ERIC CANETE ISSUE 217

FEATURE
LAND YOURJOB
NEXT BIG
Get ahead of the pack
with our career advice
PHOTOSHOP
ALSO INSIDE LIVELY
LEARN TO DRAW
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MASTER PAINTING AN
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SCI-FI ART
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ANATOMY PERFECTLY

HEADS UP! HOW COMIC CREATIVES REIMAGINED THE LEGEND OF SLEEPY HOLLOW


 
 Editor’s letter
Welcome to… EDITOR’S CHOICE Three of my top
picks this month…
42

Many much-loved stories have

made it onto our big screens
and wow us with gorgeous
visuals, but it’s less common to
see them in printed form Hollow: folklore reimagined
– which is why we jumped at Learn how the creators of this comic-book version of a
the chance to look at Hollow, a classic approached their remix.
reimagining of the classic
folklore story, Sleepy Hollow, 52
in graphic novel form. We spoke to the artist and
authors to see what went into this creative process.
We also try to help you improve your own art and
this issue is no different. We have a host of
training, starting with ten top tips from our cover
artist Eric Canete, who explains how you can
develop yourself and your skills.
Michelle Hoefener has produced a workshop on
mastering colour and composition to paint Cam Kendell’s sketchbook
beautiful science fiction art, and we also have a Discover the fantastical, story-rich designs of this
fantastic tutorial on painting underwater scenes professional illustrator and comic creator.
with watercolours. 92
If you’re looking to nail anatomy in your work,
Rodrigo Gonzalez shows you how to draw the
neck, and in Charlie Pickard’s series, he covers
hand structure. Enjoy the issue!

tor Create a beautiful underwater scene

[email protected] Natacha Chohra demonstrates how she works with
watercolour to paint an aquatic environment.

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 Contents
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Your art 10 24
10 FXPosé
A round-up of digital art, submitted by you.
News and events
24 How to get hired
by a studio
Find out what studios look for in artist
portfolios, plus career advice from the pros.
34 Artist in Residence:
Maxine Vee
Check out the colourful and cosy
workspace of this Canada-based illustrator.
38 A day in the life of FXPosé How to get hired by a studio
Phil Boutté
The costume concept artist gives an insight
into his non-stop schedule.
42
Features
42 The making of Hollow
Discover this spooky new graphic novel
that reimagines a classic folklore tale.
52 Sketchbook: Cam Kendell
The comic creator shares his incredible
character and creature designs.
Reviews
82 Wacom Cintiq Pro 16
After testing out this powerful pen display, The making of Hollow
do we think it’s worth the premium price?
84 Comic round-up 34 52
A selection of comics are rated and reviewed
– which should you add to your collection?
Regulars
6 Resources
7 Next month
8 Print subscriptions
22 The Rookies
41 Letters Artist in Residence:
50 Recent editions Maxine Vee Sketchbook: Cam Kendell
58 Digital subscriptions

 
 Issue 217
66 68 Workshops
60 Level up your
creative process
Our cover artist Eric Canete offers his 10
pro tips for elevating your art skills.
66 AI-powered illustration
Edward Denton explains how Midjourney
offered a unique starting point for his art.
AI-powered illustration Bring your sci-fi scenes to life 68 Bring your sci-fi scenes to life
Make use of colour, lighting and materials
to create a captivating sci-fi character.
60
74 Scene building: composition
Marcel Deneuve talks city design.
76 Drawing necks: an easy guide
Learn how to achieve accurate neck
anatomy with these simple steps.

Level up your creative process

76 92
Drawing necks
Traditional Artist
88 Traditional FXPosé
Discover this month’s selection of the
finest traditional art, sent in by you!
92 Workshop: Create a beautiful
underwater scene
Natacha Chohra reveals the steps behind
her gorgeous aquatic portrait.
96 Workshop: Simple tricks for
hand structure
Part 7 of Charlie Pickard’s anatomy series,
this month focusing on hand proportions.
Create a beautiful 98 First Impressions:
underwater scene Emily Fiegenschuh
The fantasy artist answers our questions.

 
 Resources
Editorial
Editor Rob Redman [email protected]
Art Editor Daniel Vincent
Production Editor Rachel Terzian
Contributors
Tanya Combrinck, Dennis van Kessel, Darren Yeomans, Julia
Tolstova, Jesper Andersen, Maxine Vee, Phil Boutté, James

Getting hold of this issue’s resources is easy. Clarke, Shannon Watters, Branden Boyer-White, Berenice Nelle,
Cam Kendell, Eric Canete, Michelle Hoefener, Rodrigo Gonzalez,

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 
 Worldwide offer!
Cover art
for issue 151
by Tran Nguyen

 
 1

THE PLACE TO SHARE YOUR DIGITAL ART

Patricio Clarey
LOCATION: Spain MEDIA: Photoshop WEB: www.artstation.com/patricio
Patricio has been working as an illustrator with Illozoo
Agency for ten years, while also working on personal
projects. “I’ve published three graphic novels and
two art books; BIOTIC is my most ambitious project.”
2

1 WINGS
“Wings is a giant
sculpture clinging to the
3 4
ground. It represents
distorted freedom.”

2 BIOTIC
“BIOTIC is the latest
personal project I’m working
on. It is a narrative art book,
and I’m making the music for
it as well.”

3 FEELINGS
“A giant floating
sculpture, which glows when
someone approaches.”

4 ADAPTATION
“Adaptation is a giant
museum canvas the
character visits. It represents
the fall and adaptation of the
human race.”

10

 
 5

5 ARROWS
“BIOTIC is full of symbolism,
since there will be no text. This piece
depicts a canvas in a museum that
the main character of the story visits.
It represents chaos.”

Want to submit your work? Visit http://ifxm.ag/getinifx 11

 
 Helene Letourneur
LOCATION: Réunion Island MEDIA: Procreate WEB: www.helenelet.com 1 FRIENDS
“Inspired by another
Helene loves telling stories inspired by the world around us. She artist’s work (Clémence
Guillemaud), Friends is
illustrates children’s books and scientific communications. Her my view of a true and
work is recognisable by her use of blue and purple tones. magical friendship.”

12 Want to submit your work? Visit http://ifxm.ag/getinifx

 
 2

3 4
2 THE WHALE
“I loved drawing
cetaceans when I was a child.
I wanted The Whale to be a
sweet and dreamy reminder
of this period of time.”

3 RÉUNION ISLAND
“I was born on Réunion
Island, but I grew up in many
places before later moving
back to my birth place at the
age of 25.”

4 DONKEYSKIN
“This illustration is a
tribute to the famous fairy
tale Donkeyskin, and our
childhoods full of dreams
and imagination.”

Want to submit your work? Visit http://ifxm.ag/getinifx 13

 
 Penelope R. Gaylord
LOCATION: US MEDIA: Photoshop WEB: www.instagram.com/PENGPENGART
Penelope is an illustrator and concept artist who started her career in
comics, but has since moved over to the animation industry. She has
worked for publishers such as Penguin Random House and DC Comics.

1 SHOOFLY CLUB
CONCEPT ART
“Concept art for one of my
1
own intellectual properties
‘Shoofly Club’ – a young
group of friends with
overactive imaginations who
solve mysteries.”

2 SUPERS VIDEO GAME

“Fan art of my two
favourite superheroes,
Superman and Wonder
Woman, having a moment of
low-stakes competition on
the sticks.”

3 CAPTAIN MARVEL
“Cover image for the
‘Captain Marvel’ Little
Golden Book, published by
Penguin Random House,
2019. Book interiors were
also illustrated by me.”

14 Want to submit your work? Visit http://ifxm.ag/getinifx

 
 3

Want to submit your work? Visit http://ifxm.ag/getinifx 15

 
 Yutaka Toguchi (AKA Kindcoffee)
LOCATION: US MEDIA: Photoshop, Clip Studio Paint WEB: www.yutakatoguchiart.com
Yutaka is a Japanese-American artist who, much like the countries
themselves, draws on both their styles. “I use digital mediums to design
characters. When not doing commissions, I draw fan art of popular games.”
1

16 Want to submit your work? Visit http://ifxm.ag/getinifx

 
 2

1 PALADIN
“A commission depicting a client’s
character from a game they play. I learned a
2 JECHT
“My version of the character from Final
Fantasy X. I wanted to create a very seaside
3 WARRIOR OF LIGHT
“This piece was the starting point for me
doing the rest of the main characters from
lot about composition and detail placement feel by incorporating the sky and the ocean the numbered Final Fantasy series.”
from this one.” in the same piece.”

Want to submit your work? Visit http://ifxm.ag/getinifx 17

 
 Luuk Ammerlaan
LOCATION: The Netherlands MEDIA: Photoshop, Procreate WEB: www.luukammerlaan.com
Luuk is a visual development artist who enjoys designing and
colouring keyframes, props and locations. With his art he loves to
portray dynamic action scenes and quiet slice-of-life moments.
1

1 STYLISED PORTRAIT
“This painting was done based 2 A CHILDHOOD MEMORY
“This image represents one
on a movie reference. I like to do of my first memories. I was three
3 JUST CHILLING
“Made at the beginning of
quarantine, I wanted this painting
4 COAST SUNSET
“Created for the PleinAirpril
challenge, this was painted from
studies like this to practise my or four and my dad used to bring to give the viewer a feeling of a reference; again the purpose
sense of colour and light.” me to the park and swing me being there with these characters was to practise my lighting and
around by my arms.” and having a good time.” to simplify the design.”

18 Want to submit your work? Visit http://ifxm.ag/getinifx

 
 3

Want to submit your work? Visit http://ifxm.ag/getinifx 19

 
 Lola Yiting Zhang
LOCATION: US MEDIA: Photoshop, Blender, 3D-Coat WEB: www.artstation.com/lolazhang
Lola Zhang is a concept artist who currently works at Sucker Punch
Productions. After graduating from ArtCenter College of Design, she
has worked on IPs such as Halo Infinite.

1 NIGHTMARE
“One of my daily character
designs inspired by the
1
colour palette and form
language of a Batflower.”

2 HALLUCINATING
“From personal project
‘Mirage’. This frame depicts a
moment when one of the
main characters starts
hallucinating, caused by his
suit malfunction.”

3 THE LIGHT
“A speed painting done
in my spare time. The focus
was on brush economy,
capturing the lighting and
subtle colour variations.”

4 MORGAN LE FAY
“A character designed
for The Legend of King
Arthur Character Design
challenge. A vengeful
sorceress. Her motif was
heavily inspired by the shape
language of a mantis.”

Do you want to see your art on these pages? Then email five pieces of your work and a short explanation
about each artwork, along with a photo and a few details about yourself, to [email protected]

20 Want to submit your work? Visit http://ifxm.ag/getinifx

 
 2

3 4

Want to submit your work? Visit http://ifxm.ag/getinifx 21

 
 The Rookies is a platform
to help digital artists
get discovered without
having to compete
with professionals for
attention. You’ll get to
the front page of those
sites one day, but for now,
we’ve got your back and
want to help turn your
passion for creative media
into a successful career.
WWW.THEROOKIES.CO

22

 
 The Rookies
Tetsu no Hada
YEAR CREATED: 2022 MEDIA: Blender, Photoshop

“Tetsu no Hada is a personal project born from the closure

of Japanese borders, therefore multiple cancelled trips. This
project was a good outlet and a way to work on contrast, an
element that is very present in this culture. The softness of
mist and snowy landscapes, in opposition with the brutality
of fire and steel, creating the feeling of a world under
constant threat, despite the calm-looking environment.”

