FR 4 463 MINUTES OF EXCLUSIVE PRO VIDEO TRAINING NO.1 1 STEPS 10 DRAWING CREATURES Discover how to create Tigi movement and more wit + e ~ - of THE SECRET LIFE FREELANCE ARTISTS. GARY VILLARREALS CONCEPT SKETCHE: LigHT up Your ART IN FLAME PAINTER GET BETTER AT — NEW BRUSHES IN PROCREATE 5 S Step-by-step advice on how to use lines, form (2 e and values to concept realistic heads SS x! th 7 CYNTH ITHIA SHEPPARD WIZARD'S SENIOR ART DIRECTOR ON HER LIFE OF MAGIC!Editor's letter Imagine MA change of decade has made me pause for thought on what T've achiewed so far, and what my potential may be for the next 10 years and beyond. Personally, I had previously found it hard to look back. One reason | argued (to mysell) is that I'm too busy to take a moment to reflect. | usually race to the next thing, my mind a whir of planning how to accomplish or manage the next task. Recently, I've really ied to take stack; (o look back and assess what was. It wasn’t always an casy thing to do, but in and amongst the negative thoughts that seem to push through to the front of my mind, | was able to fondly remember situations of positivity and accomplishments. These weren't Cynthia sheppard work achievements, but more simple and personal she’ a titan of the global art scene and herart milestones. I love how T have maintained accomplishments ven inspsaton to usa. friendships with dear friends. I've come to recognise the value in the small things that make me happy: food, exercise, family time and being outdoors. Teel more calm, more able to shrug off creeping doubt. | move into this new decade older, but more at peace with myself - and this is honestly the best thing I could have hoped for. How to get ahead Editor-in-chief Am instructor OliverSin shares his knowledge on how [email protected] «create the best hea for study and for porta : son mans AGRESubscribe and save! et 5 SIGN UP TODAY! GREAT REASONS TO SUBSCRIBE « Save up to 75% on an annual print & digital ImagineFX subscription * Save up to 45% on an annual print subscription + Exclusive text-free covers for subscribers 4 * Never miss an issue % — : e? * No-hassle delivery rin ° Receive 13 issues a year yt | ——— ne ALU SUBSCRIBE AND SAVE BY VISITING: 1 i WWW.MYFAVOURITEMAGAZINES.CO,UK/IEX/PROMO20 4 4 erie Eines see page 24 =Subscribe and save!_Contents .: 10 FXPosé You submityour work to us and we then show your gorgeous art t te world! N and 18 The socretife of freelancers Going freelance isn'ta shortcut to Easy Steet Independent artists tell ts box the behind the scenes werkt involves 26. Artist in Residenc Kat Birmetin This US artist has embraced Japanese culture afer relocating to. military base in the cour eatures 34 Interview: Cynthia Sheppard Weralksto the dark queen of Magic: The ‘Gathering about art direction anid her fantasy illustration career, 42 Sketchbook: Gary Villarreal [his artist enjoys putting extraordinary characters and creatuees into scenarios chat are overflowing with storytelling craft 50. Interview: Anna Dittmann {he ilhstratartells ts about balancing Ue necessities of fieelance with the cotherworidlly concerns ofherart F 92 Hardware 3 Editor's letter 4 Print subscriptions 8 Resources 24 Digital subscriptions 33. Letters 48 Recent editions 78 Nextmonth subscription to Imagine X! Artist Portfolio “My favourite simple indulgence is doing oil portrait studies” ia gets back t Secret life of trelancers ||\\ Save up to 75 per cent off the price of a print & digital a Artist ag sete “IE oul Yd fill all my space with plants and animals” s welcome (ela60 _1Stipsondrawing realistic heads ‘Oliver Si’ chaicoal att techniques, 68.15 steps to drawing animals Improveyouranimal artwork with Aaron Blaise’ advice, 76 Painting realistic rain effects ‘Christophe Young shares his painting ‘process for creating, rain, 30. Brush skills in Procreate 5 ‘See how Rafsel Sarmento creates scene Dursting with narrative 86 Explore Flame Painter's tools ‘Tlarvey Bunda shows how to use the Programs new features, pa nal Artist 100 Traditional art FXPosé Taxplore this nontlsseletion ofastwerts, 104 Workshop: Create.a ‘unique gouache artwork See howe Hesheth Tagjana transfers her ‘character concept toa wooden surface ‘T1o_ Workshop: Painting Magie card art Milivoj Ceran paints an MIG character snaking a diamatic entrance, 114 _ First Impressions: Rebecca Yanovskaya A delay to this artist's first paid ‘commission proved beneficialResources @Resources | Getting hold of thi: easy, Just visit lniagiie) ssue’s resources is quick and Use custom brushes to create narrative-led art in Procreate 5 ‘Seehovs Rafael Sarmento edi his brushes in the new Brush Studio, Theres more om page 80, Paint on a slice of wood Anatomy photo references ‘Watch Liesbeth Tatjana bringhercharacterto_ Use aurextensive collection of model Fifein gonache. Herwworkshapson page 104, reference poses to enhance your Figure at mm SNS tee Ghia resrnanen | Fxwlongessaurocts Geshe usta cn ‘iavwrdunngouiace tatktoreeraymcowir,” Prats alacssimeVERTEX THE EVENT FOR 2D &3D ARTISTS. 27-28 FEBRUARY 2020 | OLYMPIA LONDON Book your place at www.vertexconf.com cee aa Xx 30) ere SROGraphic designer tumec-concept artist Anton's ern eect nea an ea aca et L ieee Moc neneel oli keel okt ENED 4 ‘| routs) Mia ‘Want te submit your work? Visit Li “EXPosé Juan Moore aves na Sens es ame Juan has r ntly moved into the world of fantasy art. He works on board game illustrations and tries to ‘mentioned inte stores aiter the big deteat ot the MOUSE DRAGON tiny a ralure of is cord et” GOAT THIEF MM ea, NeXPosé Fiona Zechmeister Fiona has studied illustration and publishing, and is busy developing her 3D and animation skills. She works as a freelance illustrator and enjoys developing stories and ideas that connect emotionally with viewers. VIENNA INTHE OTH, “The intention for ths piece ‘as to show how my home ‘sy could nave lagkedin the pest Inthis scene pigeon leaks down an a usy ‘3 Stephen's Souare” ) DETAILOFTHEMARIA < THERESA MONUMENT nowy sareime toften create stcies from real fe, lointio-drawing sessions and visit museums. Trisoneis a plein ar painting done ‘gouaene on paper “7 LovEIN TIMES OF VENGEANCE or this book cover | wanted revealing arever The story is set dung, of canfictin South Ame during the 1970s, an tells of ‘a woman fightin for justice”Rembrandt van Leeuwen eee Mel Freelance digital artist Rembrandt was mentored in the arts by his father and