DELVE INTO THE MINDS OF THE WORLD’S BEST FANTASY ARTISTS

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The best artists in the industry share their sketches…

DAWN CARLOS | SAI FOO | LOIS VAN BAARLE | MOON | MARTIN ABEL
DARIA THEODORA | MICHAEL KUS | LORENA LAMMER | AND MORE…
FOURTH
EDITION
 Welcome to

T H E U LT I M AT E

C O L L E C T I O N
Sketchbooks are often personal and sacred to an artist,
filled to the brim with pieces that show off technique,
skill and process in the guise of uncensored thoughts and
emotions. It’s a place where the artist knows they don’t
have to hold back, and when you get a glimpse inside
you’re bound to see something truly special.
In the Ultimate Sketchbook Collection, take a peek
inside the minds of artists from all over the world as
they share their designs and creations. Meet original
characters, uncover new worlds and explore the creativity
that exudes from the pages. If that’s not enough, we’ve
also got some handy tutorials to help you improve your
own sketching, from capturing people to
refining your pencil strokes.
So what are you waiting for? It’s time to get inspired and
get sketching, and your journey begins just over the page.
 T H E U LT I M AT E

C O L L E C T I O N
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Part of the

bookazine series
 T H E U LT I M AT E

C O L L E C T I O N

CONTENTS
10 16

The joy of sketch 24 tips on human anatomy & form

26 32

Draw expressive facial features 16 ways to draw better creatures

38 46

Create depth by using value Building intensity with graphite

6 Ultimate Sketchbook Collection

52 60

Elevate your sketching skills Dawn Carlos

66 76 Chris Campana

Alex Thomas

70

Moon

78

Sam Hogg

84

Joel Rong

Ultimate Sketchbook Collection 7

 Martin Abel 86 92

Sai Foo

100 Daria Theodora

98

Jenna Kass

106

Michal Kus

112 118

Trent Kaniuga Elise Hatheway

8 Ultimate Sketchbook Collection

 130

Genevieve Tsai

136

Lois Van Baarle

148 Chantal Horeis

124 Lorena Lammer

142

Eliza Ivanova

154

Giorgio Baroni

Ultimate Sketchbook Collection 9

 Ultimate Sketchbook Collection

THE JOY OF SKETCH

Sketching isn’t just a means to an end, it’s a way of life,
as Tom May finds out…
Every artist spends time
sketching, usually at the start of
a project, as a technique for
formulating and refining their
vision. But sketching shouldn’t
just be a means to an end. It’s also
vital part of developing yourself
as an artist.
As Terryl
Whitlatch puts it:
“Sketching is the
equivalent of the daily
ballet barre. It gets
your imagination going and gives
your skills a workout: it’s
foundational for any artist. Sketching
regularly helps you become better as
an artist, and gives you a platform to
experiment, mess up, try again (and
again), and grow.”
It’s also a good way
to come up with new
ideas, as long as you’re
prepared to open your
mind, let loose, and
see where the sketch takes you, says
Miles Johnston.
“One of my anatomy teachers once
told me that every time you sit down
to draw, you want it to look good,” he
says. “But that can get in the way of
many other kinds of thinking.”
Sketching with no formal plan, in
contrast, can free you from these
restrictions, and lead to unexpected
ideas and concepts spilling out onto
your canvas.
That’s something
Olly Lawson regularly
experiences. “Some
days I’ll sit down with
nothing in mind, just
to let myself doodle, and an almost
fully formed idea will come out of Tony DiTerlizzi’s sketch
for a poster promoting
nowhere,” he says. a retrospective of his
work. “Off to a good
start, but I erroneously
composed it vertically
Sketching with instead of horizontally…

“…so I scanned
no formal plan, in characters from the
original sketch and

contrast, can free then loosely roughed

out a new horizontal
layout in Photoshop,”
you from these reveals Tony.

restrictions
10 Ultimate Sketchbook Collection
 The joy of sketch

Industry InsIght

“Here’s what one of my

tony
typical thumbnails looks
like,” says Miles Johnston.
“My sketching process is
dIterlIzzI
very chaotic and messy.”
The fantasy artist and
book creator on his
sketching regime
How often do you sketch?
If it’s for a finished illustration,
I spend quite a bit of time at the
sketch stage. I think of it as
drawing the blueprint to a
building: all elements need to
be sorted out before I lay the
foundation. It’s easier to explore
ideas with pencil on paper.
Aside from that, I often sketch
random ideas conjured from a
relaxed state of mind. Accessing
Sketch by Robh Ruppel. “I don’t put a
time limit on it,” he says. “I sketch until this part of my imagination
I have an idea that’s worth pursuing.” enables me to sketch out unusual
ideas which I can later bring into
finished illustrations.

Is there a particular time, place

or situation in which you might
start sketching?
I sketch daily, and I will draw
almost anywhere. Sometimes I
doodle at the kitchen table, or
sketch in my studio with music
blaring. It depends on my mood,
deadline and subject. Often, I’ll
sketch a copy of a master artist to
gain an understanding of how
they worked.

What do you use?

I always keep a sketchbook for
jotting down random ideas,
scribble down thumbnail sketches
James Gurney’s sketch of
his son glassblowing: “I’m of image compositions, or to
intrigued by the colours design characters. If I’m working
of his skin tones as
they’re lit by the warm on a planned illustration I often
light of the torch,” says sketch on loose paper so that I
the illustrator.
can easily scan the drawing. From
there, I’ll open the scan in
Photoshop so that I can correct
and adjust the drawing or
combine multiple sketches to
form a composite for a more
complex illustration.

Tony is a fantasy artist, film

producer and children’s book
creator. He illustrated The
Spiderwick Chronicles books.
www.diterlizzi.com

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Nocturnal Gryphon
James’ sketching kit concept for Griffandia,
features a watercolour by Terryl Whitlach.
sketchbook, about 10
pan watercolours and a
few tubes of gouache.

