dark fan­tasy

Learn to paint the art of dark­ness with vi­sion­ary il­lus­tra­tor Jeff Simp­son

ImagineFX - - Front Page - Jeff Simp­son Coun­try: Canada Jeff is a con­cept artist and il­lus­tra­tor who works at Ei­dos Mon­treal. His clients in­clude Ubisoft Mon­treal, Uni­ver­sal Pic­tures, Lion­s­gate, MPC, The Mill and Wiz­ards of the Coast. http://ifxm.ag/jeff-s

y process for paint­ing per­sonal work gets a lot of scru­tiny. “How do you make it not look like a dig­i­tal paint­ing?” “How do you achieve those tex­tured ghostly ef­fects?” I al­ways try very hard to make my im­ages look like they weren’t cre­ated dig­i­tally, or at least make them tran­scend the medium in which they’re cre­ated. Dig­i­tal paint­ing of­ten has a ten­dency to look flat, syn­thetic and life­less. I al­ways put an em­pha­sis on

Mmak­ing my char­ac­ters and tex­tures look rich and full of raw, chaotic en­ergy. It may be a cliché, but I feel that happy ac­ci­dents are one of the main driv­ing fac­tors in my work, and since I’m us­ing a dig­i­tal medium, the abil­ity to ex­per­i­ment is al­most in­fi­nite (which can, how­ever, be a prob­lem in its own way). In the course of this work­shop there will be many points where things don’t go as planned or take an un­ex­pected turn. How­ever, since this was done for a mag­a­zine cover with very spe­cific goals and guide­lines, I may not be able to play around with the im­age as much as I nor­mally would.

The tools I use to paint this im­age are pretty straight­for­ward. I never de­vi­ate from the ba­sic Pho­to­shop Hard Round brush for ren­der­ing, and the tex­tures I use are gen­er­ated from a few pho­tos of my acrylic paint pal­ette. Most of the ex­per­i­men­ta­tion comes sim­ply from al­ter­ing the colours and play­ing with the var­i­ous layer set­tings.

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