supported by his sister. He has a love for everything related to fantasy, science fiction and manga, which he channels into his own comic, Vingard. vINGARD- “The cover page ts the ‘st chapter of my comic Vingardt follows tne tale ot ‘hay face an unforoting sword of fans! DUNECRAWLER. Dacitur to eaverse the stony deterts These dunecrawiers canwrthstana ‘the dangerous forees that FEATHER This moment, where ant stays with the youre ‘boy Koll forever, will appear na futuro cue of Vingard “The ist instalments _av2 lable on Weatoan:Posé Janaina Medeiros “My work covers fairy tales and myths, with a style influenced by the Pre- Raphaelites, Art Nouveau and manga," says freelance artist Janaina. Since 2016 she's been illustrating books, card games, gallery shows and more. the story ofthe 2dy ofthe land the sword Excalur from Arthurian legend ARIADNE 4 DIONYSUS (inthe form of aleooarc) re wo characters ram the Greek Mythology. This was rw Festillutraton oF 2019 LABELLEDAME SANS MERCI “act inspired Bale Dames bby Joba Keats created ths ilustration for The Enchanted Forest Fantasy Artbook, ppublishec in 2010.ia NEWS, SOFTWARE QEVENTS masineNation AT THE CORE OF THE DIGITAL ART COMMUNITY The secret life of freelancers Going freelance isn'ta shortcut to Rasy Street. Independent artists tell Dom Carter all neta ea rennin et tec R elt a ne Gerrold See eer Picea tata bed ee aed eerie Cee ea errr at Se workloads to uaa, taxos to sort Pores are Seu Pepe ereetnr ey oereoed Cees eee eee a ra ere Feats Me era) peace eee porn ee een eee ete Ererneeet nara lee eirieer te epee J Way eakaenres / af Pei iee eas me feet eee r AEG Cane ee pee Le cert ee ote ie enRina Reena FMC B Ma arora ee ances PNB ia Xa mecnle kee m CReoee |>> income through 2 varaty ff time and carttime postions. For Io yoors is toakea cay joo os ‘aphiccesigner as she experimented vith ereating chidren' book ‘strations. “Tne obs wore law pais and just net fuflingz> me But bbecouse had the day ob leould que things out without having to worry about making enough money te pay the ls Putting inthe hours ata fltime role hes merebenelts once to get aparttione it ut " means that younave somenew file" = or ancl lustrator Ully | sworkeelat 9 abity “rad done 2 bil ot vwariehere and tere inthe this time Iwas 959 alin says teslanee concept eae a ori ting. no wil | bookstore for ash leemed alot toa” BALANCING ACT freelance career is efferent, had worked r-rouse ot yrs lowed several studios fora decade belore taking the plane, thiaktnat having worked at 6 Don't overlook the | administrative duties that ' going it alone involve that's unveised to your artistic aspirations, ether. "Work on dsaeling nipgs cry up, having Uunderstondably dictate an artist's ‘workflow, ut fs emporant nat to ‘overlackthe administrative duties that {0ing i alone votes usually answer emai and do ical were send emai, money management, website upkeep soc: ‘media for example - inthe fst hal my doy ba Like" dent allow merethan about because my body is 1S ean in Without following a cleary defined routing it's easy to spend too much time woreing, atthe expense ie This was apatternSet achievable targets "Fused to mae very long lists but wouldnt heableto ep wp with them and two mae me fe! lke fhe” say Ini Compiet, "Now tn just make lists with two.or thee things Uneed to do ina day” Dip into data Zityou thinka project takers weet ebcong your acromplishm Toca a the dt Ellen eweet. “Dic sweels las time? Don think Aronia cont chink what i should be—lookat the zeality and base fimure estimates on that Schedule breaks found chat having simple timeron my desktop sets increments of 30 minutes works bese" aps Gilles Ketting“Tofien clive my working day upin stretches of several 30 imaes blocks This especialy works i must do samt hing thst fm not too keen on doing, orhavean approaching deadline” Establish an orde Mahe ate you kn your deadlines are” Sean Sevestse recommends. “Thawe a big writethose ing dow things like what plan on vworkingon the nextday things like tha.” Figure out what works best for you uselhaud copy calendaysand notebooks fr everything” 529s Lily Walliams, “For me, having someting physical tip through, reference and cress offs aanecesiy. Knowing and respecting hove you prefer) manag: your time iscrucial.You might not manage yout ike yourpeets and that'solay~ as Jongas your work petsclone*ImagineNation N 9@ I never assume that a job will come in, because that’s a quick way to end up in a sticky situation ' EMBRACE UNCERTAINTY Thriftness is comm assume that 2 job wilol a PCC 4 FROM £2.10 PER ISSUE! | ANATOMY This offer is ONLY available via our online shop www.inyfavouritemagazines.co.uk/digital Ene Soe cl}Artist news, software & events Pixar, Loish and more set to attend biggest Vertex yet n Industry-leading 2D and 3D artistic talent join the line-up at the ulimate CC crestor event, which is now bigger than ever! ‘Vertex, the annual conference for 2D chings off therellbe a presentation and 3D artists, raturne fora thirel time in 2020. Taking place at London's ‘Olympia Conference Centre on 27 and 28 February, tho two-day event ‘ochynoloay to croato its ‘wil feature Inspiring tals from animated rs industry pros, portfolio reviews, networking opportunities, artist ‘demonstrations and much morKat Birmelin Military manoeuvres This artist has embraced Japanese culture: after relocating toa military base in the countryArtist news, software & events SUNCOM p Teena aie ary band playing from. = PU n ante tey See meLiem ch ebLirss 0 ma MREArtist news, software & events6 There's a lot of art hung up on my studio walls, including a few original pieces I've collected from friends 9 ny trusty colega palate. and (MYTHS AND FOLKLORE Most of my work these days is ug nap or muy yes wha Into tert gs Soe more a or vonfeat woew utenti soars,Artist news, software & eventsli 1 FOR DIGITAL ART erX GET YOUR BINDER TODAY! This sturdy binder, featuring cover art from our 150th issue, will store and protect 13 issues of ImagineFX. Prices start at £10.99, which includes delivery! ON SALE NOW! www.myfavouritemagazines.co.uk/ifx-binderLetters YOUR FEEDBACK & OPINIONS | Contact the editor, Claire Howlett, on [email protected] or write to Imaginc-X, Future Publishing, Quay House, The Ambury, Bath, BAL 1U1A, England [Ey Follow us on Twitter: sour titre maine [Ej Findus on Fanbook 9 Be risky! Inycursivember2019ismevonaied — MAS foriedbackena workshop