Artist
PROFILE
Legouini Clément
LOCATION: France
25-year-old Legouini Clément is a
concept artist from Paris, who
loves to create environments
– exploring and discovering new
cultures and their folklores,
beliefs and traditions.
www.therookies.co/entries/17730

23

 
 ARTIST NEWS, SOFTWARE EVENTS

AT THE CORE OF THE DIGITAL ART COMMUNITY

How to get hired by a studio

Career advice Tanya Combrinck finds out how to put together the perfect
portfolio and showcase your skills to impress a top art director
Getting a studio job isn’t the only okay!” says Dennis van Kessel,
way to have a career as a concept artist at Atomhawk, a studio
professional fantasy artist, but it that produces digital art
does have some major advantages. and motion graphics for
Being surrounded by more the games industry. “If
experienced artists, regularly you are looking for your
receiving their feedback and insight, first break into the
usually means you improve much industry, I wouldn’t worry too much
faster than you would as a freelancer, about matching a certain studio’s style
and the financial security of a regular – especially if their style is extremely
paycheck means you can focus on specific. As someone looking to get
your art without worrying about their foot in the door, you’re better off
making rent. having a wide range of options rather
But getting your first break can be than putting all your hopes on getting
tough. At the start of your career it a job at one or two studios.”
can be difficult to know whether to Your portfolio is of course central to
produce work tailored to the studios your application, so getting it right is
you aspire to work at, or to lean into crucial. “Your portfolio is only as good
your own style. as your worst piece,” says Dennis.
“The path to your dream studio “Many artists fall into the trap of
might not be a straight line, and that’s wanting to show off an incredibly

Many artists fall into the trap of

wanting to show off a wide range of
skills… focus on your strengths!

'Believe in the
unbelievable', a piece
by Atomhawk senior
concept artist Gavin
Manners for the
studio’s new website.

24

 
 A WHIMSICAL COSTUME YOUR VIEWS,
WORLD
Freelance illustrator
CONCEPTS
We get the lowdown
YOUR ART
Readers write in with
Maxine Vee discusses on a typical day their art news and
her tips for organisation (starting at 4am!) in the opinions on what we've
as she shows us round busy life of Phil Boutté, covered in ImagineFX.
her bright and colourful working on costume Plus, we feature art
studio filled with concept designs for that's caught our eye
inspirational art. film and TV. on social media.
Page 34 Page 38 Page 41

25

 
 ImagineNationNews

“If you want to be a specialist,

you need to stand out at a
high level, so the learning
curve is steeper than that of a
generalist,” says Jesper
Andersen of MOOD.

wide range of skills, but that is only Take us on a journey to that final
worth doing if you have a consistent rendered image; we want to see how
quality level across those skills. Focus you got there!”
on your strengths!” Remember to always prioritise
quality over quantity. “Don’t feel you
WORK HARD, AND KEEP LEARNING
Darren Yeomans, studio director at
have to show examples of every style
and genre you can think of. Show us
Atomhawk, advises that if you are your style and what you are interested
targeting a particular art director with in,” he says.
your application – which is Dennis has one final important
a good idea – make sure piece of advice that may sound basic,
you do your research and but it’s something many artists don’t
include pieces that will do enough of: Apply!! “You cannot get
pique their interest. hired without applying. A lot of people

Make sure you’ve covered the basics

– lighting, anatomy, composition – and
clearly demonstrate this in your art
Also remember that studios want to fear the rejection, but that is a normal
see that you have a firm grasp of the and natural part of applying for jobs,”
academic principles of drawing. he says. With each rejection you 'Believe', artwork by
“Don’t forget your fundamentals,” should ask for some feedback. “Work intermediate concept artist
says Darren. “Make sure you have on that feedback and apply again at a Josh Hutchinson for
Atomhawk’s new website.
covered the basics – lighting, anatomy, later date, showing that you have
composition – and have clearly taken on the feedback and
demonstrated this in your artwork.” significantly improved. In doing so you “If you want to stick to your own
style as opposed to adapting to
He also notes that they want to see demonstrate a willingness to learn, to what’s required by a studio, that’s a
your process and ideation. “Too often listen to feedback, and to work hard.” valid option. It just means you will
be waiting, maybe for a long time,
we only see the finished piece, without Atomhawk has produced a resource for the right project to come along,”
any of the early sketches and ideas. called StudioQuest, which will help says Julia Tolstova, Grafit.

“Larger studios have more specialised roles,

while indies and small teams will require
artists that can do a wider range of work,”
says Dennis van Kessel, Atomhawk.

26

 
 Artist news, software & events
Campaign artwork for
Atomhawk’s art
competition in 2021, by
senior concept artist
Brock Grossman.
MOOD studio art director Jesper
Andersen on how to get an edge
over the competition

How should an artist go

about approaching a
studio or art director in
the first instance?
It goes without saying that you
need to do some homework;
who is it you’re approaching?
What have they done before? Is
there something that moves you
particularly? It’s great to tie your
application or opening email
with a personal experience that
relates to seeing artwork or
products from whomever it is
you’re approaching.
What are some common
mistakes that candidates
make in their portfolios?
Not daring to show your process.
Nothing beats seeing the process
towards the final image or
design. We want to see all the
choices you’ve made; show the
steps in creating the artwork
from sketch to final art piece, the
research you had to do, what
kind of story you wanted to
imbue the artwork with, and the
decisions your workflow was
influenced by.
What are the most important
core skills for working in an
art studio?
you prepare for life as a professional Artists’ studies from
Grafit. It’s important
your first choice doesn’t mean you Being a team player and being
artist in a studio. You can check it out to include these in won’t reach your goal further down approachable – prima donnas
at bit.ly/3P5XxS5. your portfolio to show
how you developed the line. are not something that inspires a
When preparing yourself for studio team. Communication is
TAKING THAT FIRST STEP
Grafit is an outsourcing studio
your sketches into a
final artwork. life, remember that outsourcing
studios work on multiple projects with
everything, so if you can’t
express your ideas and explain
producing concept art, illustration and different styles, so one of the most your thoughts or criticism, then
graphics for clients including Riot important attributes that they will be you’re going to have a hard time.
Games, Bethesda and Activision. looking for in potential new-starters is We scrutinise the portfolio, that’s
Producer Julia Tolstova also advises the ability to adapt to that range of the thing that will get you in the
against being overly selective about styles. “The most important skill is the door, but then the in-person
your first job, as you can willingness and ability to learn new interviews are really where we
waste too much time things – and quickly,” says Julia. try to get a feeling for what type
waiting for an opportunity Even if your style is quite different of artist we’re dealing with.
at your dream studio. to what you see on a studio’s website,
“Just go through the open Julia says you should apply anyway if Jesper Andersen is studio art
door, get the experience and move on. you want to work for them, because director at MOOD, a visual
development studio based in
There is something useful you can they might have a suitable project Copenhagen, Denmark.
take from every working experience,” waiting in the wings. “Don’t hesitate,” www.moodvisuals.com
she says. Taking a job that may not be she says. “There are usually plenty

27

 
 ImagineNationNews
The most important
skill is the willingness
and ability to learn new
things – and quickly

Key art by concept artist Matias

Tapia for an Atomhawk art
competition, with the theme
'Forgotten Creation'.

Art by Olle Wedenmark for

MOOD's Fall of Gods – a
Norse-inspired trilogy of fully
illustrated, cinematic novels.

28

 
 Artist news, software & events
Artwork from the first episode of
Atomhawk's StudioQuest series,
in which senior artist Mauro
Cerati breaks down his process of
creating a mood piece for the
game Project Canopy.

Fall of Gods art by Rasmus Berggreen, MOOD

CEO and co-founder, who also wrote the
books' story along with Michael Vogt.

29

 
 ImagineNationNews
Artwork from Fall of
Gods by concept artist
Kamila Szutenberg for
MOOD Visuals.

of projects under NDA or still in 'Roller girls', inaugural

hero artwork for
progress that we may not show for Atomhawk’s new site,
another couple of years. You never by lead artist
Charlie Bowater.
know, we may well be looking for
someone with your skills right now.”
AWhile
TEAMit’sPLAYER
your artistic ability that will
get studios interested in employing
you, it’s important to remember that
it’s not the only thing that matters –
you also need other skills such as the
ability to communicate well and work
as part of a team. Should you reach
the interview stage, most studios will
have devised methods of testing for
these qualities, and you will need to
demonstrate that you’re a well-
rounded worker.
“The ability to receive and apply
feedback is essential,” says Julia.
“Artists need to understand that they
are working to achieve what the art clear that they would be easier to ideation – are your ideas any good? Is
director, project and client require; not work with. there thought behind how your
their own artistic vision.” She also Like Dennis, Julia says there’s no mechanical design works? Are you
notes that sometimes artists with need to get disheartened by rejection. able to convey a story in your
superior communication skills have “Even if the rejection is because your environment through architecture or
been selected over candidates with skills aren’t at the right level yet, if you placement of objects?”
better artistic abilities, because it was then reapply at a later date and He emphasises the importance of
demonstrate great progress, that’s a getting your portfolio right. “I can’t
Artwork by Elina
Akhyamova of Grafit
sure-fire way to impress us.” stress enough how important it is to
depicting the biblical Jesper Andersen is studio art be selective in your portfolio,” he says.
story of Salome. director at MOOD, a visual Kill your darlings. If you know that a
development studio that piece you love is old and unsuitable,
has worked on titles take it out. “Get your portfolio peer-
including Hitman, God of reviewed. Growing a thick skin and
War and Fall of Gods. knowing how to take critique and
“What we look for is implement it for the betterment of

Knowing how to take critique and

implement it for the betterment of your
art goes a long way
30

 
 Artist news, software & events
Artwork from Fall of
Gods by Silas Amdi,
lead concept artist at
MOOD Visuals.

An example mech
your art goes a long way, and often for the 'Forgotten
your fellow artists will spot or call out Creation' art contest,
made by Atomhawk
things that you didn’t even consider.” senior concept artist
Gavin Manners.
STAY MOTIVATED
Jesper likes a portfolio that shows
some range. “It’s great to focus on a
style that fits the role or studio you’re
applying to, but throwing in a
curveball and showing, hey, you can
actually also use Marvelous Designer
to design character costumes, for
example, is always a treat and it shows Artwork from Fall of
that you have talent and drive for Gods by senior concept
much more than what you have artist Rafael Kowalski at
MOOD Visuals.
initially shown.”
If your portfolio lands you an
interview, take this chance to
demonstrate your motivation and
desire to excel. “It’s very important for
us that the artists we hire can not only
produce the quality of artwork we
need, but can also function within a
team. In particular, we want to see
passion for the craft and an interest in
developing your skills – knowing
where you want to be as an artist is
something we’re always interested in
and always support in-house.”

31

 
 VENTURE
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the lines

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33

 
 ImagineNation Artist in Residence
My sister painted this beautiful portrait of me and her posing in front of
my mirror. The picture is inspired by the first time she visited my place,
and she gave it to me as a housewarming gift!

Maxine
Vee
A place in the sun The
illustrator reveals how her
cosy, personalised work-
space keeps her inspired
My little corner of the
world is bright,
colourful and cosy –
everything I love
about being an
illustrator! I spend a lot of time in my
studio, so I wanted to transform it
into a special place where all my
creative juices and ideas can flow
freely, while still feeling organised
enough that I can get actual work
done when needed too!
One of the best things I have in my
studio space is my standing desk,
which is set up against the wall. It’s
great because this desk is quite
spacious, so it still gives me plenty of
room to add my second monitor

A little silly Purikura photo of my

partner and me in Japan. I like
looking at this photo since it
always makes me laugh, so I
decided to frame it.

Sibylline and Heikala’s art books

serve as an inspiration for me. I
don’t usually work in traditional
mediums but flipping through
their works and reading their
thought process makes me feel
inspired to try different mediums
I’m not comfortable with.

‘Porcelain Garden’: I wanted to create a moonlit

garden filled with these beautiful vases.

34

 
 Artist news, software & events
When I lived with my parents, I always saw my mum decorating the living room according to the year’s season. At that I’m a big fan of Sibylline’s work and having her art
time, flower walls were all over Pinterest, so I showed them to her. She surprised me by making these flowers and on my wall always brightens my day, since her
hanging them up in my bedroom. I love it so much. Every time I see them, they remind me of my mum! colour palettes have inspired me.