Everyone agrees, then, that regular fellow people around me in the diner,” Terryl, for example, favours Canson
sketching is essential. But how do you he says. tracing paper. “It’s a great surface with
go about it in practice? That seems to Terryl, however, says her best work is a subtle velvety took, and fairly sturdy,”
be more of a personal thing. done in the morning, after she walks she explains. “The fact that it’s ‘only
her greyhound, Josette, and she avoids tracing paper’ and not an expensive
HOW OFTEN? sketching in the evening. Moleskine that I’m afraid to mess up
Take frequency. James Gurney, for “I like to sketch just about anywhere, gives me a psychological permission to
example, favours Edwin Austin but sketching at museums is be free, experiment and explore.”
Abbey’s advice to a young art student: particularly relaxing,” she adds. “At the Following a similar logic, Miles
“You should be sketching always, zoo, I’ll sketch sleeping animals; when prefers to sketch using pencils with a
always.” So he tries to fit sketching into they’re moving around, it’s like a thick lead, or ballpoint pens, “for any
every spare moment he has, especially workout. I also like sketching on sketching where I want to be loosey-
when waiting. airplanes, on cocktail napkins. That’s goosey. That’s because when you’re
“In recent months I’ve often where I’ve sketched some of what sketching in pen, you expect to muck it
sketched in the grocery I consider my best ideas.” up a bit, so that makes it easier to think
store while my wife
shopped, I’ve drawn the
interior of the car repair shop while
Terryl Whitlatch took
inspiration from
I try to limit my sketching to studio
getting an oil change, and I’ve sketched
Dr. Seuss when she
sketched out The Gack. time; otherwise there’s no time to let
your brain just process everything
Miles, however, limits his sketching in the right way. You’re taking visual
to work hours only. “There are those notes instead of trying to make
artists who are never not drawing, but something pretty.”
it works better for me to let myself rest Olly, however, has always found it
a lot,” he explains. “So I try to limit my “very daunting” using pencil and paper
sketching to studio time; otherwise for sketching, and so since January he’s
there’s no time to let your brain just been using the iPad Pro and Apple
process everything.” Pencil instead.
“With paper, you’re making a
SKETCHING TOOLS permanent record, and you feel like
Something else that varies from artist you’re under pressure to create
“If I feel that my heads to artist are the tools they use for something perfect,” he says. “I like to
are weak, I’ll draw heads
every day for a month sketching, although each of our have a warm-up for maybe the first
before work,” reveals creatives offers a clear reason for their half-hour to an hour, in which I expect
Olly Lawson.
particular choices. the drawings to come out terrible, so

12
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 The joy of sketch

© Imagination International, Inc 2017

“I treat my iPad like a pricey

magic sketchbook,” says
Olly. “It has no other apps
or distractions.”

Sketch of Sandro Ottercelli by Terryl Whitlach, for

the upcoming book Punny Animals, Vol. 1: Famous
Animal Artists of Art History.

I don’t want to do that on paper. It’s a

lot easier if I just wipe the canvas like
the iPad lets me do, and it’s just as
portable as a sketchbook.”
James, meanwhile, uses watercolour,
gouache and casein, and sketches in a
watercolour journal, typically a
Moleskine or Pentalic 5x8 inch.
“They’re the fastest and most versatile
media, and they combine well with
each other,” he says. “I use a
homemade sketch easel whenever
I can, to get the work up out of my lap
and near the line of sight.”
For Robh Ruppel, however, the
tools aren’t important at all. “I have
several Moleskines, but I
also sketch on my phone,”
he explains. “The ideas are
more important than the
medium, I’ve found.”

STORING YOUR SKETCHES

Finally, what to do with your sketches
once they’re done? While Olly likes to
delete his digital sketches as he goes,
he’s very much in the minority.
“I keep all my sketchbooks,” reveals Top: “Before I use Terryl doesn’t go that far, but does
reference, I’ll sketch
Robh. “They are diaries, archaeology, from imagination and store all the sketches she likes in
time machines, maps, journals and focus on designing labelled folders in a dedicated flat file
interesting, strong
testing grounds.” James, meanwhile, shapes,” says Miles. drawer. “That organisation lightens my
shares his sketches online, videos Below: “As you can see
heart and mind, and fuels my
them for putting on YouTube, the original plan shows creativity,” she says.
through, underneath all
publishes them in magazines and of the details and “There are enough things in life
books, and has even released his own polish,” he adds. beyond our control, and being able to
“Sketching isn’t about coming up with a finished iOS and Android app based on them, lay one’s hands on sketches is one less
drawing,” says Robh. “It can be a loose doodle to
try out as a concept, too.” called Living Sketchbook. thing to worry about.”

Ultimate Sketchbook Collection 13

 TuTorials
Uncover ways to improve your sketches,
from the human anatomy to your own creature creations

16 26

24 tips on human anatomy & form Draw expressive facial features

32

16 ways to draw better creatures

14 Ultimate Sketchbook Collection

38

Create depth by using value

46 52

Building intensity with graphite Elevate your sketching skills

Ultimate Sketchbook Collection 15

 Tutorials

24 tips on hUmAn
AnAtomy & form
Illustrator stan prokopenko is on hand to help you draw hands, before
passing on his expert advice on capturing the human form correctly

Drawing the human more. You have a blueprint, you exactly what angle to pull the
Artist
body without some know all the dimensions, you muscles off the bones at. You overlap
profiLe knowledge of anatomy understand the structures and joints, lines to represent the overlapping
stan is like playing a board and you can make confident anatomy and add depth and interest
prokopenko game without the rule decisions about how you’re to your drawings.
LoCAtion: US
book and some key pieces missing. representing the hand. If drawing is a game, then
Stan is a fine art painter It’s frustrating and confusing. Before, that little space between the understanding anatomy just gives
and online art instructor. After you learn all the rules and get index finger and the thumb was just you more pieces to play with! So in
He aims to make his
tutorials entertaining good at the game, you can change the a “J-curve” or “L-thing”. But now, you this workshop I’m going to break
and educational and says rules. But that’s because you look at it and understand how the down one of the body’s most difficult
making art education
understand the dynamics of the first dorsal interosseous muscle is features, the hands, into digestible
enjoyable is at the core
of his teaching. game and you can change things to overlapping the thenar eminence. chunks. Being confident with
www.proko.com improve it. You know that the dorsal surfaces of anatomy makes drawing easier and
Take hands. They’re pretty the first and second metacarpals are more fun! Then I’ll give you some
complicated, and can be hard to draw still superficial, right beside this soft advice to guide the rest of your
– intimidating, even. But when you tissue mass, and you trust the bones anatomy studies, so you can go out
understand hands from the inside as landmarks to guide your there and create the best drawings
out, you don’t have to guess any proportions and structure. You know of your career.

ARM AND LEG BONES

1 Upper Arm And Leg Bones 2 LOWER ARM AND LEG BONES
The humerus and the femur are thick, strong The lower limbs are split into two bones. In our forearm, the radius can rotate
bones. They’re shaped like mallets, with a long around the ulna so our hands can flip over. The lower leg bones don’t move as
cylindrical body and a set of big bumps much, but having two bones creates more attachment space for the ankle-
(condyles) on the bottom. The humerus mover muscles. The tibia carries the weight of the body; the fibula is there for
measures two cranial units long, and the support. The tibia and fibula are about three-quarters the length of the femur,
femur is three cranial units long. and the radius and ulna are also three-quarters the length of the humerus.

