Wel­come to B&W: take two

ImagineFX - - Editor’s Letter - Beren Neale, Act­ing Editor beren.neale@fu­turenet.com

We had such a great re­sponse to is­sue 126’s ex­plo­ration into the gor­geous world of greyscale, that we couldn’t wait to start on our se­cond black and white cover. Work­ing in B&W is use­ful be­cause it forces you to think about val­ues and what-not, but there’s also some­thing uniquely strik­ing about it. A poet might wax wofty about it re­veal­ing the quintessence of an artist’s in­tent… thank good­ness I am not a poet. I am, how­ever, chuffed to bits to have worked with Karla Or­tiz for our cover. Tasked to make good with some of my vague bab­blings of “skilled as­sas­sin”, “black woman”, “cool dag­ger” and “big win­dow”, Karla painted a phe­nom­e­nal piece for you to recre­ate on page 62. (Don’t you just love the as­sas­sin’s at­ti­tude? So cool.)

Flick to page 70 now and there’s a re­clin­ing lady await­ing! Stéphane Richard uses Keyshot, ZBrush and Photoshop – and lessons learnt from Old Masters – to cre­ate an im­age rich with de­tail. It’s the most sump­tu­ous paint­ing I’ve seen for a while, and the work­shop is a fas­ci­nat­ing look into how he achieved it.

Talk­ing of ZBrush, we’re kick­ing off a new se­ries on the soft­ware on page 68, as we’re aware that com­pe­tence in 3D is be­com­ing more ex­pected of con­cept artists th­ese days. But, whether you’re go­ing pro or not, get­ting your hands dig­i­tally dirty with vir­tual clay is great fun. And to bring a lit­tle colour into pro­ceed­ings, check out Loish’s art on page 42 and the work­shop on colour and light on page 84.

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