an homens litle ra corny ! most of your maga’ great conten z Sty chilsen eal gronen op ish their own children nv. woukd much _weer that you occasionally publish Sick that ane lites dan depeve nnychideen eran msaturngelldre9 of _achanne to see something of he wol “hey havea vein some day Those are teh element calla Laie yout storkrevrd in makings. Tin dealing wih same onlin “editors and publishers about a hookof short tories ryingto promote They'e concerned aut an image of ‘young womanon the Ain Savanna 10400 years because she's dressed ‘nena skins (no expe booty parts “eyend amis an sand shins seal and she's carving a pea) ro “old b chem thac my image sages eductve or fetshised stereotypes of nails? ‘hats pretty lose wa allem a ‘rsd of rival expression i the ans, Tsay tH: “Donithe that editor” Keep up the oe work Cla ‘hery Senter, a ome Post yourart or photos on Instagram: | DID YOU MISS THE PREVIO\ PACKED ISSUE? bantworry—you | canget hold ofic aubiipsy/ifkm, agibuyisstuels2 ‘Claire replies ery, appreviate yr ine in ng oe jour mages gang hore woahop dol Bho Severe that nese win nd wate star rota do har. Howe as Usa wa ragacie force, iv find he ance, har fr mets cama on eur nec be eo se hei ‘puesion zur do Hew ae pubes 1 ames. ta | ggasi eps tn 9 pos omcwe e = cde ayuwhane made fot ners ofrepreetation offre 1 gos boli a set hat il ‘ve ah in of Mane the bier aes ing cos wih ee | evs, ashe pnp regose fr air uj, ont ir dso toa | Asking for help Hel ad to write in ith regard othe ‘ators ener ftom Clie in your ‘Chisrnas 2019 issue She aled about { avoiding going i evenisafter having { children because sbe felt expose | srucka chow with me Irecently had gone hackto work after having my fis bile ana washaving {trouble iting back in Isat. abke to soetlisewith co-workers the sme {saya Lael before ad may son. My job hadnt changed, but felt disconnected, ‘What struck merwost was Chines > onn right, She might be taking a beak from freelance projects hile she processes those 3.0041 imag, bux since hercarer kicked offin 2002 she's swore fara range of top-dravser Clients in fancasy publishing and teaming, Tor Hooks, Py Books, NicCrnw-Hill Ryerson, Asimow Science Fetion, Fantasy Flight Cayprozoic, together wi employer Wizards ofthe Coast... the Tist goes oo, KEEPING BUSY Once in awhile, Cynehia as the ‘opportunity co paint a Magic cand Iesel and Ashiok, eam Render from the 2019 War ofthe Spareset isa recentexample, ln adehition to that, she ‘alays has one oe personal projects on tego “They tend ta ive under he ‘umbrella of practice and exploration ‘shied isimpertant ta keep from siting rusty hie Tm not paincingas | Artist |PROFILE ARES Heya aces keecewnin ASHIOK Being around other creative people has been instrumental in my growth 9 ny fll. tinne jl" she says. "My favourite simple indulgence is doing oil portrait studies to test out various Techniques, oF js for something relaxing: doon the weekend." Even those arebuyy for Gyuthia She sometimes likes to recor songs wth. ‘one ofhee Trends, o bs Furniture for her house, does pperin Reaton, ‘Washington, not fa forn Seattle. Most of er space at home i tteated ike ae, ar studio, filled with paintings while theres she goes out its often to hang outwith onherarist "Unlike other places ve lived, Seattle has a huge an shiving ar corurunity,” she explains. “Being anound other creative people all the timelaas been instramental in say gent. fee been pant ofsemall, online rikque groups verte years, and {strongly zecommend finding ether actists ta bounce ideas of of and usade bhonestfeohack with, hur is more fun when isin person. ng term readers of Imagine?X will already know that Cynthia isalwavs ‘willing to sac her techni wich others. She used to answer wader >> tuner construction, WhenCYNTHIA SHEPPARDTHE WA NOTH ‘questions right here in the ‘magazinein the popular QS, section, wean mint workshops about hor to accurately depict various elements ofa Tansy painting Indeed, she continisco share her Jenoveledge with fellow artists ia Youtube and five workshops fn 20 shedidan exercise where she revised. her 2007 digi painting Wonderland Deconstructed to produce athres-part vdeo series anda brandnew image enwited Reconstructing Wonceland ‘You can watch the video by visiting the Biggest ditference hecween: my work 10 years. ago and now is that learned! 0 care abst i differently CGrrather, Ive always cared abost my sor at Iii always cw hon tr Show it” she says. I've always cared about my work, but I didn’t always know how to show it STUDIES “Technical execution comes from ‘observation and practice, but also nal wo tear tae my time and pay move attention eo every part of an image. ‘Ihe 10-yearsago-me might have, say concentrated extremely hand fn aface and hands, then left everything else a chance Or peshaps ‘would have stated with a figure, hen smade up the background around it ‘with no veal planning Today, [vo dothumbnailsand get hold of | rekerence for everyting” ‘The renultis images tha ae sharper, with pinpoint anaterny and great balance inthe composition. This. in ‘arn, has enabled her to focus mene on the drama anc! storytelling. hee paintings. Heruse of light and flashes fof beld colour within an eflen-moted Palette has faken her work toa new Jevel, and is litde worader Cyratia has thrived inthe field af bak cower and gaming cand ilstration One thinghas stayed thesame, ough, Shestil loves a goeal vampire Smage‘A-vampite paintinghasall the hallmarks ofa figure painting sully ‘with more romantic gestures and swooshy dark capes Inet, realism and rommanticiam, combineinber works and like many arts Cynthia admits tha she was ‘obsessed with acura a8 3CYNTHIA SHEPPARD Ca | mean dragon butearelyfesthe urge | “Before knew to read an | towrateentrvagn madsters “Belo emembe locking abi Sader Ugnevr hat fans tustation was 2» Dalitome fom ne 1960s and a caret, [dhought porutture asmy | Natignal Galery show calogue with >> teenage, Reatian and TEARHNGTOLEAVE. | cating 0 1grvtted toward human Rembvaodratd athe Old Masters, Initationlsm areehac powered her Getinete | iguesand aces from aneaty age" | shesas “By the time Tht rade atl pangs and she as highly goo says. “Tmay-always primarily bea | school, | alveady solidly owned my art “ttcal of herself she work lint {figurative artist, bat Twoulent mine! | ie ideotiy ‘ome out locking ike the natural | doingmonecreaturesonce iv awhile!” | Anal forCyotbia, am ati