Upper leg
Lower leg

Upper arm Lower arm

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 Human anatomy

3 hAnd And foot Bones

Our hands and feet are built from the same three
sections: a jumble of bones at the start, then a set of long
bridge bones, and then the three-jointed digit. But the
proportions are flipped. The hand’s three sections are
organised from small to large for maximum dexterity, so
you have a short wrist and long, elegant fingers. The foot
is organised from large to small for maximum stability, so
the ankle bones are long and tough and the toes are
stubby and short. The hand’s length is equal to your face,
and the foot’s length is equal to your whole head.

ANATOMY OF HANDS

4 THENAR EMINENCE
Most of the muscles that control your hand are located in your forearm (called
extrinsic muscles). But there are some on the hand that you should know
about (called intrinsic muscles). They create three squishy masses on the
otherwise bony surface. All three of them are teardrop shaped, so this isn’t
too hard! You probably know about the biggest one that goes from your wrist
to your thumb. It creates a rolling hill when the thumb is out, and gives the
thumb a pot belly when the thumb is towards the palm.

5 hypothenAr eminenCe
The other palmar mass goes from the base of
the hand to the pinky metacarpal. It actually
wraps around the outside of the bone, which
is why the pinky edge of your hand is kind of
squishy and soft. This pinky mass is flatter
than the thumb mass.

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 Tutorials

6 first dorsAL interosseoUs

The third major muscle mass is on the back of your hand. It fills in the space
between your thumb metacarpal and your index finger metacarpal. It’s easy
to see when you tuck your thumb up against your index finger and it creates
a big, round egg form. When the thumb is out, it becomes stretched thin.

7 BONY IN THE BACK

The dorsal side of your hand is bony, especially at the joints. You can represent this characteristic by
drawing the dorsal contour with straight lines and corners. The back of the hand is a flat plane and
doesn’t change much when the hand moves (just some tendons), unlike the front of the hand which
changes a lot depending on the position of the pinky and thumb.

8 TIME FOR TENDONS

There are also tendons that run along the back of the
hand. Each finger receives at least one. When drawing
tendons, keep them subservient to the larger form of the
hand. Don’t shade each cylindrical tendon with dark lines
and sharp edges: this will just create funny-looking,
distracting chasms in the middle of your hand. A subtle
indication here and there is all you need, unless you’re
drawing a character that calls for pronounced tendons.

18
18 Ultimate Sketchbook Collection
 Human anatomy

10 fUn With fAt pAds

Fat pads sit on top of the muscles and
9 Very Veiny surround the centre of your palm. They cover
The back of the hand also has veins. These veins run along the back of the up and soften the muscular masses of the
hand, like tendons do, and meander in the spaces between bones where palm. There are also fat pads along the palm-
they’re safe. Keep the difference between tendons and veins really clear: side of each finger. Fat pads are very
tendons are straight, and veins are curvy – much like lazy rivers. Veins also malleable: you can squash, stretch, and flatten
have a darker, cooler local colour. them to exaggerate the action of the hand.

11 hAnd drAWing
Here’s my process for constructing hands from imagination or reference

start with simple forms sculpt the anatomy Finish with shading
A When I begin drawing, my first
B Once my proportions, perspective,
C I identify the direction of the light
priority is the big, simple forms. The and big forms are established, I move on to source and separate the shadows and lights.
anatomy informs the design of my simple the secondary anatomical forms. I can add Then shade the details in the lights. I always
forms, but I don’t start with anatomical the three round muscle masses on the want the big read to be the big forms (from
details. For the hand, a box is a good hand, and develop the fingers by Step 1). If the details overpower the primary
starting place. Round off the distal edge to contrasting straights and curves. I describe forms (the box of the palm), then I’ve
create the arch of the knuckles. Each finger the form of the knuckles in small, geometric messed up. Anatomy is cool, but it has to
can be a series of boxes or cylinders. planes. This will make it easy to shade later. support the picture, not take over it.

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 Tutorials

ANATOMY BEST PRACTICE

12 AVoid scriBBLing
Anatomy is very specific and the
difference between a drawing that’s
“right” and a drawing that’s “wrong”
can be subtle. If your drawings are
scribble-like and you don’t commit to
any one line, your brain is busy just
processing the image, so it won’t notice
anatomical mistakes. If you’re studying
anatomy, you should have a good
foundation in basic drawing skills
already, and you should use it.

Learning anatomy
is a slow process. Take
your time with every
area of the body
20 Ultimate Sketchbook Collection
 Human anatomy

Stiff gesture Dynamic gesture Forms follow gesture Dynamic finish

13 don’t rUsh 14 ignore gesTUre AT yoUr PeriL

Learning anatomy is a slow Gesture lies at the heart of every figure drawing. Anatomy
process. Take your time on should be a new layer, a new way to express gesture… not a
every drawing and with replacement for it. The anatomical forms should be designed
every area of the body. to follow and reveal the gesture.

15 giVe mUshy drAwings A miss

The human body is organic. It’s full of curves, bumps and mushy-looking things. But your drawings shouldn’t look mushy. You can try to copy
exactly what you see, but if the understanding and accuracy isn’t there, then it will show. A better approach is to learn to break down the body
into simple forms. This is why I teach the simple form for all areas of the body. Simple forms are simple enough that you can actually memorise
them, and pull them out of your pocket whenever you need to!

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 Tutorials

16 don’t gUess the AttAChments

It’s easy to tell when an artist doesn’t know the of the muscles and body fat. Knowing the skeleton
skeleton, even just looking at their fully fleshed makes it easier to construct the body, understand
figures. The muscles won’t aim to the right place. how it works, and put the muscles on top of it
The skeleton is complicated, but there’s much less correctly. Take the time to learn it and your
variation in the forms of the skeleton than the forms drawings will benefit for the rest of your career.

Knowing the skeleton makes

it easier to construct the body
and put the muscles on top

17 ALwAys check yoUr work

After you finish a drawing, take a critical look at it to see where
you can improve. You can ask a friend, mentor or online
community for help. Then, actually follow through on what you
notice, and make corrections to your drawings. It’s not enough
for your eyes to see what went wrong – your hands have to fix
it. You can do this to yesterday’s homework, or even drawings
you made months or years ago.

18 don’t JUst reAd ABoUt it

Reading or listening to an explanation
of anatomy may be enough for you to
intellectually understand it, but that
doesn’t mean you can draw it. We’re
artists. We have a bigger job to do than
just understand anatomy. You have to
learn to draw it so it’s believable and
interesting, and the only way to do that
is to draw. Draw a lot!

22 Ultimate Sketchbook Collection

 Human anatomy

19 sTeer cLeAr oF snowmen

Don’t draw symmetrical bulges everywhere – that makes your drawing look stiff and
boring. The contours tend to zigzag down the body, creating a dynamic flow.
Furthermore, muscles usually work in pairs. When one side flexes the other is resting.