My brothers made fun

of me when they found
out what my wire
management looked like
(you should’ve seen it
before; it was a bird’s
nest), so I made sure
to invest in a cable
management box.

I always wanted to In 2020, I participated in

decorate my wall the Mermay challenge and
with some greenery; drew a mermaid every day
however, when it fell, during May. I won first
it looked nice on top place in the challenge and
of my computer was gifted the Cintiq 22! I
stand/desk, so I just use this tablet every day
left it there. and love it so much!

35

 
 ImagineNation Artist in Residence

My sister has taken up a new crocheting hobby, and

she made these beautiful flower coasters to keep in
my studio since she knows how much I love tea.

and my Cintiq 22. Not only does it

also help me avoid getting too tired
from sitting all day, but it also makes
me feel like I’m getting a little exercise
by being active while working – it’s a
win-win!
In addition to my work area, one of
my absolute favourite things about it
is my wall of inspiration, where I would
put up a mix of prints from my
favourite artists and prints made by
me! So, when I start my day in the
morning, having all these prints
hanging on the wall reminds me of
why I started doing all of this in the
first place: creating artworks!
KEEPING PRODUCTIVE
While working from home has a lot of
benefits, sometimes it can get
distracting; one tip that has stuck with
me is that it’s important to develop
habits that help me feel organised and
in control of my day. I found out I am
the most productive in the morning,
so I manage my time using the Notion A wall of inspirational
art prints.
the app to list my top priorities and from my friends. So, I try to keep my
app to get all the essential tasks done deadlines for that week and fill up my phone away from me during the
first and then do other smaller jobs days with other smaller tasks such as morning unless I’m posting on social
later in the afternoon. admin work, social media schedule, media or recording painting videos!
Using Notion and my calendar has etc. I try to keep things flexible; that I’m thrilled with my space and feel
been a game-changer for my work. way, when something goes wrong, it’s lucky to do this for a living. Having this
Before the end of every week, I use easier to identify what happened and space makes me feel motivated to
fix it quickly. tackle any project that comes my way.
It’s important to develop I also try to limit myself from using But sometimes, I also need to remind
habits that help me feel in too many resources at once – whether
that means scrolling through social
myself to take breaks as well! As much
as I love getting curled up, drawing,
control of my day media while working or getting
distracted by videos or text messages
and painting all these crazy and fun
ideas, going for a walk and taking

36

 
 Artist news, software & events

My dad made me this adorable crane. It This stamp is quite unique to me since it’s I wanted to have a small plant that can
reminds me of him since he loves creating custom made, and I love using it to stamp grow in the corner of my room, so I
and painting like me! my orders I send out to customers. decided to get the hearty ZZ plant.

Celestial Library: A library where you can

study the history of wishing stars, read about
each fallen star, and learn anything celestial.

Originally my partner’s plushie, I ended up claiming

it since the meme represents me when I get super
stressed with work, so it’s a fun little reminder.

breaks is vital. Not only does it help

me see my work from a fresh new
perspective, but it makes me even
more excited to come back to my little
corner of the world!
Maxine Vee is freelance illustrator based in
the Greater Toronto Area. She specialises in
whimsical, colourful illustrations that have
a soft and dreamy feel to them. She has Celebrating my first year
worked with clients in the animation, as a full-time illustrator
and self-employed artist. I
gaming and publishing industries including hung up prints from some
Scholastic, HarperCollins, Penguin Random of my favourite artworks I
created that year.
House and more. maxinevee.com

37

 
 ImagineNation News
A day in the life of…
Phil Boutté
Concept design of Dwayne ‘The
Rock’ Johnson as Frank from
Disney’s Jungle Cruise.

Industry insight The costume concept

artist has worked on the likes of Jungle
Cruise, Black Panther and Maleficent
Usually, not on purpose, I wake up
around 4 or 5am. When I’m not being
lazy, I go to the gym because it’s the
only time I have to do that in my Concept Art
Association is an
balancing of work and family. I organisation
actually go back to bed from 6 to committed to
7am, then take my daughter to elevating and
raising the profile
school and start work around 8am. of concept artists,
I try to make my mornings a mental their art and their
involvement in the
sprint – to be as efficient as possible entertainment
with design thumbnails. Sometimes I industries. Its
have my sketchbook next to me, and annual Concept
Art Awards Show
I’ll do crappy sketches to warm myself showcases and
up. Then I go into the computer and recognises
start roughing out thumbnails – head behind-the-scenes
individuals
studies, different hairstyles, pose working in
references. I render those so by the entertainment
concept art.
time I go to lunch, I have maybe ten conceptart
thumbnails to show the designer. association.com.
They can look them over and give me
approval so when I come back, I’m
ready to start doing the actual
illustration of the costumes they’re
interested in. The later part of my day
is trying to get the character standing
in front of you, even if it’s just an initial
rough sample.
SELF-MOTIVATION
I pick my daughter up at 7:40pm, and
From Netflix show
Jupiter’s Legacy,

serutciP yensiD tlaW ©

concept design of the
it’s dinner and family time after that. If powerful Lady Liberty.
I’m being realistic, dinner is
sometimes them bringing me food
while I’m still working at my desk. And
that’s about it. I feel myself start to
wind down at 9pm. A look into Phil’s
in-home studio.
Being a self-starter is key to
working in this industry. Don’t wait to
be told what to do. Find what you
want and surround yourself with like-
minded people. If you want to be an
artist, surround yourself with artists. I
think there comes a certain point
where you have to jump fully into it
and not look back.
Phil has been working as a
costume concept artist and
production designer for film,
music videos and television for
the last 14 years, as well as one of the co-
founders of 9B Collective, the first black-

xiflteN ©
owned concept art studio. @phil_boutte

38

 
 In partnership with

serutciP yensiD tlaW ©

Being a self-starter
is key to working
in this industry.
Don’t wait to be
Concept design for
Maleficent: Mistress of Evil.
told what to do
39

 
 
 Letters

New works that have

YOUR FEEDBACK & OPINIONS grabbed our attention
Contact the editor b Redm
on [email protected] or write
to ImagineFX, Future Publishing,
Quay House, The Ambury,
Bath, BA1 1UA, England
Follow us on Twitter:
twitter.com/imaginefx Issue 216 included some articles featuring AI tools for
artists. Let us know your thoughts on these new tools.
Find us on Facebook:
facebook.com/imaginefx No more AI please!
Share your artwork via #imaginefx: I’m seeing AI everywhere these days. I
instagram.com/imaginefxmagazine don’t want it to take over my creative
process and don’t want it in my favourite
AI confusion art mag. Thank you.
I’m writing to talk about the recent Gerard via email
coverage you have given to AI tools like
Midjourney. I can’t tell if AI is a good Rob replies Hi Gerard. Artificial
thing or bad for artists, or the wider intelligence is becoming ever more pervasive Stephanie
industry as a whole. Surely this is just a in many areas of life, and I don’t see that @bymidnightoil
matter of typing what you want to see slowing down any time soon. Here at
and then hoping the computer spits out ImagineFX we try to find a balance for what
what you need? Doesn’t sound like DID YOU MISS we cover in the magazine, with features and
creativity or art to me. THE PREVIOUS workshops on many different tools, as well as
Nina via email PACKED ISSUE? styles of art. When digital art tools started to
Don’t worry – really pick up, many people were fearful that
Rob replies Hi Nina. I totally understand you can get hold the computer would take their jobs. As it
where you are coming from and it is easy to of issue 216 turned out that’s far from the case, with
see AI as just this but, similarly to generative at ifxm.ag/ digital art being highly revered now.
music, there is a lot of input and choice single-ifx. So, while we will always look to cover
involved here. Iteration is key to success with everything from traditional to digital, I think
AI art, as well as some skill with the text input there’s a place for a little AI.
in the first place. I’ve seen some real horror
shows with prompts that you’d think might Thank you
produce wonderful art. On top of that, I think Hello ImagineFX. I’m writing after Farhad
AI will become part of a wider palette of tools reading the latest issue, which showed @farhad.k_afs
that will find a place in some artists’ Guille Rancel’s advice for painting
workflow. It won’t be for everyone, but as a science fiction cartoons. Something in
tool for rapidly working out concepts I think it Martin Nebelong delved
into Midjourney and that struck me and has changed the way
has some value. As with any new tool, time Disco Diffusion last issue I approach my own compositions. I’d
will tell. We will keep an eye on this space to be used to generate some never really considered what is behind
to explore how they can
see how it develops. pretty cool imagery. the artist before. His tip talking about
what the characters are looking at has
totally changed my own perceptions of
my characters, as I’d always had them
looking at something within the art.
Please pass my thanks on to him, as that
has opened my eyes in a big way.
Claude via email
Rob replies Hi Claude. Thanks for getting
in touch and so glad you’ve found some new Emma Chudoba
possibilities for your work. It goes to show that, @eyaninn
while step-by-step workshops can be really
useful, sometimes a single tip or a new If you’ve created art that you want us to
perspective can really be valuable. Have a look shout about simply tag us on Twitter or
Instagram, and use the hashtag #imaginefx
at page 92 for more nuggets of artistic advice.

41

 
 Feature

FOLKLORE
REIMAGINED
The creators of new comic book Hollow take us into their imaginative
remix of American folklore classic, The Legend of Sleepy Hollow
ome stories endure beautiful, interesting medium because
and, as the decades they offer such an intimacy of
roll by, each sequential storytelling,” she observes.
generation finds “When somebody is sitting down with
itself reimagining, Hollow, or any comic, they are
reinventing, and engaging in sequential storytelling,
repurposing that original story to visual storytelling, that is just between
make it anew. That’s what makes a the three of us and our colourists and
classic a classic: it has staying power the reader. It’s lovely. It’s intimate.
and it’s a two-way conversation When Branden and I write scripts,
between the storyteller and the reader. we’re writing them for Berenice and no
It’s an enchantment, we might say. It’s one else.”
this kind of process that’s at the heart
of the work of the team who have
brought Hollow to life on the comic
GROUNDED IN CHARACTER
Of the dynamic between word and
book page. image, Branden notes, “I come from a
Due for publication in late prose background and this is my first
September 2022, Hollow will be time writing a graphic story. The
published by BOOM! Studios and difference of knowingly
comes from the creative triumvirate of collaborating with an
Shannon Watters, Berenice Nelle and artist was really exciting.
Branden Boyer-White. Shannon and Having in mind the
Branden (based in the US) are the question ‘Can we make
writers of Hollow, and Berenice (based Berenice laugh with this description?’,
in Germany) is the project’s illustrator. and then getting those images back
The conversation begins with and seeing them light the words on
Shannon reflecting on fire, it was like she had walked
what makes the comic- through the town and seen it and
book medium so distinct
and special. “I think
SPOOKY ADAPTATION
The Hollow comic is inspired by
drawn it. It added vitality and
encouragement to any rewriting that
Washington Irving’s short story,
comics are a really The Legend of Sleepy Hollow. we had to do. That for me, was the

42

 
 Hollow
ORIGINAL LEGACY
For the creators of Hollow, the
opportunity to add to the visual
heritage of the original legend has
been a vital creative impulse.

srettaW nonnahS & etihW-reyoB nednarB 2202 © & MT

43

 
 Feature

HALLOWEEN COUNTDOWN
Normal life at a new school soon
becomes overshadowed by
legends of curses and ghosts…

coolest part of getting to work in

graphic storytelling.”
like Giant Days). I am always trying to
ground stuff in character. Character is
SCHOOL DAYS
A contemporary story,
Wall because it’s that love letter to
autumn and to Halloween. It’s just
Hollow draws some of
Creatives never work in a vacuum, the most important piece and there are its sensibility from dripping with atmosphere.”
and our conversation moves onto so many writers and artists in comics ‘slice-of-life’ manga.
influences on Hollow and its
particular sensibility and tone.
that really shine that way.” Branden
adds that for their process and creative
A“OurBRAND-NEW ADAPTATION
wish list for artists was for
“Whenever you think about comics, choices on Hollow, “I had comics somebody who could do a lot of great
you have to think of the writer and the inspirations in mind and particularly character acting,” Branden recalls. “All
artist as one,” Shannon points out. “It Patrick McHale’s Over the Garden we had was an outline, but we knew
might be a team of people, but the we wanted to make the book very
writing is nothing without the art. For
me, Hollow is very much in the We really wanted to funny. It was also important to us that
we work with somebody who could
tradition that I love, which is the honour the original story capture how eerie and how beautiful
influence of slice-of-life manga and
American indie humour comics (stuff of Sleepy Hollow Sleepy Hollow is. We really wanted to
honour the original story and the
incarnations that have come after,
right? In the original story, the
descriptions of Sleepy Hollow are
stunningly beautiful. And then, you’ve
got so much great art over the
centuries: whether it’s paintings or the
Disney animated short adaptation or
the Tim Burton movie version. We
wanted somebody who could bring
our own unique take to life visually,
but also somebody who would roll
with that tradition of it being a pretty
autumn postcard scene and who could
also draw accurate settings, like the
famous graveyard.”
Branden adds, “That was going to be
STORIES RETOLD important to us, and we also needed
Hollow’s narrative somebody who’d be really good at
remixes the original
American folktale for drawing horses! There are hundreds of
contemporary readers. panels of a ghost horse with its

44

 
 Hollow
SLEEPY HOLLOW
For the Hollow team, expressing
the charms of the real village of
Sleepy Hollow was essential.

