Ad­vice and tech­niques from pro artists…

ImagineFX - - Contents - Justin Ger­ard

Cre­ate clas­sic steam­punk art

Justin Ger­ard uses dig­i­tal and tra­di­tional me­dia.

Dig­i­tal paint­ing has many com­pelling points. It of­fers a range of fan­tas­tic tech­niques, the abil­ity to undo mis­takes, quickly edit an im­age, and per­form ex­per­i­ments on your paint­ing with­out any fear of ru­in­ing it. It has many timesaving fea­tures that en­able the artist to stream­line their process and pro­duce work faster. Work­ing dig­i­tally also makes easy colour ap­pli­ca­tion pos­si­ble, and you never have to wait for those colours to dry. To top if off, you’ll never have to clean your brushes. In many ways, it’s magic. How­ever, when I be­gan work­ing dig­i­tally, I no­ticed that my fin­ished paint­ings looked ei­ther too plas­tic, or burnt out. My dig­i­tal work felt syn­thetic and flat and while all the vis­ual in­for­ma­tion was there, it was miss­ing an or­ganic vi­tal­ity that my tra­di­tional work had. As I in­ves­ti­gated fur­ther, , I re­alised this prob­lem lay in the sur­face tex­ture it­self. The dig­i­tal art just didn’t have it.

I ex­per­i­mented by work­ing dig­i­tally over tra­di­tion­ally painted tex­tures and un­der­paint­ings, and found that by us­ing real-world tex­ture and tra­di­tional work un­der­neath my dig­i­tal work, my fi­nal paint­ings didn’t feel quite so soul­less. It’s an ap­proach I’ve re­fined over the years.

In this work­shop I’m go­ing to be show­ing you this method step by step, and cov­er­ing how I com­bine tra­di­tional ma­te­ri­als and dig­i­tal paint in Pho­to­shop to achieve a rich, clas­si­cally painted look.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.