20 don’t drAW
eVery detAiL
Simplify so the right
anatomy can shine.
Not every bone,
tendon and muscle
has to be accented in
every drawing.
Indeed, anatomical
details in the wrong
spots can make a
drawing look stiff and
fake. Pick and choose
details that support
the overall picture,
and let those be
enough. In general,
you’ll probably
choose details that
are at or near the
focal point, and that
flow with the gesture
or composition.

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 Tutorials

GENERAL ADVICE
21 LeArn to Be pAtient
Learning anatomy is a slow process. Take your time with every drawing and
with every area of the body. You can’t learn everything in your first pass –
you’ll have to come back to review and add to your understand of all the
parts every few years for the rest of your career. Don’t expect to be a
master immediately. Never stop learning.

22 Be goAL-orienTed
in yoUr PrAcTice
There’s a lot to anatomy to study and
lots of aspects of it to study. For
example, if you’re practising gesture,
the anatomy needs context. Make the
forms work with the pose and focus
on making the anatomy dynamic. If
you’re studying form, use cross
contour lines and shading to add
dimension. Focus on constructing
the body parts using simple forms
and avoid organic forms you don’t
understand. Pick a goal and focus on
it. Make sure you’re getting the most
out of your practice time.

23 try different
eXerCises
Anatomy tracings, drawing
from life, drawing from
photos, drawing from your
imagination, drawing from
other drawings (master
copies), sculpture… Not
only is this more fun, but it
helps your brain process
information in different
ways, and fills in gaps in
your knowledge.

24 Ultimate Sketchbook Collection

 Human anatomy

Pick a goal and

focus on it. Ensure
you’re getting the
most out of your
practice time

24 geT To griPs wiTh The LAngUAge

There’s lots of memorisation with anatomy, and it can be overwhelming if
you’re hearing all these terms for the first time. Terms like medial and lateral,
abduction and adduction, origin and insertion, subcutaneous and so on.
Consider making flashcards or other old-school study methods to help
memorise the bulk of the terminology babble.
When you can speak about anatomy fluently, you can think about
anatomy fluently, which means you’re going to have an easier time when
you’re drawing. This is the least important part of anatomy for artists, but it
sure is helpful. You’ll feel a lot better when you know the terms. And of
course, you’ll leave your fellow spellers in the dust on Scrabble nights!

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 Tutorials

draw expressive
facial features
Comic artist Neil edwards takes you through the construction of
a face and reveals how he’s able to capture a character’s emotions

Drawing heads with When it comes to drawing heads, drawings, using reference and my
Artist
emotions and nothing’s set in stone because techniques when drawing heads.
profile expressive faces is different characters have vastly I use Clip Studio Paint, which I love,
Neil edwards always difficult and different features. Yet a grounding in and I work on a Cintiq Companion
locatioN: Wales
challenging. Even now head anatomy will enable you to for prelims and on the actual comic
Neil is known for his I struggle with the odd face. experiment confidently and it will pages on a 27-inch Cintiq hooked up
work on Spider-Man, However, perseverance and hard certainly show in your drawing. to a 21-inch iMac with 4GB of RAM.
Dark Avengers, Fantastic
Four and Herc for Marvel work will get the expressive look In this workshop I’ll take you Right, grab a sketch book or your
Comics; Justice League, you’re after in your drawing. through how I go from initial Cintiq and let’s get cracking!
Green Lanterns, Justice
League United and
Forever Evil: A.R.G.U.S.
for DC Comics; and Dr
Who and Assassins
1 cHaracter Head voluMe
Creed for Titan Comics.
Drawing two circles gives you a basis for the volume for
http://ifxm.ag/neil-ed the character you want to depict. The more squashed
the circles, the wider and heavy the face, while the more
elongated the circles, the longer head shape.

2 LIPS
I keep a little sketch book to
practise different lip shapes for
when the characters talk. Study
films and TV programmes to
see how actors exaggerate
their mouths. Experiment and
explore different mouth
shapes. Try to convey “oh”, “ah”
and “esss”: this will help when
you want figures to look like
they’re having a conversation.

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 Facial features

A grounding
in head anatomy
will enable you
to experiment
with confidence
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3 LINE UP ELEMENTS
Always remember that the eyes, nose and mouth are on the
same plane on the face, otherwise things could go a bit
lopsided and weird! Imagine that the facial features are warped
around a cylinder so they have a natural curve. Align the top of
the eyebrow and bottom of the nose so that they’re lined up
with the height of the ear. This helps the face look more
natural; giving it a flow, and avoiding it from feeling flat.

Look in the mirror and 4 NOSES

attempt to overexaggerate Noses can be pretty difficult to get right. I initially create a triangle with
a diamond shape, which creates the tip of the nose. From there I draw
your facial features. Try to put nostrils, remembering to add line weight and shadow to the bottom of
the nose. I keep the details light, adding only what’s needed.
feeling into the drawing

5 Hair advice
When drawing a character’s
hair, I first create the basic hair
shape, noting that the hair is
bigger than the scalp. I then 6 HAVING FUN
add direction to the hair, Once you’ve got the basics, it’s time
remembering to draw strokes to have some fun with your figures!
from the crown of the head. As a general rule, try to make the
To give hair a more natural character overact, to really convey
appearance, I introduce a the emotion in your drawing. I usually
sense of weight to the bottom start with a super-quick gesture
of the shape. Try drawing the drawing to capture the emotion I’m
hair shape with a thicker after. Look in the mirror and try to
outline and thinner internal overexaggerate your facial features.
lines – this gives it direction. Try to put feeling into the drawing.

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7 THE EYES HAVE IT

Your character’s eyes are crucial to conveying the right emotion. Try to keep them focused and tell a story
with them. Add a light source to give them life. Remember to give female characters longer and thicker
eyelashes, and in general give the top of the eye lid a thicker line to indicate a shadow from the eye lid.

8 actiNG classes
When drawing characters, try to get into their
mindset: how they’re feeling and where
they’re coming from emotionally. Then act out 9 BEING SUBTLE
the expression, using a mirror or photo Sometimes, though, subtlety is required. A slightly raised eyebrow or
reference to capture the emotion. Always try smirk can be very effective. Adding just a touch of emotion or
to get that perfect snap-shot moment, and quirkiness to the character can make them feel natural and life-like.
make it look as dynamic as possible.

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10 Don’t Be sCaReD
Grab every opportunity to
experiment with the expressions. Try
to push what you’re used to drawing,
and look at yourself in the mirror to 11 cHaracter close-ups
see how the face can move. Try and Both the eyes and mouth are expressive. A powerful technique when
be whacky with the different facial drawing a comic page is to use a close-up of one of them. Consider
expressions, but be careful not to illustrating an open mouth, snarling teeth or stern lips. Using just one area
hold your breath for too long! of the face will really push you to convey the emotion and sell the drawing.