GHOSTLY PURSUIT
THE ART OF COMICS
Shannon Watters offers advice on
Autumnal aesthetics inform the
comic’s colour palette. getting busy with comic creation
“Comics is a small place, and it is an artform that
continues to expand and grow. It makes sense that the
progressive storytelling wing of comics has surged so
intensely in the last ten years, because it is such an
intimate medium and it allows such a person-to-
person form of expression. The gatekeepers are
thinner on the ground for comics. I always recommend
that young people read Understanding Comics by Scott
McCloud. It’s a really important place to start to
understand the terms for the things that you feel
when you’re reading a comic. The best way to
learn comics is to make comics.”

UNCOVERING MYSTERIES
The real and the otherworldly
collide throughout Hollow.

45

 
 Feature
own little personality.” Hollow’s QUIRKY AND COLOURFUL
Counterpointing the American
illustrator Berenice interjects and Gothic tone of the story is a
wryly observes: “Guess who spent light-hearted, playful quality.
their whole childhood
drawing horses? The horse
is one of my favourite
characters in the book. It
really is its own character.”
Berenice’s observation prompts her
to give an overview of the visual
aesthetic for Hollow, and begins by
noting: “We all come from such
different backgrounds when it comes
to graphic novels and sequential
storytelling. So, it’s super interesting.
Branden and Shannon each have their
own story to tell.”
BRINGING THE STORY TO LIFE
As Berenice describes her process, it
becomes clear just how vivid the
dynamic between word and image is.
She explains, “I’ve actually been
thinking a lot about the medium of
graphic novels lately: especially what
kind of place Hollow takes for me
personally and from what I’ve seen in
the [comics] market. Hollow bridges
very nicely between kid’s comics,
children’s books and adult books. It’s a
recent trend here in Germany to adapt
classical literature into graphic novel
format. I really like that Hollow has a
light-heartedness and a magical
element to it and this is something
that you can portray very well with
I like the
characters to be
very open and very
welcoming in their
expressiveness
comics. You can intertwine a magical
element into your storytelling and it
just works on paper in a way that
maybe would be different in film.
STAYING TRUE
Also, there’s a certain magic to having
the words in the script and then seeing
it come to life as a picture.”
Berenice goes on to address one of
feelings of the characters, I always try
to make their expressions as clear as
TO YOURSELF
Branden Boyer-White on the spirit of
her favourite aspects of working on possible to read. I like the characters to comics and creativity
Hollow: drawing the comic’s cast of be very open and very welcoming in “Embrace your love of stories, even if people are
characters and their unique their expressiveness.” telling you not to. You just have to know that there
personalities. “I really loved She continues: “For Hollow, to are people in the world who feel the way you do,
illustrating all of our own main illustrate each character and their and know that you have a group of fellow comics
characters. I think they are all very emotions, they all have different body enthusiasts who feel and love the way you do and
unique in their own backgrounds and shapes. They’re all different types of move forward with that. Find your people. Keep
in their dynamics with each other. It’s people, and so that was always listening to, reading, writing and drawing those
something I always look for in a something I was looking for: to be able stories together, because there is so much
character, and when I have a script in to portray as many types of people as I rebellion and resistance in joy.”
front of me and it describes the can. The characters feel very

46

 
 Hollow
DID YOU ORDER A PIZZA?
A semi-realistic sensibility
characterises the illustration
style for Hollow.

47

 
 Feature

unique to me. Plus, the landscape

in which all of this is happening is
NEW ENCOUNTERS
Aimed at young adults,
Hollow captures details
very unique in its own way, so that of American teen life.
was a lot of fun to illustrate. I love
drawing landscapes.”
VISUALISING THE SCRIPT
For Berenice, Hollow marks a major
moment in her own emerging career, UNDERTONES
A sense of the uncanny and
and she begins to unpack her process: unsettling threads through high
school life in Hollow.
“I stuck to a very traditional approach.
I made the thumbnails first and then
went on to the pencils. I did the forward with the line art, I did that thumbnail drawing. This stage is really
pencils traditionally on A3 paper and digitally and put it in the right format. just to get the first ideas out. The next
then cut the pages and scanned them CURSED
The magical at work I really love the mixed process step was the pencils stage, where I
all in. Then, if I got the OK to go under autumn skies. between traditional art and digital art. drew the panels on the page. For this, I
I mostly work digitally these days, but used a light blue Pilot Color Eno
I wouldn’t want to miss working mechanical pencil. I prefer these
traditionally. So, I chose a process that because their lead is very soft, yet they
would include both.” are not as dark as regular pencils. This
Of the fusion of digital and allows me to work from a light sketch
‘traditional’ approaches, Berenice to a final drawing. For Hollow, I had
explains that her first step was to “read already prepared a bunch of A4 papers
the script very carefully, of course, and with the format of the comic book
then think about how a particular printed on them, so I was able to work
sequence might flow nicely when in the correct dimensions right from
translated to a comic page. Then, I laid the start. Then I scanned the page and
out the panels of this page in a small continued to work digitally from that
Comics are a really beautiful,
interesting medium, they offer such an
intimacy of sequential storytelling
48

 
 Hollow
REMIXING!
Shannon Watters discusses
her ambitions for Hollow
“I hope that it lets readers take a
second look at Sleepy Hollow in the
context of the American canon, and
also at the ways that other people
have reinterpreted American
folklore, seeing ways that they can
remix their folklore in their work.”

FRIENDLY FACES
This YA graphic novel bridges the tone of kids’
and adults’ comic books.

HOLD YOUR HORSES

The Headless Horseman of the original tale looms
large in Hollow.

point on. For that I used a Wacom

Mobile Studio Pro 13 and Photoshop.
This was also the point where I usually
sent in a batch of my latest pencilled
pages to my editors for a first round of
feedback. I did the corrections
digitally, since that was easier than
going back into the drawn page again.
Once we agreed on all the changes
that needed to be made to the pencils,
I was given the OK to go ahead with
the line art. This was followed by one semi-realistic style to have the DON’T LOSE experimenting and I would say that
or more rounds of feedback until we opportunity to be as expressive as I YOUR HEAD my style is like a work in progress,
had the feeling that the page worked want. I wanted a style that would Hollow visualises the
menace and threat of always at any time.” With just a short
out this way.” allow me to draw pretty much the Headless time until the book is published,
everything, either in a more realistic Horseman’s steed. Berenice makes clear her hope for the
A DEVELOPING STYLE way or in a more stylised way. So, this
Berenice then elaborates on the deeper kind of flexibility was something I was
project: “I hope teenagers and tweens
pick it up and see themselves in the
ride that she has taken into haunted, looking for. To this day, I’m still not characters and get a lot of joy from
storytelling country: “My journey to done finding a style. I’m still a reading it. My dream would be that it
finding a style has been quite clear university student studying becomes someone’s favourite book,
from the beginning. I wanted to do a illustration. I’m still very much someone’s favourite thing.”

49

 
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51

 
 Artist
PROFILE
Cam Kendell
LOCATION: US
A creator of comics like
Choose Your Gnome
Adventure, over the past
9+ years Cam has
illustrated board games,
books, and many other projects. When

sional
not drawing gnomes and/or goblins

si ns of this profes
he’s hiking with his wife and kids or
rocking the accordion.
www.camkendell.com

CACTI JOKE FARMER

“Cacti tell the best jokes, but they can be a bit
obtuse. Occasionally I like to ditch the inks
and do line work in pencil. This is a red
WORM
“Just a down-to-earth,
hard-working, tiller of the
pencil sketch, photographed and soil. When painting in
coloured digitally.” watercolour, leaving areas
of the character white
helps sell the high-
contrast lighting of an
outdoor setting.”

52

 
 SketchbookCam Kendell
BEHOLDABLES
“Three floating, cyclopean
eye-ball monsters, lovely to
behold. Are they family? Friends?
Perhaps, they’re fierce
frenemies? Absurd creatures
are regular staples of my
sketchy hours.”

Absurd creatures a
regular staples of my
sketchy hours

GOBOS
“Occasionally (truthfully,
more often than not) I find
myself sketching goblins and
other goblin adjacent creatures.
Sometimes a quick ink scribble
is enough to get the idea
out of my head and
onto paper.”

ADVENTURE
PARTY
“Some of my most satisfying
sketches result from an unplanned,
stream-of-conscious juxtaposition
of random characters. Just
looking at them immediately
evokes a sense of story and
shared adventure.”

53

 
 COACH FRANCIS
“Character exploration for a story
in the works in which Frankenstein’s
monster teaches Physical Education at
the school. When designing characters,
pushing shapes and proportions further
can help to create memorable
and easily recognisable
silhouettes.”

54

 
 SketchbookCam Kendell
PATCHYBUN Subverting the
“Subverting the narrative is
narrative is always a
delightful endeavour. Far too
often eye patches, scars and s a delightful
the like are reserved for
so-called ‘bad guys’. Has
a cute bun-bun never
lost an eye?”
eavour

FUNGAL
SKULL CROWN
“Sometimes an imagined still-life is just
what the doctor ordered. Stylistically I
strive for art that dances on a delicate
line located somewhere between
whimsy and macabre
grittiness.”

AVAST YE
“Magenta ink and watercolour.
Extreme facial hair is a relatively
recent artistic passion. In contrast,
pirates have been in my art DNA from
childhood when I dressed as a pirate
for Halloween at least five
years consecutively.”

55

 
 LONG BEARD
“The absolute longest of all the
VAMP
“I love playing with large
possible beards in the entire world.
The extreme facial hair fascination
continues. This piece was an exercise
blocks of ink. When painting in colour and was created digitally
with watercolour, I love playing on a tablet.”
with shifts in colour.”

GOBO CHEF
“Character design studies are
simultaneously an exercise in
storytelling. Clothing, equipment
and accessories can all be used
to hint at an untold
backstory.”

FORBIDDEN TOME
“I don’t think we need to say much here. I mean,
we all know what’s going on with this ink and pencil
masterpiece of a sketch… don’t we?”

56

 
 SketchbookCam Kendell
Clothing, equipment and
ssories can all be used to
t an untold backstory

CHICKEN
SUIT
“Sketchbooks are playgrounds. A
space for getting out of your comfort
zone. But also a place for pushing
boundaries, and drawing a guy
in a chicken suit.”

DOG
FIGHT…ER
“The pug warriors of
Ch’ewbowen are stalwart,
loyal and capable with
the sword. Ink and
watercolour sketch.”

57

 
 GET IMAGINEFX
DELIVERED DIGITALLY!

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DIGITAL!

