Hunger Games

Draw the girl on fire with Ilya Ku­vshi­nov

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Ilya Ku­vshi­nov treats a paint­ing like a multi-lay­ered 3D model to help him por­tray Kat­niss Everdeen from The Hunger Games.

You can ap­proach dig­i­tal paint­ing in a num­ber of ways. Some like to paint as they would tra­di­tion­ally, while oth­ers base their art on pho­to­graphs or CG ren­ders. You can also use your tools in any way you like, cre­at­ing new vis­ual styles and work­ing pro­cesses.

Yet even work­ing dig­i­tally, there are lim­its to how you can adapt your art to the dig­i­tal can­vas. For ex­am­ple, for my pri­vate il­lus­tra­tions I usu­ally work on be­tween one and three lay­ers all the time, just as I would work with tra­di­tional oils on can­vas. Un­for­tu­nately, the same ap­proach isn’t prac­ti­cal when tak­ing on com­mis­sions from a client. If, for ex­am­ple, they de­cide to change a gun de­sign but your gun isn’t on a sep­a­rate layer, then you’ll spend a lot of time tweak­ing the de­sign, com­pared to the time re­quired if it’s on its own layer, with tex­tures and shades on sep­a­rated lay­ers.

Cer­tainly in the case of com­mer­cial illustration it’ll ben­e­fit you to know and understand the ca­pa­bil­i­ties of the tools you use, and how you can get the most from them. In this work­shop I’m go­ing to be show­ing you my way of paint­ing an illustration as if it were a 3D model, com­plete with its own ma­te­ri­als, tex­tures, light and ef­fect lay­ers. This will en­able you to change any el­e­ment with­out too much trou­ble. I’ll help you to con­cen­trate on the paint­ing process to cre­ate all el­e­ments of the illustration at the same time, so you can show your piece to the client at any step and it’ll still look like a com­plete paint­ing.

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