training ‘orld Her tases hare broadened isa lielang journey. Fren when shes ‘over the past 20 years but shel stl | LEARNING VIA TRIALAND ERROR juggling undreds of new pieces for ‘drawn 49 Accvlernic Realism and artists | With her dedication a lism, irs | upcoming SAFC carl, she asoabing, ‘such as Edmund Blair Leighton, | surprising tolearn that Cynthia ‘ideas and inspiration, Ast dinectingis ‘William: Adojphe Bouguereau and { diopped out ofa school and instead! | helpingher become a better atts, John William Wateshouse. { of sticying has developed her kills “One of the most fascinating things This might be why, conscious or {through awiderangeofesperieness, about geting wsluak a that much at subconsciously, Cyaubia tenes towa £ shesattended workshops learned | constants chat you get to watch ‘painting human figures over cra fiom peersand mentors, watched other artists grove too. they” “Ofcourse, she canand does paint a { caine and livedemos, and honed | disuower, Lliscover Tees om { some ofher techniques through good | everywhere, and that means Im also 6 By the time [hit grade | oldwialandere Originally from | otallyshameless about asking 5 { Tani, Virginia she gained good | Magic artisteabout her work or school, [already solidly | grouneing martin he fmilyhome, | weathing their tacorals for incights hot LAA toed cic ws fll fhe ater palntings | ino thei proces, We all earn froen owned my ‘art kid’ identity 99 | ~cncofher eatist inspirations cachother!"La Aztec aulture is intriguing, and I've always enjoyed drawing indigenous charactersSS » FORTUNE AND MISERYI've always been fascinated with cybernetic characters...Complete your collection! Recent editions Missed an issue? Here’s how you can order previous print or digital editions of ImagineFX EB ccxusr me res, Recent print editions Room Dictate US Visit i mace Apple Newsstand Download us from the Newsstand app on your device or visit htte:¢/ifam,.ag/apple-ifx. Aneirold, PC.or Mae Google News: http://ifxm.aa/aooale-halforice Zinio: wowwnzinio.com/gb/imaginefx-m2256 Other clovices ‘We're available via nock on Barnes & Noble and Amazon's range of Fire tablets. Fg) ia bene [pene Wiig cy Issue 182 Issue 181 Issue 180 Issue 179 January 2020 Christmas 2019 December 2019 November poe rabordtb an Spartrontne cover level, We explore ‘workshop trom the concept ats Alo iy Brac Bon Mauro ond Diaila Kno ane fvrat successful artistsRecent editions RESOURCES ARE INCLUDED WITH PRINT AND DIGITAL EDITIONS* [GAS OSecaREOOTRINE PETIT iq eterna ! Issue 178 October 2019 September 2019 July 2019 July 2019 EDT [se eR REPRE TORSO af — Issue 174 Issue 173 Issue 172 June 2019 Issue 171 May 2019 April 2019 March 2019 2 ERE se (A TATA FIGURE Issue 170 Issue 169 Issue 168 Issue 167 February 2019 Christmas 2018 December 2018ANNA DITTMANN {7 ——— ARTIST PORTFOLIO — ANNA DITTMANN The illustrator tells Gary Evans about balancing the necessities of freelance with the otherworldly concerns of her art ‘una Dittmann’sehildhod — kiler, semingly ondary figures set Thome -a Victorian house in| against extaowinary shimmering, San Francisca ~isbest sssirling backgrounds of light, colour, described as “having ppaern and wexture characte.” The decor “twas avery colourful childbood” ‘carnivorous plants, atassorunentof the American-German says “and Lwas pescussion instruments and 75 wall- | neverlacking creative simulation, meu der sells. The aeeupants: five children, lodgers from all over MUNDANE NECESSITIES theworld, and achicken thatwas A fewryearsback, Anna swapped San saved fim the Francisco for Pdiuburgh, She's best Annasdadisasign maker. Hes knoven forher savers for books and ‘workiingamayinbisbasementshop, comics (HarperCollins, Scholastic, 6 Personal work does take less of a priority these days, but commercial Projects can be just as stimulating 99 where heatocinkersieth “musical TC Conic) She his exit er inventions." He's theonesupplying her azcin galleries around the work ‘with sketchbooks, with tips to improve | Throw inthe oceascns commission for ils But Annaisfiest——| posters alfur at, advertising ant svecrsher bedooom walls. even tattoos, slong with attending Rains Theres teasonAnpavautlnt | conventions ane! ea ing hsp, PROFILE have grown up tobeam accountant. | anditclearshe's prety bus. Shecould have decided on acareerineingsellemployed means Anna al y But the old Victorian place sarssthe day with the felancer’s rooster) ating childhood bome mundane necessities. "Thee are Ee Paaneteleanes tow abuulding at, foran illistrator | cantactsto read, sign and send out, ‘who would grave up to specialise in the paperworkto fl pricing to calculate, dlieamyand the surval-ceatingart, | axes orallyup Set promotion is ery thatsatoncerealistc and. linle of | important Thatmneans posting >>Interview swidetime for perconalar.1 use those ‘There. a phenomenon common periods toexperiment more with among feelances, Lavseallitthe Subject matterand style. Personal work Freelancers Paradax: when you'e busy dovstaksless of priority Uiesedays, with work, you wish you were when bur commercial projert can be ustas yr hare na seo, yous pari stimulating. they do require a different "With freelance," Anna says, “comes mindset, a there are often more hectic periods of sining a computer >» regulary online, replying to adjustinens involved and generally forday, orslow petiods where vou ‘comnentsaad messiges, and being, Tonger turnaround, Lenjoy the havea unexpected hay, ba ‘penerllysociableon social meta. Ws challenge and feelingof satsfction coun plan For i The unpredictability ‘duessme with art directors. 