.cnI elppA fo kram ecivres a si erotS ppA .seirtnuoc rehto dna .S.U eht ni deretsiger ,.cnI elppA fo kramedart a si daPi
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58

 
 GET YOUR
RESOURCES
See page 6 now!

Workshop assets
are available…
Download your resources by turning to
page 6. And if you see the video workshop badge,
you can watch the artist in action, too.

Advice from the world’s best artists

60 66

68 This issue:
60 Level up your
creative process
This month’s cover artist Eric
Canete offers his 10 pro tips.
66 Tech focus: AI-
powered illustration
Edward Denton shares his
process with AI tool Midjourney.
68 Bring your sci-fi
76 scenes to life
Michelle Hoefenerdemonstrates
her sci-fi character creation steps.
74 Tech focus: Scene
building – composition
Marcel Deneuve showcases an
incredible city illustration.
76 Drawing necks: an
easy guide
Learn core anatomy skills with
Rodrigo Gonzalez.

59

 
 Workshops
Artist insight
LEVEL UP YOUR
CREATIVE PROCESS
PROFILE Illustrator
Artist and comic artist Eric Canete provides 10 pro
tips for working smarter and building confidence
Eric Canete
LOCATION: US
Eric Canete works in
comics as an illustrator Even with a 30+ year when I first started as an artist, cerebral aspects of the process;
doing sequential art and career as a working illustrator and storyteller. concepts that I don’t believe are
covers, as a storyboard
artist in the animation
professional, I still Asked for advice by younger taught nor mentored enough. Here, I
industry, and as a visual approach every artists, I’m often very poor at giving break down ten key aspects of the
development/concept opportunity to level good, actionable feedback when it creation process that I think about as
artist for video games.
www.ericcanete.com up my craft with a sense of comes to the ‘pixel pushing’ part of I strive for an image that’s not just
enthusiasm and delight. However, creating images – I have little to offer well drawn, but also evokes a clear
I’ve come to find that the learning the kids these days who are all just narrative – along with some internal
I’m doing now is profoundly SO GOOD! Instead, I find myself mechanisms that keep me energised
different from the learning I did sharing insight into the more until I can call something ‘finished’.

2 STEP AWAY
It’s common to toil away on an
image for so long only to lose
track of what’s working and
what isn’t. This is an
opportunity to take a break to
clear your mindset. I’m often
working on multiple drawings
at any given time, in various
ZOOM OUT stages of completion. This has
I’m guilty of this myself: I get so excited about an area of the painting or drawing that I get led me to solutions that I
lost in the experience of rendering, but in the end it doesn’t really contribute to the intent of simply could not see originally,
the final image. I had to develop an internal mechanism which reminds me to contextualise now that I’m looking at it again
an area I’m working on, and apply it to the bigger picture; this helped me to evaluate how with fresher eyes.
much time and resource to devote to each part of the drawing.

60

 
 Artist insight Level up your skills

61

 
 Workshops
The challenge is
to add volume to a
shape to give it form
and dimension

IGHT SOURCE IS KEY

In a two-dimensional drawing, the challenge is to add volume to a shape in order to give it form and dimension. Try to be strategic about the
light source – where shadows fall and where light areas are at their highest contrast – in order to communicate that volume. There are also
instances when it’s ideal to ‘cheat’ an established light source for the sake of legibility and clarity.

62

 
 Artist insight Level up your skills

4 RENDER TO COMMUNICATE
Accuracy is key for communication – gold needs to
look like gold, hessian needs to read as hessian, and WHAT’S THE STORY?
so on. In my enthusiasm to start a design, I Look for opportunities to incorporate some narrative in
sometimes skip over a critical prelude in the drawings and designs. It doesn’t have to be heavy-handed –
process: research! I cannot emphasise enough how the way a character wears their sash or how they hold their
important it is to find the appropriate source pose, the materials used for the construction of a gun or a
materials that can help you (and your viewer) best backpack, the in-world ‘how and why’ they build cars or
understand the properties of a subject or an object. spaceships – all of these are potential storytelling elements
that can help give an image more nuance and depth.

E COMFORTABLE WITH FAILUR

Plan drawings by doing thumbnails, but be aware that is not a guarantee an image will be successful in the final. Be mindful throughout the
process, spotting problems and coming up with potential solutions. If something makes sense in the rough stage but isn’t working while
moving into a finished piece, be comfortable with starting over and incorporating the changes of lessons learned.

63

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 Workshops
A KID WITH CRAYONS
It’s odd that this needs to be said, but somehow I’m
compelled to anyway since I’ve met many artists whose
anxiety gets the better of them: drawing is supposed to be
fun. As creative people, we have a tendency to overthink and
be unfairly critical of our own work. But… if you can find your
way to have a joyful experience in whatever you draw or
design, then maybe the experience will move you further
away from fear and doubt, and closer to the elation that you
felt when you were a kid with a limited set of crayons drawing
away on random sheets of paper.

As creative people, we have

a tendency to overthink and be
unfairly critical of our work

9 MAKE ‘PROBLEMS’ SMALL

YouTube, online how-to’s and other easily accessible
resources available to an artist who’s trying to level
E HUMBLE, BE A STUDENT up their craft can quickly become overwhelming.
My professional approach to stay humble is to take the Rather than trying to learn everything at once, all at
position that I am the least talented/experienced artist in the the same time, I methodically compartmentalise
room. More importantly, this is a mechanism that compels me what I want to learn into specific tasks that may
to retain an open-to-learn mindset and to ask as many chain into one another. As an example, in the case of
questions to the ‘expert’ of how I can improve. The most an anatomical study of the arm, the chain would be:
effective way I can do that is not to get hung up on what I hands to forearms to upper arms to shoulders to
already know, be as curious about whatever is being shared torso, and so on. This method keeps the tasks and
with me, and try to incorporate what an exceptional artist is mental load manageable for me.
willing to share and teach.

64

 
 Artist insight Level up your skills

COMP FOR CLARITY

I try to make each element in the image as clear as possible. In my compositions, that means being very aware of how lines merge together or
how designs contrast against each other. In the case of ‘Dino Wrangler’ above, I composed the big shapes by strategically ‘stacking’ them; the
light-grey foreground shape of the woman and pillar, plus the dark-grey midground shape of the lizard monster creature, plus the light-grey
shape structures and buildings = separation and depth.

65

 
 Workshops

66

 
 Tech Focus Utilise AI tools
Tech focus
AI-POWERED
“The initial image you have to ensure that the design
behind HMS Journey you see is communicated clearly to

ILLUSTRATION
was created with others, but in their raw form they
Midjourney, an AI can still take your breath away. The
text-to-image key to working in AI is to learn and
generator, before editing and study the great artists of the past. You
Discover how AI creation tool cleaning up in Photoshop. I’ve been
blown away by the recent
need to be able to reference a library
of artists who create artwork relevant
Midjourney was the starting point for improvements with AI image to your subject matter and in a
Edward Denton’s ‘HMS Journey’ generation and now I really believe similar style to what you want to
it’s going to change the art world produce. Here I referenced John
forever. The images can still be a bit Berkey as I love organic spaceship
of a Rorschach test and in editing designs and his expressive style.”

Artist
PROFILE
Edward
Denton
LOCATION:
New Zealand
Edward is a 2D and 3D
artist currently working
in the games industry
as a lead environment
artist on strategy game
Star Atlas, but he cut
his teeth working in
the film industry at
Weta Workshop.
https://bit.ly/3ymkitX

67

 
 Workshops
Photoshop
BRING YOUR SCI-FI
SCENES TO LIFE
Michelle Hoefener illustrates how to use composition, colour,
materials and lighting to create a captivating sci-fi character
Artist In this workshop we Sharpen, channels, various brushes, pulls off her space helmet and checks
PROFILE will be working from
an initial black and
the Smudge tool and the Mixer
brush to help bring out the materials
her headset before venturing out into
the alien world.
Michelle white sketch, moving and details. Focal point is also important in
Hoefener
LOCATION: US onto line art, colour Concept art is also a focus in this this scene and helps to create the
blocking, rendering, texturing, final workshop and how it helps with the feeling of mystery as some parts
Michelle is an illustrator
and concept artist who
polish and effects. We will be using storytelling and mood of the scene. I come into focus while others fade
has worked on various contrast, area of focus and chose colours for the costuming into the background. Light and
artwork for Midway storytelling to bring a scene based on alien, electronic, vintage shadow also help to create the
Games, Soda Pop
Miniatures, Dynamite
depicting a female spaceship pilot and astronaut themes. Colour is also sombre mood of mystery on the
Entertainment and who has just landed on an alien important when designing what the dark, otherworldly planet, and help
Riot Games. world to life. We will use stock character is wearing as well as to pop the volumes to further
https://bit.ly/3NN9kmD photos to bring out the realism of materials. For this scene I have develop the feeling of realism in the
the materials and environment and chosen a mood of wonder, and scene, helping the viewer to feel like
Photoshop effects like Gaussian Blur, otherworldly adventure as the pilot they are really there.

GET YOUR
RESOURCES
See page 6 now!

1 Thumbnail
First I use the hard round point brush to sketch out
the black and white composition for the scene. I focus on Line art
2
the storytelling and show the female spaceship pilot after Next, I add a white layer above the thumbnail layer and set it to 80% opacity,
she has landed on the alien planet, as she takes off her and then I add another layer on top of that and add in the detailed line art using
helmet and adjusts her headset before stepping out into the round point brush. Some large curves are easier to add line art to by rotating
the mysterious alien world. the canvas with the shortcut R.

68

 
 In depth Sci-fi scenes

69

 
 Workshops

3 Colour blocking
In this step I choose the colours for the scene, character and objects. I decide on a warm colour and lighter values
for the foreground and cool colours and darker values for the background, because the environment is a planet in
RESOURCES black space with white, astronaut-inspired objects within it.

PHOTOSHOP
CUSTOM BRUSHES:
EMBERS

I finalised the details of

the art with the embers
brush to bring out glints
and air particles.
STARS

I use the stars brush to

create a fully detailed
cosmic sky for the alien
world in this sci-fi scene.
HARD ROUND POINT

I use this brush to create

the first black and white
sketch and to quickly lay
out the composition.
ROUND POINT

With this round point

brush I create the line
art that I used to define
the details.
4 Key light 5 Rendering
I continue building up the lighting and volumes
AIRBRUSH Now I begin the blocking in of the lighting. I with the airbrush tool, using dark values to bring in the
choose a key light to illuminate the scene from the front shadows and accentuating the ambient occlusion in
I also soften and harden right, which casts dark shadows behind the character, crevices. I smooth out the line art, blending it in with the
the edges while painting spaceship and planet landscape behind them. I choose mixer tool and smudge tool to create a realistic painted
using Alt + click-
dragging up and down.
this kind of lighting because of the dark, exploratory feel. As I render, I soften and harden the edges of the
feeling that comes from the moon’s surface in space. airbrush by hitting Alt and click-dragging up or down.

70

 
 In depth Sci-fi scenes

inavaTolomoR /otohpkcotSi/segamI ytteG

otohpkcotSi/segamI ytteG
sudrahreG sennahoJ /otohpkcotSi/segamI ytteG
6 Materials
Next, I differentiate the materials like metal, hair,
skin and plastic. For metal, I keep the specular highlight
large, soft, saturated and medium toned. For plastic, I add Photo reference and textures
7
a bright, sharper, smaller highlight. For skin and hair, I In this step I add a photo of Saturn to the sky on a screen layer, a moon crater
add subsurface scattering over the lit or highlighted areas photo to the planet surface on an overlay layer using the Distort tool, and metal
with the airbrush using a fully saturated red for the skin, photo texture to the spaceship shell, softly erasing out the texture where the ship
and a fully saturated pink, purple or blue for the hair. goes into shadow.