12 Basic Head coNstructioN

Neil reveals the basic concept he uses to construct a male and female head

Head basics Construction lines male and female faces

a I start off by drawing two circles that
B I draw two lines slightly in from the
c Once the ears, eyes and mouth are in
are overlapping, You can experiment with side to indicate the forehead and the place, it’s a case of refining the face. The
different size circles to give different cheekbones. From the centre intersection male face is a harder, angular shape. The
dimensions. Where they intersect is the eye I place a triangle for the nose and add female face is softer and rounder in general.
level, and from there I put a centre line where I want to put the mouth. I also add For women, try to depict fuller lips, larger
down the two circles. This gives the basis two triangles where the eyes are, which eyes and rounder cheeks. These are not
of the human head. also locates the eyebrows and eye sockets. hard and fast rules, though – just a guide.

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13 BoDy Language
While drawing heads you also have to think of the
figure’s body language, which will show in the close-up.
A tilt of the head or shrug of the shoulders can
emphasise an emotion. I draw beyond the panel to check
that the body language is working and is anatomically
correct. Remember to have fun and try out new things!

14 WRinKLes
Adding facial lines to characters can emphasise an expression,
but it’s important to bear in mind the age of the person. The more
character lines and emotion lines you depict on a face, the older a
character will look. Men usually have harsher lines and females
have fewer. Younger characters will have also have fewer lines
around the eyes, forehead and mouth. This is a good excuse to
put together a reference library of faces young and old.

A tilt of the head or shrug

of the shoulders can emphasise
an emotion
15 aNGer
There’s always a ton of
angry characters in comics
and it’s the one emotion
that you have to get right!
So experiment with all
forms of anger, whether it’s
from a crazy-eyed villain or
determined superhero!
Remember the eyebrows,
too: they can be very
effective – especially when
using variations of
eyebrows and eye shapes
to convey the angry mood
of the character.

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16 WAYS to DRAW
betteR cReAtuReS
bobby Rebholz wants you to design fantasy creatures with purpose, and
presents a range of techniques for making them look as real as possible

Creatures have always in general. I quickly realised that this It’s vital that your creatures be
Artist
been a part of my was going to be my profession in life. believable because people are
PRoFiLe artistic journey. Ever After going to school for industrial watching and studying what you
bobby since I was four years design and applying those skills to create. In my experience, no matter
Rebholz old, I can remember freelancing and to creature creation, how crazy your designs seem to get,
LocAtion: US
drawing creatures that I saw in films I’ve been fortunate to not only teach just remember that they all must be
Bobby shifted from and on television. I spent hours for CGMA, but to learn new things grounded in some way. Here, I’ll
industrial design to trying to draw little plastic dinosaurs. along the way that have helped shape explain some tips I’ve learned about
freelance creature
design and is currently As I grew older, my passion wasn’t my design sense when it comes to making creatures believable and
teaching creature design just drawing creatures, it was drawing creature design. how you can achieve this goal.
for film and video games
for CGMA.
http://ifxm.ag/bobby-r

THUMBNAIL CREATION
1 SHAPE LANGUAGE
A step that’s often skipped in the
design process – as well as in
portfolios – is the thumbnail creation
process. Chances are that you won’t
land on your best design right out of
the gate. This is where thumbnail
exploration comes into play with the
addition of studying real-world
reference. Don’t worry about details
at this stage. Instead, focus on shape
language and just having fun with the
shapes you’re creating. By doing so,
your final design will be that much
more thought out and believable,
and it’ll have your passion for the
creation process shining through.

2 KEEP EXPLORING!
You can never do too many
thumbnail sketches. This stage is vital
and ensures that you’re exploring as
many avenues as possible. A lot of
times, we’ll get a specific idea in our
head and think that design is the
final. Although this does happen on
rare occasions, chances are you’re far
from landing that awesome final
design. Thumbnail creation will ease
the process and surprise you at the
same time. That’s why it’s so fun!

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NARROWING DOWN YOUR CHOICES

3 LooK beYonD tHe
noRM FoR iDeAS
The first thumbnail that
interests me is number 16
(seen in the image from 16
tip one). One of the
important aspects about
choosing thumbnails is
finding an interesting
silhouette. In this case, a
multi-legged creature with
a strange torso excites me
and I go with it. I try to find
silhouettes that don’t
follow standard shapes,
which verge on the cliché.
For instance, it’s common
to see creatures with
hulking shoulders with
small heads. There’s
nothing wrong with that;
however, I’m aiming for a
non-traditional design.
21

4 OUTSIDE THE BOX

Number 21 (also seen in tip one)
intrigues me, specifically because
I never intended for my creature to
look like fungus. The silhouette is
working because we have a familiar
shape while it still looks unexpected.
Whenever I sketch creatures, I try to
ensure there’s a uniqueness with a
touch of familiarity. But I’ll go into
5 ReAL-WoRLD
more detail about familiarity in a later
tip. With this thumbnail, I explore
I try to find silhouettes that inSectS coMbineD
plant shapes and try to imagine how
this creature will move and eat. Let’s
don’t follow standard shapes, This thumbnail intrigues
me because it’s a mix of
see what the third choice brings! which verge on the cliché insect shapes. Insects have
been a major influence in
my creature designs. In
this particular case, I use
shapes from crickets and
spiders. The rear legs offer
a unique shape, with them
bowing outward and able
to support the creature’s
weight as well as aiding in
jumping. I’m also choosing
this as the third thumbnail
to develop because
something about it says
‘other worldly’ to me. It’s a
shape that’s not common
and should offer fun
possibilities. Using
unexpected shapes can
turn into awesome designs
down the road.

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HEAD EXPLORATION
6 TAKE INSPIRATION
FROM NATURE
One of the most enjoyable stages in
the creature design process is head
exploration. Here, I’m exploring the
first round of head designs. I know 1 2 3
that I want something insect-like and
creepy, so I begin looking at
references of Earth insects and
arachnids. Whenever you’re stuck
and don’t know where to go next in
the design process, just take a good
look at real-world animals! They offer
all of the answers and give you clarity 4 5 6
when coming up with new designs.

7 MAintAininG tHe
SHAPe LAnGuAGe
It’s important not to limit
yourself when exploring
with thumbnails, so I’m
doing a second round of
head studies just so I have
a good number of ideas.
It’s easy to get carried
away with random shapes
and not-so-believable
features. With these head
studies, I make sure that all
of the shapes stay within a
unified shape language.
For instance, number 5
(above left) looks like a
combination of an
earthworm’s head and bark
from a tree. I make sure
that all of the shapes taper
like a worm’s head and the
ends look like broken bark.