8 impertane to maintain relationships ‘when both theclientand Fare leased has ben one uf my bigger obstacles ‘with the inal product, Communicating During busy period, tan torgetco swith regular clionts. nna vente fective am interpretingthe tales break And when works slower, “raed wa sitstand desk obelp ini bie unl he fital auch-aps.” ean bevonne restless anal ais ‘th posture, an she makes sareva an ; : oo © Because art is so intertwined with my “fem eof aeion day-to-day life, it can play a big role on. Smopeningin besween work Tse my mood and self-esteem 9%“ecause artis sointerewied with ry day-to-day life is my heya my means of income ~it can playa big sole on ray mivod and selFesteem, al that i hough, Tonkin dave itany other way Im so grateful “everyday ta be doing someting that Iimpasafonate about.” PEACEFUL OASIS Agee 13, Arma got into digital art, and “as instantly hooked Before tha she suse pencils, ayes, charcoals awhatevershe could get et hands on, whatever would look goed up on her ‘vedroom wall But panting digitally ‘reel hee up to experiment without ‘worrying about vasting material, She taught herself, watched online ‘tutorials, lene through tial and. =) ANNA DITTMANN eal Cope) rte ee Puen eee ence ‘Anna's painting style, as she explains... eee eee tee a tert eee rer trai tac Eerste eta stern eee eee er Perea i See ea eo retc Dee er Peon ee ete eres ol pont for acolourful sunset. Younes terInterview >> ermor. She would come horne fom schol andl speod the rest of the nih painting, Getting betterbecamean ebsession. Sold sharing workonline, receiving compliments from strangers. ‘he thrill aft. But art as alka =peacelul oasis” ONCE UPON AN IMAGINEFX Anna tonka Few traditional ac classes igh school, and an art teacher told, herte lookinia art colleges She wana scholarship w go to Savannah College ‘OF Art and Design in Atlan, Georgia aacusted in 2015 with a BEA in illustration, and remembers her time there fondly She wae surrounded bya ton of creative people, and got w spend alicia drawing, Shel earned afte ‘money doing graphite portatts for Emily and iene, but Anna’ fist big projec, tila teshman in college. as the 2012 cover for Imagine, issue 8, “Tt was my fivavite magavne and ‘one ofthe few tect resources otal purchase, so was over dhe moon about the caver commission, Hsay this note brown-nose~ is genuinely ‘rye! My syle has develope alt since then, and {ish F could have tackled some things ciferently aii gave me ‘a rush of motivation, and a sense of ab @ ImagineFX was my favourite magazine, so I was over the moon about the cover commission 9 accomplishment asa busting professional illustrator” Anna contnged to work partie ‘through collsgeon commercial projects, saving to spend time abroad, Gremsing up, Tarope was her second home Her mather’s Arana alse has ut it was Scotland that shefell for (Ceampletely in love") “les gorgeous, and [find ies inspira very Hacky to havea Flexible jos andthe opportunities aailablew have made such a leap of fai” HISTORY AND MYTHOLOGY Aiterneons ety evenings -whevew Shestakencareofallthe mumane federal Anna pain et worspare= ton tenors Seen ee Sarin akan wy rotate ta artist composition. After spending abit => \ANNA DITTMANNInterview > oftimebeing “generally nipicky” she looks for references that will ep her efine the sketch She's inspired byhistory and snythology, by movement, lexlunes, nature, by lyrics and meaties, ora person expression. Anna loves the ‘way artists such as Alphonae Mucha and Gustav Klimt contrast patterns and Figure experimental figurative work. Her own concepts often start as happy aecieemts, Aloo line or wayvand lrushstroes suddenly takes om a life ts cnn ane Aina oes ith i loses gon Schiele’s more Next, she thranss in testures on a variety of Photoshop layer modes (Sot Light, Dive. whatever feels best"). She also add colour with Layer nd likes using Quest fe hues, She's an co details ally; she sharpens deimage ENTER THE GECKO Asiftohelp her sip assay fn the real world necessities of feelancing and into the otherworldly concerns cf Iyer a, rina has brought a Dita the \Vietorian house in San Prancisco-to her fain Elinburgh, There’ the ever I can fall in love with art in a style that deviates from my own, because of the emotion and connection it inspires 9% ae ston grossing collection ofhuseplants, “There'sthe pet gecko shelikesto ee wander around,“ could, afl all, ny space with plantsand:animl bringing. bitof nazar and inspiration Jndaors" Bux, crucially, here also the same “unique kine of joy and shrill” shu felt corning home froma sciol wo spe all night warkingom he art. “For me, great artwork inspires emt, cr males me wa 0 pal ‘rbot, [ean fallin lovewith aroina style er subject matter that devi thom ayy own, because ofthe emotion and connection it inspires. fits art ihat gives me the uigeto pik up my ‘pea, then normally pop timo my Jispirations ;peint Fictional words by suming all the fantasy an sc media Leu get my harndson Painting islikea departure from the DITTMANN REDISCOVERING INSPIRATION eae occa ened Crt eue Muu kat sa} Sree ee ee Ce eee eee etd Cee ee ee eee eee ee eee as ee et eee eee eS eee eet ree eee ae references and inspirations throughout the skatch Panesar seer ena peer a Cie euaeeet at ea ue eee ee Cree eet teed eee eee Seen) eee ae eee eee eed ‘works that give me-the painting bu eee ee ey Peete Ae oie eee nn Pee eee ee ero ee ae) De era m ete ect) eee eer ies See ene) ee eee et ene eee ee real world toa Fietional one I 4 platianm ro create environ ments ant Hharacters that onlyexistin my mine, Jeane arly intcaverted and sol spoken, but foe that ean bem expressive and emotional with art. a nor very descriptive bout ray personal ch, because preerte leave the ‘riety. im draw to sate peesThe number one destination for digital art news, views and how-tos Comer Eee Renae eases’ (1) CREATIVE BLOO Graphic design | art | Web design | 3 | Digital art® mag I ne Workshops 3 z Advice from the world’s best artists 1 ‘Workshops assets are avallable... 15 realistic ‘Oliver Sin weveals the techniques bheuses to create is charcoal att. 15 steps to drawing animals Improve your ai ‘wit Aaron Bhi Painting realistic rain effects ‘Christophe Young shares his pinning process foreweating ran, Brush skits In Proc Schon tafe sammentocrees aascene bursting with narrative Explore Flame Painter's tools Harvey Bunda shows how to use the programs new features.Workshops Artist Insight 15 TIPS ON DRAWING REALISTIC HEADS Portraiture is Oliver Sin’s favourite form of artistic expression. Here, he reveals the techniques he uses to create his stunning charcoal artworks Tis workshop will take you dough all aspects of my ding, ‘method, which we developed over the years and now pass on ta my students asartprofessor a San Francs ‘Acaulemy of rt Universi. Over she nex eve pages reveal my hey ‘compotion techniques, hic range from establishing a point of view wo ‘Youll aso learn hove to applyshat Leander be he essentials of human faial anatomy, andexplore how de eongepts af value, shapes and plane changes aect a portait’s lunderlying structure. Elsewherein ta remember that not all portraits Uns article I'l reweal my tecinigues have to workin isolation. ln this foreveating shan dimension, article TIL also