8 Stars brush
Now I add a full starry sky with the stars brush. I
9 Specular details
adjust the size of the brush as I paint with it using the Alt Next, I add some finishing specular details, like wrinkle highlights, detailed
key and dragging the cursor left or right to make the hairs and facial highlights. I also add detail to existing highlighted areas to bring
brush larger or smaller. I also add stars to the sky behind out the realism. This is an important finishing step, because it quickly details the
the spaceship’s transparent top. important parts of the painting.

71

 
 Workshops

10 Colour and value focus

I use a large airbrush and darken the edges with a dark, blackish blue on a new layer. I then use a light red on an overlay layer to pop out
the character from the background. I also create levels adjustment layers to add contrast to the foreground and to reduce contrast in the
background and around the edges of the scene.

11 Blurring
Now I hit Ctrl+Shift+C to copy merged layers, and then I create a new layer and hit Ctrl+V to paste. On this layer I use the Gaussian Blur
filter. I then use the airbrush to erase out the focal point areas in the foreground.

72

 
 In depth Sci-fi scenes

12 Add particles
I use the embers brush to add particle details on
specular highlighted areas and in the air. I add bigger
embers by enlarging the brush by hitting Alt and click- 13 Sharpening
Now I hit Ctrl+Shift+C to copy merged layers, then I create a new layer and
dragging left or right, into the foreground and smaller hit Ctrl+V to paste. On this layer I use the Smart Sharpen filter to create a crisp,
ones further back. I erase any particles that cover up clear foreground and focal points. I erase the edges of this layer with a large
important areas or where there are too many of them. airbrush to keep only the important areas sharp.

14 Channels
Finally, to add some iridescence to the space scene, I go to Image>Duplicate. In the new file, I go to the channels, select the red, blue and
green channels and slightly move them each separately in different directions. Then I flatten the artwork and drag it into the previous PSD file
on top. Now I erase this top layer with an airbrush to only remain around the edges and in receding areas.

73

 
 
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74


 
75

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SU :NOITACOL
evueneD
lecraM
ELIFORP
tsitrA

 Workshops
Core Skills
DRAWING NECKS:
AN EASY GUIDE
Learn a fundamental anatomy skill for your character designs
with Rodrigo Gonzalez’s quick guide to drawing necks
Artist Learning how to draw I will not be teaching you a style in The following steps will show you
PROFILE
Rodrigo
the neck and connect
it to the head and
which to draw. Instead, I will aim to
show you a visual process that will
how to simplify the complex muscles
in your neck and will teach you a
Gonzalez body has always been allow you to apply this technique to simple step-by-step process that will
LOCATION: US a difficult area to any style you might love and want to help you develop a simple, fun and
Rodrigo Gonzalez, AKA navigate for artists. With the refine. Learning how to understand very accurate depiction of real
Rodgon The Artist, is an following lesson, I will explain how and simplify human anatomy will anatomy and placement on every
illustrator and art
teacher from San Diego,
to approach this task in a very simple help you with every aspect of your character you draw, be it comic book
California with a passion process that will help you accurately designs and you can even apply this characters, cartoons, and pretty
for helping others learn and precisely draw this difficult area, technique with animals, monsters much everything in between. And
drawing fundamentals.
rodgon.com
so that you can start creating some and pretty much any character that with a little bit of practice, this
more dynamic and expressive poses. might have a ribcage and a skull. process will become second nature.

2 Identify landmark points

The next stage will be to identify the 3 Create a base shape
Now we need to connect all four points
1 Start with the collarbone four major landmarks that will help you with into this shape, seen above – somewhat
The first step is finding where the base drawing an accurate neck. Point 1 is the mid resembling a baseball diamond – with the
of your neck connects to your body. The section of your collarbone. The second and bottom collarbone edges slightly straight and
magical point to make it easy is learning third points will be the edges of your the back section round. This will provide you
where the collarbone is on your body. The collarbone, which is also where your with a natural curve for your trapezius
collarbone tends to extend a tiny bit past your shoulders connect to your body. Finally, Point muscles, as well as the natural flow of your
ribcage; so, we start with simple lines and a 4 is the vertebrae on your spine at the top of muscles. This will come more into play when
dot to mark the middle. your ribcage. we consider profile and side views.

76

 
 Core Skills Learn to draw necks

77

 
 Workshops

4 Front neck muscles 5 Exterior neck muscles

The next step is to connect the bottom 6 Bring it all together
Once you have all the lines connected,
Your neck muscles have a natural flow of the ears again to the sides of the you can start creating the solid shapes that
to the bottom of your ears behind your jaw. collarbone. This time you will want to have a will make up the parts of your neck. I have
To simplify this, we locate the bottom of the little curvature to achieve a nice flowing neck colour coded these with two solid colours to
ear and connect it to the middle of the line. This will change depending on how big represent the basic shapes that your neck will
clavicle. This will provide you with the your character’s neck is or how muscley they consist of. Making them into solid shapes will
simplified version of the front neck muscles tend to be. Make it thinner or thicker to help you see what muscles overlap and what
and space for the throat and Adam’s apple. match your character. doesn’t show.

7 Add style and refine 8 The neck in a profile

When it comes to drawing the neck
9 Angles and perspective
The final step is to take those elements from a side or profile view, we need to As we map out the same points as we
and adjust your linework to only show what understand that our necks are not completely did on the front view, we have to make sure
you need for your design. Not every style will at the top of our bodies. Our necks tend to to take into consideration the slight angle
require all the defined parts of your neck extend a little from the front-top of our forward of the collarbone, and that the
drawn out, but understating that they are ribcage, with the highest point being the top shoulder points should be drawn in a
there will help you with placement even in of our ribcage and the lowest being our perspective view – with one closer and one
the simplest of character designs. collarbone in the front. pushed further back, as opposed to a flat line.

78

 
 Core Skills Learn to draw necks

10 Connect the dots again

It is quite easy to start mapping out the
11 Back of the head 12 Single line for the front
The front of the neck is the skin that
muscles in the neck on a profile view. We The back of the neck will be the main tends to stretch from under your chin and
follow the same guidelines as the front view part where Point 4 is used. This is where the down to your collarbone. This can be
and we connect the bottom part of the ear to neck and the head connect via the spine. This simplified with a line that goes from your
the front middle of the collarbone (Point 1). comes in the shape of a curved line that will chin, back towards your throat and then
Keep in mind both sides of the neck as you go go from the back of the skull down on to the curves down on to the middle of your
about drawing profiles. If the head is turned, top of the ribcage. The spine has a natural collarbone. This part becomes much easier to
you would see the other side too. curve and this is the best way to simplify it. draw when you leave it last.

13 Visualise solid shapes

Much like we did on the front view, we will now create solid 14 One process, many styles
By learning this process, you open up the ability to draw necks
shapes for each section of the neck. In this case we can break it down in a wide variety of styles. Since this is based on real anatomical
to the back of the neck and the front of the neck. When we keep features, it can be simplified or given greater detail to match what is
things simple, it is easier for us to be able to recreate this process in required for your style. So have fun with the process and keep
many different angles and positions. practising to obtain the best results!

79

 
 SUBSCRIBE TO

Buy now at

Digital editions available on desktop, iOS or Android

 
 Artist’s
Choice Award
Art resources with a five-star
rating receive the ImagineFX
Artist’s Choice award!

The latest art resources are put to

the test by the ImagineFX team…
PRODUCTS
ON TEST
5

HARDWARE
Wacom Cintiq Pro 1
What’s it like to create with this powerful,
premium tablet? We test it to find out.
COMICS
84 She-Hulk
We check out this new, five-issue series
starring the superhuman lawyer.
Monkey Prince
Discover this whacky combination of
superhero action and Chinese fantasy.
85 All-New Firefly Star Trek: Klingons/Fere
Join the much-loved crew of Serenity on Two one-shots, focusing on the franchise’s
brand-new adventures in this relaunch. alien species, offer a new perspective.

RATINGS EXPLAINED Magnificent Great Good Poor Atrocious

81

 
 Reviews
The Cintiq can also

mocaW © segami llA

be used with the
optional controller.

Wacom Cintiq Pro 16

JOYOUS CREATION We test out and rate this high-performance
pen display to determine whether it is worth its premium price
Price £1,350/$1,500 Company Wacom Web www.wacom.com

A
lthough there are a number on the rear, but it doesn’t take long This tablet can be
connected by USB-C
of tablet manufacturers and soon feels very natural. There are or USB, plus HDMI.
out there, Wacom is one buttons on either side of the device
of the longest standing too, so equally suitable for left and
and has a great reputation for right-handed users.
quality. In recent years others have
upped their game, keeping Wacom
on its toes, so it’s interesting to see if
THE DRAWING EXPERIENCE
The Cintiq Pro 16 features multi-touch, angle sensitivity. These figures might
the latest incarnation of the Cintiq which has been improved on previous not sound miles ahead of the
line can keep them at the top. generations. Again, this is an competition, however the Wacom Pen
At first glance, not much has incremental change but a noticeable feels excellent in the hand – well built,
changed. The typical Wacom build one, and while I don’t know what has weighty and responsive.
quality is obvious, in both look and been done behind the scenes, I would The button action is lovely, they are
feel. The Cintiq range has always say there is a clear improvement in well placed and the nibs are excellent.
looked classy while feeling robust; this palm rejection over the last model. The puck-shaped pen holder contains
version is no different, and in some As much as touch interaction is a number of spares, including some
ways better. Some older Wacoms had great to have, the pen is clearly the felt nibs which are wonderful to draw
ExpressKeys on the top surface and main way users will work with the with, acting in conjunction very much
while they worked fine, after a few Cintiq and this is one area that Wacom like traditional pen and paper, so none
months it would feel like dust could has always excelled in. The Pro 16 The Pro Pen 2 is one of of the sliding-on-glass feel. This may
get into the gaps. This never impeded ships with the Pro Pen 2, with 8,192 the best pens out there,
with excellent feel and be in part due to the laminated screen,
the functionality at all, but the move levels of pressure and 60 degrees of build quality. which has a fine texture that also helps
to the rear of the device helps things
feel fresh and new. This move also
helps artists who like to lean on their
device, as I do. There is a slight
learning curve to having ExpressKeys

82

 
 Art toolsHardware

The ExpressKeys on
the rear help keep
things clean without
reducing functionality.

Buttons on the
underside give
quick access to
tools and shortcuts.

Wacom remains the

go-to option when the
should you need them, but the fold-
very best build quality out legs are excellent. Little flex and
and pen experience is
needed. Drawing is a they raise the device by 20 degrees,
joy, and it’s adaptable which will feel about right when used
to any studio. on a standard-height desk and chair.
Options are always welcome.
The same applies for connectivity.
The built-in legs allow the tablet to
be raised up to a natural-feeling You can power up then connect via
20-degree angle. USB-C, but if your host machine is a
little older you can use a separate USB
The gap between the Pro Pen 2 nib and HDMI cable. While many
and the screen’s surface is tiny, so it Specifications
companies will offer just the latest
option, it is nice to see Wacom
really feels like engaging with the art nDisplay size: 39.6cm
nResolution:
3,840 x 2,160 pixels
nProduct weight:
thinking of the rest of us.
In a world where much is made of
the environmental impacts that
1.9kg (4.2 Ibs)
with glare reduction. I tested this in a surface is tiny, so it really feels like n Dimensions: companies have, it is also good to see
number of environments with differing you’re engaging with the art, rather 41 x 26.6 x 2.2cm
nColour gamut Wacom ships the product in fully
lighting conditions and glare was than hovering a little above it. This coverage ratio:
98% Adobe RGB (CIE
recyclable packaging. No plastic
never a problem. helps in the enjoyment and accuracy 1931) (typ) wraps here at all, and Wacom should
This takes us neatly to the display of drawing on the Cintiq. nResponse Time:
30 ms (typ)
be commended for the move to be
itself, which is a 16:9 4K screen with Another improvement here over n8,192 Pen Pressure more sustainable.
300 cd/m2 brightness. While this may older tablets is the quality of strokes. levels (pen and eraser)
nIntegrated fold-out So, all in all the Cintiq Pro 16 is a
not be ground-breaking, compared to There’s no perceptible wave or legs for 20° stand worthy successor. It doesn’t break the
a modern phone, iPad or laptop wobble, other than that which is adjustability
n8 ExpressKeys mould or change the game in big
screen it is plenty bright enough and manually drawn, whereas older n16.7 million
displayable colours
ways, but makes a number of small
reduces eye fatigue that can be models could display some odd n13 replacement nibs moves to keep the Cintiq at the top of
caused by more intensely bright artefacts when zoomed in and stroke nMulti-touch the tree. Yes, you pay more for a
monitors. Clarity and contrast levels tails are natural looking and smooth, System Wacom but it is money well spent, as I
are excellent, as is colour accuracy at once you dial in the pressure settings Requirements have full confidence that the Cintiq will
PC: Windows 7 or
98% Adobe RGB. Other options beat to your way of working. later (latest service last for years, just like every other
this, but in daily use you’d never know. Wacom I have from the last couple of
BEST-IN-CLASS
pack/build)
Mac: macOS 10.14 or
The laminated screen aids the later (latest update) decades. If you work in a visual
drawing experience better than many A tablet is usually only as good as its Rating creative field, or eschew the mouse for
other options too. The gap between support and Wacom has done well a more natural interaction, the Wacom
the Pro Pen 2 nib and the screen’s here. There are VESA mounting points remains king of the hill.

