Roberto Oleotto

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Lo­ca­tion: Italy Web: www.on­the­sign.it Em ail: on@on­the­sign.it ME­DIA: 3ds Max, V-Ray, Nuke, Pho­to­shop

Roberto kicked off his artis­tic ca­reer at the School of Pho­tog­ra­phy and Graphic De­sign, and uses pho­tog­ra­phy the­ory in his art work. “Cre­at­ing an im­age with good com­po­si­tion and at­trac­tive light is cru­cial to great matte paint­ing,” he says.

Start­ing with a speed-paint­ing and a spe­cific con­cept, Roberto al­ways sticks to his tried-and-tested work method. “The rest of the time is spent search­ing ref­er­ences for pho­tog­ra­phy and com­posit­ing,” he says.

“I could cre­ate en­vi­ron­ments and images of fan­tas­tic sit­u­a­tions for days. How­ever, what in­ter­ests me most is that mo­ment that takes your breath away.”

1 Mul­tiver­sum Utopia

“I recre­ated a post-nu­clear dis­as­ter that would con­trast with the heav­enly am­bi­ence. I painted it in Pho­to­shop, and hand-drew a lot of the de­stroyed city first.”

2 Go At­lantis

“I wanted to cre­ate a scene in Pho­to­shop that had a sense of im­pend­ing dan­ger. At­lantis is the only shut­tle that hasn’t lifted off yet. I wanted to tilt the frame so it looked like a photo that was taken quickly.”

3 Mul­tiver­sum Mem­ory

“The ini­tial idea was to cre­ate an art­work that would stop the viewer in their tracks. I cre­ated it en­tirely in Pho­to­shop with the help of many pho­to­graphic ref­er­ences.”

“Roberto uses his pho­tog­ra­phy knowl­edge to great ef­fect, draw­ing the viewer in with a clear fo­cal point that not only de­mands at­ten­tion, but makes you feel as though you’re climb­ing into his worlds.”

Claire Howlett,

Ed­i­tor

1

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