he demansvating how aid investigate ow eantrasting cexpressivehands, facial hair and the Shapes ate used taenhance depth sight choice af ackgrowna can all inanillusration enhance the finished piece, and applying key ilusrnion principles for If yourfigue drawings ae looking make fora more pleasing viewing creating anaccurseand expressive aitefla rnot-T'lalsobe experience So grab that charcoal Tikeness of te hanman hea. tunering how w eeeatetheillasion af uel and le tat drawing! throe dimensions when drawing ana ‘at sunace, [examine bow edges ~ contoursas well 3s changes in value are used to convey three ‘dimensional form, And its important TEXPRESSIVE USE OF LINE ew rese porrats wit expressive ines by using oni te tip of the vine charcoal, wthaut blending with he fat sive use Hines to Uepict the farm afte had. I'sbeen sai that 2 fer apointin mation. line ean guide a viewer's eve by defining ledges and outing shapes, Lines ‘a shape are calle ‘contour 128 of nes are vertical ines, hoveontal ines, diagonal lines, 9~ 2 CONSIDER YOUR SHAPES ‘A shapes a closed contour, created when a line is enclosed, or when the ends of a line meet, All shapes are two-dimensional = they have both length and width. There are two types of shapes: geometric and organic. Geometric shapes include circles, triangles and squares. Organic shapes are those irregular, uneven shapes that seem to follow no rules; @ A line is a moving dot that can guide the viewer's eye by defining edges and outlining shapes 99 these expressive shapes are typically not man- madi. | use mostly geometric shapes to depict a contour lines head drawings.SUNDERSTAND FORMS Forman shaco are related. hi ‘oime as thres-cimens.onal shape, Inart, ene term form refers taan “abject that has length, width ane height | enceurage you to develop “your understanding of form, and how {o creata te ilusian of four in nead drawings ey stucying the afect of light on objects, prefer top lighting ‘which highlights the tap-facing nes and casts extreme shadow Iesbbest rouse singieliaht ource to light the hes for portsture, ‘4 THE POWER OF VALUES darkness of tare, Value is crucial in wg because ight eel ark m of an cbt. lig, ie td light and loften anol this fve-value system tomy portrait drawings Walue 'sthe key 0 the lusion of bah anda realistic drawing depends on avange cof values Wnen craving pertrats, light andl shadow translate from simple panes andshapes into “deta variations oF value ani, Ligitralocts ot Fl ot areas Ineate a drection Piste [ALUE ‘SYSTEM TO YOUR PORTRAIT | Geometric shapes can be found | throughout the face: an egg shape | for the head; spheres in facial features stich as the cheek and nose; and a cylinder for the neck, Light reflects off the roundness of the forehead ' Don't be afraid of extreme darks | and contrasts, Reflected light can | be seen around the edges ofthe | Artist insight Drawing heads ~ teste aks ‘heres. )— renectes | igen J stsorotine nostrils. Cast shadows and hard edges are created when two surfaces overlap, There's a hard edge on a cast shadow of the neck in this example. A form shadow is created on a object as its surface tums away from the light source, and it has soft edges, A cast shadow is created when lights blocked from an object. It has hard edges, with an abrupt ‘change from light to dark, =>Workshops 6. COMBINING LINE AND VALUE Line and velve work together to oraate a rots ofthe model Vole refers te the lightness or dress of colour or tone, Drawing areas of \alue alone ensures an artist becomes mare aviie of masses, forms and ght Draving lines encaurages the artist stusy. judge anciplan bbefore drawing, The knowledge gained from line -crawing has the artist make decisions about te edaes of each araa of tane as they davalon ‘he values. When drawing portals, ight and shadow Wanslateram simple planes and shapesinto tales varations of vale ana in. S FORESHORTENING | view places the emphasis WHENINTHREE- on the closest eye as the ? = QUARTER VIEW focal point. The eyes and FCONTRASTING VALUES ‘When the head is viewed | eyebrows reveal the ‘luo contrast is the best was fo create teilusion of eth at three-quarter angle, | mood of your subject - ‘Areas witna lotofcomast wilcomeforwatc: arene wtnitie the perspective ofthe | they can shaw emotion contrast wilrecede Inthispiece sethesearfwreoearaunethe facial features are | and personality. Thenear ‘heck | pushed it back wsually by lowering the contrast using skewed. Foreshortening | side of the face is wider [Emiarvauues wthiicand drawing ath line to suggest an causes the closest parts than the far side because ‘edge. It becomes less wsiblo sit recedes, instoad of outining ofan objecttoappear of foreshortened Its shane which would ive its own separate value larger than those farther | perspective. The | applied the same approach atthe crown ofthe hea by away, Study proportion | cheekbone is more, soually lightening thevalue of renairsoitrecesesinto te variation and measure —_| defined on the far side bpackeoune, Reducing value contrat atthe carmetersof the the distance between _—_of the face, with a harder loco eras tw eyo to Rs contre, where | usesshigh eontrast features. Three-quarter | contour line. lbetwresn the left eve socket nthe forenead.Drawing heads Pi rman conde wet esse 6 A good drawing features Traresadifeencebetueanead —ptcestion-aconretwt = SOMething that comes from Stowng ocutesonshapes plane parcestonietha common Within the artist “Suinges onto, formar the dencminlor of weary work ar he perepectve-ctne head Porat orshecreareseacn artwork lets roving iam arcatsepreserstion the unique perspective ofthe ars likeness, versanalty and moos. The | would say tat good drawing “torm’ af the head refers only tothe Features something that comes ‘external appearance ofthe From withthe arest “he alshing ‘mais the Tar neck musclostesthe beck feeting of ‘Stretch in neck. } z Portes reset the ca tra, She gazes clowrara ch eamveysan ai ofarogance 10 Stretches and compresses. as does te nek, “The posiion of tne handiand tho neck Tran your mine to raesgnis ssrtabian ie 2 Sat eaten omoton oto xed to tht th Trodel Beles theengleoftiehead, hes forarc and ubwarc nthe ree tok orth st npression”sietchotthemocatsreck oxpressos | stems ack aa she mover Inthe rack thatrsores the haughty gracetunoss One ot my | Eels exes sesture Te word conrapooso urtapossetartwe made. wena | Shy Subset atthoneet ‘scribes thatwingacton