83

 
 Reviews
It might now be tricky to live an ordinary life as

levraM ©
Things get even more the successor the legendary Monkey King…
complicated for Jennifer
when supposedly dead
ex-Avenger Jack of
Hearts stumbles back
into her life.

scimoC CD ©
Monkey Prince
Issues 1-3
Writer Gene Luen Yang
Artist Bernard Chang
Publisher DC Comics
DC’s occasional habit of making

She-Hulk
blatant plays for the Chinese
The story’s tone is
light and accessible,
audience is in evidence again
while the art style is with its latest miniseries, an
colourful and fun. oddball escapade in which
mythological characters cross
A NEW START Get to know the superhuman lawyer paths with DC superheroes.
in preparation for her upcoming live-action series The centuries-old Chinese
fantasy epic Journey To The West
Issues 1-3 Writer Rainbow Rowell Artist Rogê Antônio Publisher Marvel Comics has been adapted countless times,
and here it’s used as the

S
ometimes, a comics very well, especially in terms of springboard for the adventures of
publisher hitting the establishing Jen as an engaging Marcus, a nervous, bullied Gotham
‘superhero reset’ button is protagonist. This is also helped by the teenager who suddenly discovers
perfectly understandable. enjoyable visuals from Rogê Antônio, he’s the son of the legendary
Take the case of Jennifer Walters, who gives us a version of She-Hulk Monkey King and heir to his
aka She-Hulk: she’s spent the last that’s vibrant, characterful and sexy. anarchic abilities.
few years undergoing a tortuous and However, too much of the narrative Soon, he’s renaming himself the
sometimes traumatic series of twists, revolves around the lesser-known Jack Monkey Prince, facing off against
but there’s also a Disney+ series of Hearts (especially in issue two) and his bullies and accidentally battling
coming later this year. his mystery resurrection. As a narrative Batman, while also confronting a
To prepare the ground for this, hook it ends up feeling less than demon-possessed Penguin
Marvel has chosen to get back to compelling, and Jennifer’s relationship in an all-ages adventure that does
basics and establish an easy jumping- with Jack isn’t really strong enough to its best to keep the pace high and
on point for the character with a new justify how much space it’s currently the gags numerous.
five-issue miniseries. There’s an infectious level of
Writer Rainbow Rowell quickly Rogê gives us a version energy and enthusiasm in
sketches out how down-on-her-luck
Jennifer Walters currently is, with her of She-Hulk that’s vibrant, the first three issues, although the
storytelling is very routine once
recent departure from the Avengers
meaning that she has to return to
working as a lawyer. Rainbow’s script
characterful and sexy you look past the mythic
weirdness. However, the comic’s
bright, upbeat approach is
focuses on characterisation and taking up. Combined with the enhanced by Bernard Chang’s art,
humour, and some of her choices work extremely gentle pacing, the result which pulls off a bunch of striking
feels too much like a place-setting layouts and serves to keep the
opening arc for an ongoing title, comic’s tone whimsical and
rather than a five-parter that’s got cartoony at all times.
something to prove. The blend of superhero action
There’s still light and frothy fun to be and lurid Chinese fantasy is
had with this current incarnation of sometimes a little awkward, but
She-Hulk, though; here’s hoping that otherwise this is a daft and likeable
Rogê Antônio’s visuals
pack in maximum
the final two issues deliver something romp that should go down well
expressiveness into a little more focused and compulsive. with younger fans.
each page, whether it’s
a conversation or a
fight scene. RATING RATING
84

 
 Reviews Comics
Get ready for brand-new adventures starring
the series’ familiar, much-loved characters. In upcoming one-shots of this
alien-focused series, the Trills and
the Vulcans will also be receiving
their own spotlight stories.

soidutS !MOOB ©
All-New Firefly
Issues 1-3
Writer David M Booher
Artist Jordi Pérez
Publisher BOOM! Studios
This relaunch of the monthly
Firefly comic brings in a new
creative team, and returns the
series to first principals after the
expansive Earth That Was arc.
The crew are all together again

gnihsilbuP WDI ©
(along with newbie Leonard), but
things are not going well. Kaylee is

Star Trek: Klingons/Ferengi

captain now and the ship is
running dangerously low on food
and fuel. Following a tip-off from
Jayne, the crew investigate
Requiem, a smuggler’s moon.
When they get there, however, ALIEN ORIGINS Two one-shot comics kick off a new series
they discover a monastery under shining the spotlight on the franchise’s diverse alien species
attack from a dangerous gang of
local hoodlums. Format One-shots Writer Jackson Lanzing, Collin Kelly, Christina Rice Artist Timothy Green II,
Plot-wise, it’s standard-issue Andy Price, Maria Keane Publisher IDW Publishing
Firefly, but David M Booher’s

W
script does a fine job of honing in ith any humans limited to play with notions of honour. Keeping
on what originally made the TV fleeting appearances, Star dialogue to a minimum, they often
show so memorable: its strong Trek’s alien species take leave it to Timothy Green II’s manga-
characterisation. Jayne is the centre stage in this pair of flavoured art to tell the tale, resulting in
focus of this initial arc, and the one-shots. As Trek’s most famous several exhilarating fight scenes, as he
story probes at both his extraterrestrials, the Klingons are combines visceral figure work with
fundamental untrustworthiness unsurprisingly the focus of the first imaginative layouts.
and his occasional, unexpected issue, which chronicles the formative In contrast, there’s an offbeat, caper-
capacity for kindness. Kaylee, days of the warrior race’s most esque quality to the second special’s
meanwhile, is struggling with formidable ruler, Kahless the story of the Ferengi, as Deep Space
leadership, but Booher smartly Unforgettable, and how he reputedly Nine barkeep Quark becomes
avoids pitting her against Mal, fought off an entire army at the embroiled in a plot to smuggle women
who seems quite happy to step legendary Three Turn Bridge. off their home-world. Aided by Andy
back and support her. It’s a neat Opening with a rare scene of Price and Maria Keane’s vibrant
shift in dynamics. Kahless displaying his more tender artwork, Christina Rice’s boisterous
Jordi Pérez’s lightly stylised art side, as he first bests and then script explores one of the more
and Francesco Segala and Gloria befriends a multiple-tusked, boar-like dubious aspects of Ferengi culture:
Martinelli’s colours capture the creature, writers Jackson Lanzing and their belief that women not only
space Western vibe perfectly, Collin Kelly neatly evoke the spirit of shouldn’t earn money but shouldn’t
bringing a real earthiness to the Akira Kurosawa’s samurai films as they even wear clothes. She handles it
book. It’s a credible continuation of deftly, mixing pathos with sly humour.
the show, which understands why The manga-flavoured art A promising new series of one-shots,
we fell in love with these
characters all those years ago. combines visceral figure work bringing a different perspective to the
Star Trek universe.
RATING with imaginative layouts RATING
85

 
 The number one destination
for digital art news,
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 
 TraditionalArtist
Inspiration and advice from the best pro artists
92 98

This issue:
88 TraditionalFXPosé
Discover this month’s selection
of the finest traditional art,
which has been sent in by you!
92 Workshop:Createan
underwaterscene
88 96 Natacha Chohra paints an
alluring scene with watercolours.
96 Workshop:Simple
tricksforhandstructure
Part 7 of Charlie Pickard’s series
on anatomy fundamentals.
98 FirstImpressions:
EmilyFiegenschuh
The fantasy artist discusses her
style, projects and influences.
87

 
 Traditional Artist FXPosé
3

SHOWCASING THE FINEST TRADITIONAL ARTISTS

Elisabeth Alba
LOCATION: US MEDIA: Ink, watercolour, acryla gouache WEB: www.albaillustration.com
From charming animal portraits to mystical enchanted
imagery, Elisabeth Alba strives to spark joy and wonder
in those who view her fantastical work.
1 2

1 THE HIGH PRIESTESS

“The High Priestess card from
the Tarot of the Owls deck that I
2 THE EVERYDAY
WITCH’S COVEN
“This is a book cover illustration
3 SPIRIT OF THE WOLF
“A pet portrait commission.
The collectors wanted their
4 BLODEUWEDD
“A personal piece depicting
Blodeuwedd from Welsh
illustrated, written by Pamela created for author Deborah beloved dog, Bigby, leaping mythology. She is the wife of
Chen. I really love painting Blake for her upcoming book through the forest surrounded Lleu Llaw Gyffes, cursed to never
celestial skies!” with Llewellyn Worldwide.” by all of his favourite things.” have a human wife.”

88 Want to submit your work? Visit http://ifxm.ag/getinifx

 
 Inspirational art
4

Want to submit your work? Visit http://ifxm.ag/getinifx 89

 
 Traditional Artist FXPosé
Bodo August Krühn
LOCATION: Poland MEDIA: Oil WEB: linktr.ee/voidbrush
Bodo is a self-taught fantasy illustrator who made the leap from a
passionate hobbyist to a full-time artist in 2021. “Now I live my dream
of working digitally and unwinding traditionally.”

1 AKANKIVIKELO
“The magic of these Kelo
trees is very potent due to
2
the nourishment provided by
the enchanted hagstones.”

2 MOSSTRONAUTS
“The first oil painting I
ever worked on during a
stream. It’s since gone
through some dramatic
changes and looks wildly
different nowadays.”

3 THE MAGISTRATE
“The Magistrate is a
creature of authority. It is the
embodiment of legislature,
judiciary and executive
power fused into one.”

90 Want to submit your work? Visit http://ifxm.ag/getinifx

 
 Inspirational art
3

91

 
 Traditional Artist Workshops
Pencil Watercolour Gouache
CREATE A BEAUTIFUL
UNDERWATER SCENE
NATACHA CHOHRA demonstrates how she works with watercolour to paint an

T
aquatic environment teeming with marine life and home to a captivating mermaid
o keep things fresh and portrait of the siren, with no happy accident makes for an
interesting when I paint, I complicated background scenery – interesting outcome. Initially ‘La
always like to find new just the main character of the piece Sirène’ was not meant to be so ‘blue’,
ways to challenge myself looking straight into the viewer’s but a moment of inattention on my
– and attempting an eyes as if they are about to let them part and the blue-tinged wash meant
underwater portrait certainly in on a secret. for the background spilled across her
provided just that! My medium of choice is face and hair, which in the end
I created this piece for a marine- watercolour, a medium that is worked out very well for the overall
themed online auction that was notoriously unforgiving and at times underwater effect of the piece.
organised by an art collective I am hard to control, but over time I have Natacha is a French artist
part of. Having mostly painted ‘full come to embrace its unpredictable living in the UK who enjoys
body’ mermaids before, I fancied a and fluid nature. Although mistakes creating ethereal and
bit of a change so opted this time to made in watercolour can be almost whimsical art. See more of
go for a more intimate, close-up impossible to correct, sometimes a her work at www.natachachohra.com.