8 HEAD DESIGN
FINALISATION
Refining the head is so much fun.
This is where you can really bring the
creature’s personality out. Here, you
can see that I go into detail about the
creature’s face, functions and overall
aesthetic. I go into the importance of
call-outs in tip 12, but here you can
see they’re useful for describing a
functional feature. And make sure
that your creature has personality.
This doesn’t necessarily mean facial
expressions, but the skull design,
eyes, mouth, muscles and overall
shape are very important.

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9 eStAbLiSHinG AnAtoMY
Apply these three stages of anatomy design to your development process,
and see how far you can push the believability of your imaginary creature…
muscles and tissue
A When thinking about your creature’s
anatomy, consider the bone structure first.
This stage is often forgotten because we
want to jump right into the cool skin textures
and muscles. I sketch the creature’s skeleton
on the left followed by what the muscles will
look like attached to the bones on the right.
Now we have a clear indication of the
muscle structure in front view. The skull
should be drawn before any other bones
because even the skull can show personality,
which dictates the facial structure later on.

Rear three-quarter
views are just as crucial
as front views in selling
your design

Combining anatomy elements

c Now I go into detail about the tendons and muscles
of the arms and then juxtapose that on to my original pencil
putting the legs on show sketch. I’m choosing the arm for the close-up because it’s a
b Next, I’m painting a rear view with lots of energy so that I can see this complex array of tendons, ligaments and muscles. If you
creature in action and what muscles are helping it push off the ground, as if have a certain area of your creature that needs clarification,
it were running or attacking. Rear three-quarter views are just as important this becomes your chance to go into detail and ramp up the
as front views in selling your design, because we’re not limited to just one believability to your design. Because I’ve juxtaposed the
angle. I’m fading the arms off because they aren’t the focal point here – muscle rendering on top of the pencil sketch, we can now
the legs are. I want to make sure the legs get the attention they deserve. see underlying anatomy.

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FINAL DESIGN
10 proportions
Out of the three sketches I developed earlier, I’m choosing the
third ideation because of the uniqueness of the silhouette.
Proportions are key because it helps solidify a design. Its arms,
legs, torso and head aren’t too long or too short. The shapes
are just the right size so we don’t question something being
out of place. This creature has unique proportions so I must
make sure it remains believable using real-world reference.

11 SKin teXtuRe
Skin texture is extremely important because
it adds realism to your creation. It also gives
the viewer a close look at your creature’s
environment, eating habits and evolution.
With skin texture, I’m figuring out what type
of environment my creature lives in. And with
this information, I can begin to tell its story.

12 importanCe of Call-outs
Call-outs enable you to explain a certain feature
about your creature. Movement, weaponry and
feeding are just a small numbers of features you
can have for your creature. The problem I see with
a lot of creature design is too many ambiguous
surfaces with no real thought behind them. Calling
out certain areas and explaining what they are
helps make the creature more believable. I use
call-outs to give my creatures a sense of purpose.

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13 eneRGY
Showing energy and
movement gives a real
sense of how your
creature moves as if it
were standing in front of
you. Conveying that type
of realism will be helpful
when you’re sending your
sketches off to the art
director and modelling
department. They need
to get a real sense of how
your creation will behave
as a living, breathing
thing. Energy brings your
design to life.

15 anatomiCal landmarks
Throughout my years of designing creatures, one aspect that
I can’t stress enough is developing good anatomy to support
14 Bring in a degree of familiaritY your creature design. Without accurate and believable
Establishing familiarity means you’re bringing recognisable shapes into your anatomy, you might as well stop sketching your creature until
creature design. Indeed, this approach should be applied throughout the you learn to study this one crucial element. Earlier in my
design process. These fantasy insect sketches are based on mood boards that Establishing Anatomy tip section, you can see the depths I go
feature images of different insect species, because my creature is heavily into when designing a creature. One thing I tell my students is
influenced by bugs. The more I paint these fantastical extrapolations of real- that by studying the skeletal and muscular structure of today’s
world creatures, the more familiar I’ll be with what actually exists on Earth. animals, you can bring a wonderful sense of familiarity and
This will help me create a believable creature in the end. believability to your creations all at once.

16 FinAL SKetcH
I combine all of the stages
of my design process into a
single sketch. A side view
keeps things simple and
can show enough of the
creature to get a sense of
its proportions, textures,
and build. Don’t limit
yourself to just doing a side
view, though. A front three-
quarter view is also
effective and can show
anatomy as well. When
making your final sketch,
think about what story you
want to tell the audience. Is
your creature believable? If
so, you’ve done your job as
a creature concept artist.

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Tutorials

create depth
by using value
patrick J Jones thinks like a sculptor and works on overlapping forms,
as he explores the illusion of the third dimension using tonal value

Patrick demonstrates to life Alana is asked to adopt a slightly

model Alana what pose he asymmetrical stance, as Patrick
has in mind, and the feeling focuses on the gluteus.
he wants her to convey.

Sketching from a real- amazement when the Old Masters canvas work of the Old Masters
Artist
life model is important such as Rembrandt and Caravaggio because pencil drawings are usually
proFile to get a realistic end displayed their huge oil masterworks. small-scale affairs. However, there
patrick J Jones result. In this tutorial Imagine a time when photography are ways around such obstacles.
location: Australia we’ll be working with and cinema didn’t exist. Now To create the greatest illusion of
Patrick is a figurative my regular life-model Alana, placing imagine seeing a giant canvas filled depth using monotone values we’ll
artist, author and teacher. our focus on the gluteus while with heroic figures, painted with the need to think like a sculptor and
His art technique books,
The Anatomy of Style
creating depth using tonal value. The illusion of 3D space. Having stood in draw the body as if it’s a dimensional
and The Sci-fi & Fantasy forms of the gluteus offer the best front of these paintings myself, I can landscape of overlapping forms with
Techniques of Patrick J. shadow and light options to clearly attest to the fact that you can almost a sense of weight and volume. To do
Jones, were both award-
winning best sellers. His
see – and draw – structure and depth. feel it’s possible to step inside the this we work with tonal value, from
next book on drawing On our paper surface we can only canvas. This was not only the height the darkest value (black), toward the
the figure, Figures from draw across two dimensions. We can of visual entertainment – to the lightest value (white). In this case the
Life, is now on sale.
www.pjartworks.com draw up and down, left and right, but average person it was a feat of magic! white value is the bare paper.
we obviously can’t draw ‘inside’ the I’ll begin with simple shapes,
flat paper, because that’s the THE DRAWING CHALLENGE drawing big to small, and will assess
impossible third dimension of depth. Using charcoals and pencils makes how I’ll construct the drawing before
Yet this doesn’t mean we can’t create the illustration process a harder task, I make a mark. Always be on your
an illusion of the third dimension. because we don’t have the benefit of highest alert in the early stages,
It was the illusion of the third colour and glazes. Furthermore, in because there’s no point in rendering
dimension that first drew gasps of most cases we can’t match the grand a badly constructed drawing.