othe cesny/loce nin oyes, coking ct | Embiemeanetibeeny tages Thcelaioonseproninent torso. When a fiqure twists the torso, Bilin fenin ot exciton, indhiatericie’s sonten lever aver theirshoukler,WorkshopsDrawing headsWorkshops 2 Hands acd emotion and feeing to drawing Including the hanes can Lurie regular portrait ino a character sty @ candid, unosees approach that reveals the subject's personaly. On a philosophical level, and represent the way We touch and feel objects, or avon ‘ther people = haw we “connect” wth the outside word andl deserve a plate ef honour in a parttat drawing. Often the pressive and reveain orate ehands an props. They Lalla story andesta fs mood, Note that ends Bre controuting fut Subr ng and hauler detract fem the portrit scause tho face remain hy B The texture background can play a key roe nthe wisua statement fa crewing, A bactaround can ave an artworka sof, calm lok, 0 piece with an anergatiesnieng approsch,Inesrporaling a ereative ‘backeround in your ar shoulent take :ne focus away er the sub) Concentrate on the fights and darks ofthe subiect when selecting 2 bbackg-ound treatment. the supect is ight an one side, dark zane bbehind wilshow the contours more clearly. Use the background to show olf the contrast and enhance your work. net compete wth ho formula for achieving te right und, so be creative14 FACIAL HAIR Every moustache or beard is different, but there are several key ‘things to look for. The nose casts a shadow on ‘the moustache, and the moustache casts a shadow on the mouth. If ‘the moustache is very full, itt may cover the upper lip. Think of the moustache as alarge upper lip that wraps around the mouth, producing larger shadows. Follow the light and shadow on the head ifthe planes arent visible in the facial hair. Pay attention to the beard’s shape, and train ‘your eye to see that hair has no definable edge, like smoke. Rather than drawing individual hairs, treat the beard as a mass ‘of light and shadow, keeping the edges soft. 15 USE EDGES TO CONVEY FORM ‘Wher an artist rises cot are have lines, or 13ges, nthe Hight places sos up a path fr the viewers yas, creating the isi dimensional surface rent can seem tb re ‘You con further blend a subiectinto tre background by making ts ines soft. A sot of three edged crewing creates a fuzzy, ereamy e whens. drawing wth too mary har eds wil look unnatural, cresting sual tersion because Artist insight Drawing heads too mary areas are competing. This wll confuse viewers beeause there's nowhere for their aves to rest. Ident mean yau souks newer ase har fecgas, but you should use them spavina'y for moh, kmeping ines hart et your focal on, In my portrat drawings, generally use a proportion cf roughly 85 per cent so" ines ar Sper coat hard ines. you understand and master the power of contaling edgesin your srawings, youll we amazed. haw much your its YllimprOve. @Workshops Artist insight 15 STEPS TO DRAWING ANIMALS Acclaimed animator, director and wildlife artist Aaron Blaise share his observational and illustration aclvice to help improve your animal artwork Longbsforelwisa the vioods, barefoot of course, ‘on te Disney andl a sucessful digector anxlanimator —aeking animals woul deaw Khem animation eaeer bt 1stil exit with Walt Disney inmaysketchboolssar even nllactthe say to purse my le of drawing FeatureAnimation, | bonesof animal killsandsave them animals by working on classic films vasa lover of wiki, forlater study Tike"The Liow Kingand Brother Bear Growingup asa bitefa wild childin twas always my dream‘ bean Now want toshare some ofthe thesssarnps ofscutl Horida, hwpuld ilistator for National Geographic Rawle from my years of staying typically he found running through and insee the werd, Instead, went animals with you! 1 OBSERVE FIRST before you start 2 arav stop and really look Take a moment to coserve and study the animal How does it move? Often ovement. What's the animal ine? iFitsahotaayit These sorts of deArtist insight Drawing animals @Idomy homework on what animals I'llseeina certain area 9% 2.10 YOUR RESEARCH BEFORE YOU GET THERE Ide my homewerk on what animals see 2 parieuar area, ror nstance, ona ine te Alaska may try fo learn everything lcan about arizzly bears, uskex and moose before |-rve. study books and do research toler about their muscle, skeletons ond patternia. Ill ever watch le webcams of an ates to give me a sense ofthe ankanment.Thisinforrtion wil ime whenirmon ieeston, and save alot ate ‘3 TAKE A MENTAL PICTURE Animals often dont sits To combat ths ve develoned 2 technique of takinga mental snansnot. don’ sare the animal the antire time im drown. Insteod, 1 glance at the “animal and then qulcy lodk sway to ry page, By doing ths the last image ofthe imal that | saws rozen in my mind Combined with my rasoarch on anatomy, Fiabe to gat an accurate drawing Gown onthe page. >Workshops ‘4 BREAK THE BODY UP INTO SECTIONS. and hes, ch 20m tke a simple ob he animal up this way you lentaton space. 5 UNDERSTAND BASIC COMPARATIVE ANATOMY People ask how co | know all these details about the animals | draw? The answer is: dont! But | do know comparative anatomy, Most animals, especially mammals, have all the same “parts” - just ‘spaced out differently. And this istrueof 6 WATCH YOUR PROPORTIONS humans as well. Once | understood that hve the sar Ihave basically the same parts as a lion, ie Be 9 just in different locations, it was a eureka primarily @ matter andrepatton. Butonce moment in my ability to draw them. xyoustart to gel the spacing and proportions right, youl be abl to draw yourArtist insight Drawing animals 7 USE BLACK AND WHITE INK ON MIDTONE PAPER eet ence inckeal ences keihin aaa hced ery ad Poet) Pern) ear > Peery et arenes uote - eer gees eerie) ey ees fe ere] Caer d 5 Peecieetn peers Fog eraeertea eater oa eee er eee (ane < ead : NGSWorkshops 8 STAY LOOSE AND FIND THE FLOW This is similar to step sx if you want to get down a gesture of your pose right away. The animal is likely tomove on you, so you need to get the essence of the pose fast. Fyou're drawing a tiger or lion you need! to get the action and don't worry about every stripe and whisker. Instead, look for the line of action and rhythm to the pose. 9 CAPTURE GOOD. SILHOUETTES. The basies of g rot thal ferent from crewing 2 300d human character. You want tel pose readas clearly and concisely © You need to get the nim drawing are corey geet | action - don’t