Step-by-step: Paint a captivating portrait with watercolours

1 PENCIL SKETCH
I am not much of a planner with my art
and work a lot by instinct, so apart from a
2 INITIAL COLOURS
I make sure to never start painting
until I am one hundred per cent happy with
3 FINAL DETAILS
I then build colour up on my painting
slowly, taking my time, adding layer upon
super-quick thumbnail sketch to establish my initial drawing. After scanning it (just in layer of thin colour washes and making
general composition, I tend to develop the case!) I lay a single colour wash over the sure each layer is fully dry before moving
drawing straight onto the page with the page, which helps me to set the desired onto the next one. This helps give a soft
help of my reference photos. I just keep the tone of the painting. I then block all the and muted quality to the piece. Then the
pencil work very light in case I need to rub main colours, again keeping the washes fun part, adding detail! I always work on
some off or make changes. thin and light to start with. faces first, and paint the background last.

92

 
 Artist insightUnderwater scenes

93

 
 Traditional Artist Workshops
In-depth: Highlighting key focal points

Aquatic companions
I wanted the goldfish to be the most
forefront element in the painting, so I
used subtle shading behind it on the
mermaid’s skin and hair, painted the
fish with bolder colours, and
highlighted the scales to create
emphasis and make it stand out from
everything else in the background.

MATERIALS
PAPER
n Sketchbook for
Light source thumbnailing
n Arches cold-pressed
watercolour paper,
stretched on MDF
board with Scotch
delicate surface
masking tape
PAINT
n Sennelier pan
watercolours
n Super Vision layered
watercolour tubes
Alluring gaze
The main focal point of
Soft light
The lighting here comes
(Ocean Paradise set)
the painting is the from above. The soft
n White gouache
mermaid’s face, her gaze glow on the mermaid for highlights
serene, unwavering, was created by applying BRUSHES
almost hypnotic. a layer of blue-green n Cheap, old
Everything else around glaze all over, then gently
her is movement, from blotting highlighted paintbrush for washes
the marine animals parts of her face and n Winsor & Newton
swimming around her, to body with a paper towel sable brushes for detail
her hair and the aquatic whilst still wet. White
plants flowing with the gouache was used for PENCIL
currents, to the bubbles shiny scales and bubbles n Graphgear 1000
going up. reflecting the light. mechanical pencil

94

 
 Artist insightUnderwater scenes
Distant shoal
I added the hint of a shoal of fish
Marine ecosystem
I like to think of elemental faery folk as
far above the mermaid near the being part of the organic ecosystem
water surface to give a sense of which surrounds them. This is what I
depth and distance. tried to represent here by adding
barnacles and aquatic plants to the
mermaid’s body, as if to make her an
integral part of the marine habitat
surrounding her.

Simple backdrop
In this painting the background is
the least important component:
using cooler and more faded
colours on the corals and
sponges, and refraining from
adding too much detail to them,
helps push the main character of
the painting (and her fish
companions) to the foreground.

Extra details
The bubbles were an
afterthought: when the
painting was almost
done I felt that the
composition looked a
Visible movement
I like to keep pencil lines from my drawings visibly
little empty. Once I had
added the bubbles I then
showing through the paint. This was particularly worried that it was too
useful here to help create the flow and movement ‘busy’, but I now actually
of the hair and the aquatic plants. like them there.

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 Traditional Artist Workshop
Anatomy quick tips
SIMPLE TRICKS FOR
HAND STRUCTURE
CHARLIE PICKARD continues his ten-part series of quick tips on anatomy;

T
this month, he explores a few simple approaches for structurally solid hands
he hand has a notorious around us and as such, they need to regardless of position. These will be
reputation for being one
of the most difficult forms ANATOMY be as flexible in function as possible.
As artists, the hand offers us one of
our guiding light when approaching
learning this difficult form, so let’s
on the body to get right.
The reasons for this are
obvious: the hand boasts 27 small
– PART 7 the highest potentials for expression
in our drawings and due to this, it is
absolutely worth the time it takes to
take a look and explore how to
approach them.
Charlie Pickard is a
bones, which enable it to vary in its master them. classically trained fine artist
superficial shape more than any Luckily for us, while the superficial and illustrator. Recently
other area of the body. image of the hand is incredibly awarded the Philip de László
The reason for this complexity is complex, there are a few simple Award for excellence, Charlie continues to
the hands are often our primary tool structural ideas of the hand that work, exhibit and teach out of his studio
for manipulating the environment remain remarkably consistent in London. www.charliepickardart.com

2 Finger sizes
An important proportional
element often difficult to maintain
control of is the sizes of the various
parts of the fingers. Luckily for us,
while each finger will be a different
overall size, the relationship between
parts will be quite consistent
regardless of the size.
The first proportion I find most
useful is that we can break the
overall finger into quarters. As
already stated, the body of the hand
represents half of the overall height
that each finger reaches. Alongside
1 A few useful proportions this, the end of the first knuckle of
As always, we can start our study with a careful look at the finger lies one quarter of the way
the simple orthographic views. From the dorsal (back) view down. So if you have placed the
the body of the hand exists within a one-by-one square, if we entire finger, you need only cut the
double this measurement upwards, we can place the top of the shape in half and you have that first
fingers. The body of the hand connecting to the thumb is an knuckle. This is a massive boon
addition to this general proportion. The body of the hand is when trying to place the basic
generally thicker towards the bottom and thinner as it proportions quickly.
becomes the finger. This general tapering shape continues Seen right, we have a slightly more
through all of the fingers. nuanced proportion relating to each
The longest finger is the middle finger and they get part. Each smaller finger bone as it
progressively shorter out towards each side. This creates a rises out of the previous one is 2/3
rhythmic curve, most clearly seen at the start of the fingers on the size of the previous finger.
the palmar (frontal view). This general rhythm is repeated Capturing these proportions along
through the fingers and serves to connect the general sizes of with a general taper to the finger will
each finger along with its individual details. help to build a believable shape.

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 In depth Anatomy – Part 7
3 Plane structure
As we begin to look for
structures that we can rely on
consistently regardless of the hand’s
position, I find it helpful to look at a
hand shape that we are all familiar
with – the fist.
If we take a careful look at this
iconic shape we can observe clear,
three-plane breaks creating the shape If we also examine how much hand and see what it means. From
of the knuckles, and therefore the movement we can create in these this, we can see that much of the
body, of the hand. The central plane planes, by testing the two extremes changing shapes of the hands are
(in red) connects the index and of movement within a fist, we can caused by these moveable planes and
middle finger with two planes see that they are not all created regardless of the pose or position of
leading off each side, in one equal. While there is an impressive the hand, this central plane will
direction towards the thumb (blue), amount of movement available in always remain consistent, which is
in the other towards the little finger the thumb (almost 90 degrees!), fantastic news for us! Due to the
(green). These three simple planes there is far less available to the little unchanging nature of the central
are, in my opinion, the most finger side and the central plane is, plane, it will serve us fantastically as
important concept to understand for for the most part, immovable. Try to our central structural pillar that we
structural hands. make these positions with your own can build our other structures out of.

A B C

4 Basic approach
Let’s take a look at a couple of
simple demonstrations:
B Next, we attach the two
additional, moveable blocks. To
work out how much you want these
each finger along with the rhythmic
connection we spoke of earlier.

A
to be moved, reference the initial red As far as placing the perspective of
Here we can really see how block; this is a crucial step in these fingers, they will be fully
simple this approach makes deciding the final shapes of the aligned with the blocks. You can see
setting up the initial perspective of hand, so some experimentation may how the effort we originally went to
the drawing. It may not look like be required here. placing these blocks was well worth

C
much just yet, but all of the crucial it, giving us a great setup for placing
positioning and posing information The final set-up step here is these varied forms. With that, we
is already here. You may not feel able adding the fingers and thumb as have a pretty solid simple hand with
to visualise a hand, but anyone can simple blocks. Remember to a clear pose. This general method
visualise two blocks. consider the diminishing sizes of will work for hands of any position.

5 Finish with
small details
Once all of the large perspective
and structures of the hands have
been established solidly, the major
work of the drawing has been done.
It may be surprising, but adding the
small folds and details is quite simple
once we have a solid structure to
hang them on.
As always, the best way to
understand these concepts is to draw
and experiment, so get started and
try out a range of hand shapes and
expressions. Happy drawing!

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 Traditional Artist Interview

First Impressions Emily Fiegenschuh Is your art evolving? What’s the

The fantasy artist most recent experiment that
discusses her style you’ve made?
The subject matter of my artwork,
and latest projects fantasy, has always been consistent.
I’ve also always used water-based
media, usually gouache, for my
What, outside of art, illustrations. What has evolved the
has most influenced most is the technique I use to paint
your artwork? with gouache. While technically
Nature has been a ‘incorrect’, I like to build up the
huge inspiration, in gouache in transparent layers like
the last decade especially. Natural one would with watercolours, rather
elements and organic shapes have than use it opaquely.
always been a feature of my work,
but recently I’ve been incorporating How has the art industry changed
nature into my pieces more THE LOOKOUT
This painting was printed in since you’ve started working?
deliberately. I’ve gotten a lot better Llewellyn’s 2020 Magical
Faery Calendar. I illustrated
When I was first looking for
at identifying different plants in the three faery calendars for freelance work, most of us were still
process. Learning new things is Llewellyn Worldwide from
2019 through 2021.
sending out physical portfolios.
always fun! That has all changed now. I can’t
think of any client that has asked to
What was your first paid
commission, and does it stand as a I like to build up the see physical samples recently.
There’s also no more last-minute
representation of your talent? gouache in transparent layers, rush, paintings in hand, to the final
My first job out of art school was at
a studio, designing collectibles.
Shortly after I left that job, I landed
rather than use it opaquely FedEx pickup for the night. Now
everything is submitted digitally.
While more convenient, the
my first freelance assignment with but I’d say the subject matter was a downside to sending digital art files
Wizards of the Coast, illustrating pretty good fit for me. I still like to for traditional artists is that the
two creatures for the 3.5 edition of incorporate elements of humour client never sees the original, so
Dungeons and Dragons. They were and whimsy in my pictures like I they have nothing to compare when
an asperii, a magical flying horse, did with the myconids. trying to colour match. They have to
and myconids, basically mushroom rely on what’s shown on their
people. Hopefully it’s apparent that What was the last piece you screen. This makes it more difficult
my draftsmanship skills have finished, and how do the two to get a faithful reproduction of my
improved in the last two decades, artworks differ? artwork in print.
The biggest difference between the
art I’m working on now, and my What does the future hold for you?
early illustrations for D&D, is that I’m working on a tarot card deck
these are full illustrations – with Llewellyn Worldwide. It’s been
THE FAERY GODMOTHER complete scenes with many a fun but challenging experience,
OF WINTER/THE QUEEN characters and other elements to with 79 paintings to complete! I’m
OFOneSWORDS juggle. While they are more looking forward to its eventual
of my soon-to-be published complicated to work on, there has release. Once that is finished I hope
tarot deck illustrations. I loved
painting all the details of her also been a satisfying element of to continue working with clients,
winter crown and the seeds of
the pomegranate.
freedom to these illustrations but also to branch out with more
because I’ve been able to put my personal work.
own spin on them. While I still have Emily has illustrated for many clients
to work within the guidelines of the including Wizards of the Coast, Inhabit
theme the author has chosen, it’s a Media, and Llewellyn Worldwide. She is
collaborative process and we’re the author of The Explorer’s Guide to
CHILDREN OF THE FOREST creating something new. My work is Drawing Fantasy Creatures, a how-to-
I made this painting for a
gallery show in 2015. It has not as limited by the framework of draw book for creature enthusiasts.
become my most popular image. an established world or style guide. See more of her work at www.e-figart.com

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