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Figure drawing

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 Tutorials

1 Looking for clues

Although this looks like a symmetrical stance, the
hips are tilted downwards to the right. Look to the left
side pinch of the waist for the clue. The hips are a fused
mass, so the tilt affects each side. The pinch indicates the
oblique muscles bulging between the ribcage and hips.

pencil
General’s soft charcoal
pencil, Pitt charcoal
pencil

charcoal
General’s compressed
charcoal sticks

erasers
Kneadable eraser, mono
eraser, electric eraser, 2 Making changes
pencil eraser, grip eraser To give the figure’s pose more movement, I tilt the
shoulders toward the higher hip. I also pull the right arm
Miscellaneous
Paper stumps, tissue out a little using a small piece of willow charcoal. Note
paper, washed and the sacrum triangle above the gluteal midline, and its
dried shammy leather
orientation. The angle of the sacrum will show us which
cloth, newsprint
way the hips are tilted.

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3 Entering the third dimension 4 The power of illusion

I explore the body landscape, feeling the depth of flesh as if With everything in place, I add some greyscale tone with the
drawing in the third dimension. Drawing the corners of the gluteus as broad side of my charcoal. The tone immediately brings in a sense of
I would a box but with softer edges helps me to clarify the idea. Notice volume to our illusion of the third dimension. I’m keeping everything
how the back side of the gluteal masses resemble an upside-down light to begin with, in order to have the freedom to change shapes and
butterfly. This is a visual clue known as a mnemonic. tones before going into detail.

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6 Think ahead
I use a scrap piece of newsprint to stop from
5 Adopt the mindset of a sculptor smudging as I draw. I could use reworkable spray fixative
There’s now enough charcoal on the newsprint surface for me to shape the at this stage, but it would make blending and also erasing
flesh using my fingers alone. I’m thinking like a sculptor. This has the two-fold highlights more difficult later, so I prefer to leave my
effect of making the illusion of flesh softer as well as fading the image. With the options open as long as possible. When you do use
image knocked back, I now have a less confusing drawing to put line on top of. reworkable fixative, spray it very lightly and in stages.

8 New opportunities
By adjusting the leg inward more in the last step,
7 All fingers and thumbs the figure is now more solidly balanced. I was lucky to see
Alternating between finger smudging and pencilling, I work from dark to opportunity for change before I added heavier line work,
light tones to find further illusions of depth. I’ve pulled the standing leg inward which is more difficult to erase. Every stage is a new
more before detailing. The early stages are the best times to make changes. opportunity to rethink and improve the drawing.

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9 Adjusting shapes 10 Stay focused as you erase

I continue to smudge into the flesh until I have a good mid-tone I don’t fear the hard-edged marks the kneadable eraser makes
to pull out highlights with my kneadable eraser. By reshaping the because I’m thinking ahead to the next blending stage. If I were to
pliable kneadable eraser as I go, I can vary the shape making. I think of blend as I go here, the plotting of the highlights would be less focused.
my erasers as drawing tools rather than as mistake-fixers. Note how a dirty eraser leaves less gummy marks when erasing.

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12 Feeling the pinch

I pull out the brightest highlights with a pencil
11 Working with a light touch eraser. Extreme highlights on flesh are usually found on
I take my shammy cloth and soften edges. This takes a light touch, and is oily parts of the skin such as the nose and forehead, but
something you’ll need to feel as you go. The landscape of flesh now has all the value also where flesh gets pinched. The pencil eraser also has a
and softness I need to start thinking of style. I title the drawing The Entity. brush on the end for sweeping away erased particles.

14 The art of conversation

To finish, I tame the strokes down and shape them
13 Time for a little black magic with my smudgy fingers, erasers and tissue to create a
Now I work into the absolute darks to achieve the greatest sense of mystical swirl. What is the mysterious ‘Entity’ in the title?
dimension. The darkest darks will be in the occlusion shadows (where flesh meets Well, I like my drawings to be open to interpretation so
flesh). I also add some energetic strokes here to bring back my gestural hand, which the viewer can use their imagination. In this way, art
can become stiff in the drawing sense of the word, after a lot of structural drawing. becomes a conversation.

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THE DIMENSIONAL GLUTEUS

STUDY SHEET
The tilt line of the sacrum
dimples indicate the tilt of
the hips, the trochanter
bones of the femur and
the gluteal masses.

Gluteus medius bulge.

Note how one

gluteus overlaps
another, as indicated
here by the shadow
at the gluteal line.

The top of the great

trochanter bone
shows here a little
The line between down from the
the hip crest and the gluteal line.
great trochanter
bone is relatively
straight and shows
the boxy form of the
female hips.

The widest part

of the hips
is usually in
The gluteus is relaxed on line with the
the non-weight-bearing leg gluteal fold.
and has a rounder shape.

15 Gluteus study sheet

Although the two gluteal masses seem
simple, there are subtle differences, especially The straighter gluteal
in a three-quarter view or with one leg fold is created by the
relaxed. To avoid a ‘double bubble’ shape, biceps of the leg
study each gluteus separately, working pressing upwards on the
outward from the central gluteal line. weight-bearing leg.

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46 Ultimate Sketchbook Collection

 Building intensity with graphite

Building
intensity with
graphite
Discover how Jenna Kass is able to create a strong sense of depth
and focus within a drawing, by building up layers of graphite
powder and pencil
For the past three using light and shadow to tell a story as I found out during this workshop,
Artist
years, I’ve been using or communicate an emotion. until the New York humidity foils
proFile graphite as a medium Regardless of what medium I used, your plans!).
Jenna Kass for illustration, first I learned that the key was to work in Additionally, living in a small
location: NYC only with mechanical layers: no darks were going to look apartment necessitates a small studio,
Jenna is a NYC native, pencils, then over the past two years deep enough or properly integrated and working in graphite means that
living in Astoria with her adding powdered graphite into the unless they were built up patiently. I can reduce my entire setup to a
fiancé and a fine dusting
of graphite powder. She
mix. The art I make is all about Graphite opened new doors in this desktop drafting “table” with a lamp
loves creating dreamlike subtlety of sentiment and narrative, regard; I loved how suited it was to a and my computer.
explorations of the and I wanted to find a medium in gradual process. It’s a forgiving
melancholy, and wishes
her lease allowed for a
which I could really explore that. medium, coming in many forms, able BACK AND FORTH
cat. See more of her art at Even prior to exclusively working to be applied a lot of different ways, For me, drawing in graphite involves
www.jennakass.com. in graphite, I was always a fan of and can erase seemingly forever (or, a lot of working back and forth with
soft “washes” in its powdered form
and structured hatching in pencil.
Yet it’s all focused on bringing forth a
subtle, engaging image. As someone
who jokes about her control issues,
this method has proven to be a
remarkable mix of managing every
single detail while also finding
opportunities in happy accidents.
In this workshop, I’ll demonstrate
how I use pencil and powdered
graphite in tandem to create a
sensitive drawing with rich, dark
values. There’s very little traditional
rendering in my rendering process:
I use single-direction pencil hatching
to create my forms and powdered
graphite to build my values.
That being said, by working from
good photo reference and making
sure one method doesn’t outweigh
the other, the outcome is a realistic
illustration. Not every step winds up
working perfectly, but through
Jenna’s compact apartment improvisation and the discipline to
has meant that she’s had to
streamline her workspace. work with the medium instead of
Luckily, her graphite tools fighting it, you’ll get to see exactly
make this possible.
what graphite can accomplish.