worry about ‘yur dengan slaphant = every stripe and whisker © any thor snr teflon tty Even witha, bulky sna bal <<) Herearesomedrening: | roopincc of tha But, cea N cernsArtist insight Drawing animals ma 2 ae. : 10 USE OVERLAPPING SHAPES TO CREATE DEPTH Once youre happy canturing the different shapes of your chosen ani spacoin the fame, Properly everlasning each shape wil ave your dra feriapping thera. This willaive your mage a sense of depth and a sense af belsvabity ana if TICREATE ACTION AND DRAMA Animals are living creatures. if you've been out in the wild drawing you'll have noticed that they're always on the move. You should be capturing this in your drawings as well. While there's nothing wrong witha good animal portrait (60 to speak), 've found that images of animals in action always get a bigger Tesponse and have more impact. Work hard to develop a sense of drama and life into your images. =>12.BE MINDFUL OF LIGHT AND SHADOW Proper use of light and shadow in your image can help enhance the feeling of drama that we discussed in step Tl. I often push or exaggerate the lighting of nature to heighten that feeling, Used properly, a dramatically cast shacow can deeply enhance the mood of. your image as well as give it Sense of time and place. or 43 LOOK FOR THE BIG SHAPES FIRST Atypical mistake that see artists make's Hey get t00 cauaht up in the details ight ava. You con't need to do that Instead get down the bia First. For exemple, you's drawing an slgphont then find the big “ean shops” af the body endl tha in folowed by the viangle hapa of the head. Get theirplacament ight ar yether quick PE rorPW reel hg eRe eet iy deeply enhance the mood of peter ita Artist insight Drawing anima 15 BE SELECTIVE WHEN DRAWING YOUR ANIMAL'S HAIR AND FUR here, You dent need arWorkshops PAINTING REALISTIC RAIN EFFECTS shares his painting process for creating rain and water droplets, and integrating them into a sci-fi character illustration out the process. Normally, 1 Tike t start with soone quick gestae strawvings or porta suies tn gra feel fora new character as design and illite them, However, in this ‘axe [focused on painting materials sch as glass, metallic fabrics and HEX. Fobrusry 2020 sonlensation, Therefor, the inital sheehes: explored were snore aout Ang here could adl tbe als and make the best use of ro work an the ait fects, while sl ringing Uhecharacer to ie ‘When ding more advanced smaterial studies sus a hese impeta nt toler the cesign ath the wayside, so Lay to keep form density the hackof my mind hen planning the imagery wear tes of the materiale paint sue as how or hw they refrac light How mach will Fexsel reflections after the colour ar distortion of the reflections? This night be advanced theory senna but rnuch of thellustration eles Ieavily on chese principles,Next month Pret Seay haere ere hts Tet +) Dye From starting your sketches to fully painted concepts, we’ve got all you need to get painting! TN Meee BN 7aae peal Infinite Painter Wet skin em R UU een eau aL rare (Oro roets WTS ants Mia iclateCe a OMBAUA NCR arc favourite artists successful Finnish — getthe best outof his art know-how erate Teo MLL area col SD Tiare m ecb snayea ob» Cola Men aa raCe) BIN ISSUE 184 ON SALE IN THE UK 24 January 2020h Procreate 5 brushes >rocr BRUSH SKILLS IN PROCREATE 5 See how Rafael Sarmento makes full use of Procreate 5’s new brush pian to create a scene bursting with narrative With she release ofits | your own brushes, which givesthe | _ Se forthis workshop 'llcreate a version, Piocreae | artisteven greater vontral over theit | fantasy-esque image tha will serve as Arist \PROFILE| aces even more sae ak 2 esting ground forthe brash youtealeady familiar with my experitnent hacwell bedoing, work, youl navy that Fm a bug fe of portrait art, which belong squarely inmy comfort zon actually is prety well with ay [visualise and exceute my ras Tobe honest, since the entire Fange of nevis nd a ret sander for experimenting riers toa nition hased for fngine that now runs faster thant | eas But Tm actually hugefia of | me, I try notte fil he workshop fever thewe'salsoa revannpec hush | storytelling driven imagery, too. The with (too much] verbiage and system: the Brush Studio. Yhisfeature | artofeomvevinganarrative withina general chiechat So, lessee where single Mlusteation is something that | our illustration will vill never ces the ready. ets betwen orcler and chaos visten® what ygt0 open the the image asks me, and isonet all the subsequent sliders, jut lke in dhe earlier version problems that haveto solve. When Lsay to people "follow the dea", I aneanfolloe your gut teeing, and allow the ines and shapes to dictate the next stepsin an iructure,Thisis helpful ifyou'te new ta wha innuitive yet thoughtful way, So the sketching partis sehen, [start letting the inition flow. » cach slider oes, or ust want to havea play aroun,Workshops ingots The bs 100th Inks, which pou! find as a fee Heres where the fun begins, With alltheclements {mostly} recognisable, is ime te starcmessing aroun ‘with the composition again, We want the viewer i have aIn depth Procreate 5 brushesWorkshops +e ase peo > 8 AW Experimenting with layer modes 7 enables you ia sve beth sour - - ‘chosen “looks” and the ander of effects you used ta Setting the mood using Snapseed achiew: thet you can quickly change the overall mood. Although Prosseate offers same amazing colour editingeols, sometimes Aer ying same erations nl colours aver the image T {need to quickly produce certain looks that can test with my colourpaletss,to_generauedin Snapseed, using layers properties such as Soft !hopetilly develop the right atmosphere anc teel im ey painting Here, Ton ising Tight, Fclosion and Darker Coby, start experimenting Snapsced. aspeedy photo-editing app. Ics not a mainstay in my creative toolbox, with Procreates new builtin Salamanca and Sovx brushes, butirs there when [need 40 make quickadjustments, ackling textes andl editing the ateracs ait the context Z Rearranging elements in the composition As Limentioned carer my painting proces i largely puided by the problem solving aspects that the image offers. tin boh the mark maker ann itor, se hee fhe I beg a “destiny” an reconstruct certain pats, wearranging he vista context and eliing che centent 1 a0 create. better sense of balance in the composition, and push the illustration inthe rection that ir envisioning, ove doing this!