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Tutorials

PAPER
Strathmore 300 Series
Smooth Bristol

pencils
Two Pentel Twist-Erase
mechanical pencils
(0.5mm): one with 2B
lead and one with 4B
lead

erasers
Kneaded eraser,
General’s Factis
mechanical eraser

powdered graphite
General’s powdered
graphite

Brush
0.5-inch soft synthetic
flat

1 Thumbnailing the idea 2 Reference compositing

When I first have an idea for a drawing, I turn it Now that I have a thumb, I take reference photos
around in my head for some time before putting it down and composite them on top of it in Photoshop. I decide
on paper. I only do three thumbnails before deciding that to buy Suzanne Helmigh’s Gumroad references for the
the first one is the winner after all, but it’s still important cloak, and I find some photos online that I can patch
to see what the variations look like outside of my head. together for an approximation of the swan pose I want.

4 Tightening the drawing

Before I can start with powdered graphite, I need to
3 Transferring the reference make sure my transferred lines won’t disappear! I go over
I print out the ref-comp and cover the back in graphite, then I tape it to my all of my lines with the 2B mechanical pencil, refining the
Bristol and trace the image. I transfer the figure and drapery fairly exactly, but am initial drawing and developing a more elegant line in
very general with the bird, because I’m still exploring where I want to take the pose. places where the transfer was awkward.

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5 First powdered graphite pass

I scrub in powdered graphite with an old, no-
brand, soft, synthetic flat brush, and while I’m keeping
6 Establishing pencil texture
generally to the correct areas, I’m also being pretty messy. After the powdered graphite, I begin the next layer in the dark areas with 2B
This is where I discover shapes and movement that I vertical hatch marks. I’m using medium pressure, so the line is pretty dark without
might not have thought to build for myself. This also gives scoring the paper. This is a natural stroke for my hand, and it will be almost
me a base from which to build my darkest darks. everywhere in the drawing by the end – an easy way to unite the whole image.

7 Softening as I work
It’s important to keep the pencil strokes from
overwhelming the soft feeling I’m going for, so after each
8 Adding the darkest values
section of hatching I go over it with the same brush I used Having laid in the base for all compositional elements and begun my
for the initial powdered graphite pass. The new lines rendering, I start to pick out where my darkest values are with the 4B pencil. This is
soften and become more integrated into the image. I’ll do where the image begins to come together, although I’m using this less to render
this throughout the rest of the drawing process. than to establish the value range for my own reference at this point.

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10 Finding the flow

There’s been something bugging me about the flow
9 Detailing the swan – finally of the cloak, and I’m going to fix it. I draw in the new
I’ve been avoiding the bird up to now. I’m not certain how to draw it, and shape right over the existing graphite, and then with my
although I try not to psych myself out too badly, it happens sometimes. The answer kneaded and mechanical erasers lift out the graphite
is to just dive into it. I focus on my reference and the gesture, and as soon as I begin that’s too dark or in the wrong place. Then I lay in new
to actually work on the bird, I realise it’s not so bad. graphite hatching to patch the gaps.

12 Darkening the values

Having fixed the cloak’s shapes, I realise that it’s
11 Building the environment not nearly as dark as I want it. I could add more hatching
I’ve left the grass on the rolling hills until now because I consider rendering it to darken it, but it’s much faster to do another dark scrub-
tedious, but it’s time to bite the bullet. Pencil hatching winds up being a great in with powdered graphite. I’ll have to go back over it
method for grass: just make varying shapes with slim gaps between them, then go with pencil to re-establish the texture, but it finally fits the
over those with different shapes. Add in some individual blades, and you’re done! value structure that I wanted.

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13 Rendering the forms using the pencils

Now that everything’s in place and I have my value range, it’s time for my favourite part of the process: rendering! I’m using both the 2B
and 4B pencils as needed, and I’m still using vertical hatching almost exclusively; details in the hair, nostril, ear, and finger joints are exceptions.
I’m working from my reference, but allowing the drawing to evolve as well.

14 Sharpening the edges

Edge control separates a pretty good drawing from
a drawing that’s finished. Not every edge should be hard:
15 Final highlights and finishing up
areas in shadow or far from the foreground can and With my kneaded eraser, I go through the entire drawing and gently lift out
should be softer. Things coming toward the viewer, or highlights in the face, hair, bird and arm. Some volume and key highlights have
areas of desired high contrast become sharpened, become lost with all of the softening passes, so it’s immensely satisfying to pull
although I’m trying not to make anything look “lined”. them back out as my final touch. After that, the drawing is done!

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 Tutorials

ELEVaTE YoUR
SKETcHinG SKiLLS
Tim Von Rueden distills his extensive teaching experience into 15 key
pieces of advice that will help you grow in confidence when putting
pencil to paper
There are many pieces I believe it takes a partnership of seeing them in their head. Having
Artist
of advice that I want to technical skill and authentic creative been a teacher for six years, I
PRoFiLE share with you on your pursuits to manifest great works, understand that just getting started
Tim Von Rueden creative endeavour, but so make sure that you don’t ignore can be the hardest obstacle to
LocaTion: USA
I had to narrow it learning the fundamentals or neglect overcome as an artist.
Tim is an independent, down to just 15 tips for this sketching the truth and message you want to So use this workshop as a reminder
travelling convention workshop. These tips are meant to create in your works. to keep drawing, because the best
artist. He aims to inspire
and mentor others
help you build some underlying In this tutorial, I’m going to focus way to level up in your work is to
through hard work while structure, hopefully spread a little more on the technical side with apply what you learn through
encouraging big inspiration, and support you so that sketching tips that will help any artist practice, practice, practice. And
ambitions. See his art at
www.instagram.com/ you can get motivated right back to to elevate their ideas and translate always staying hungry for that desire
vonnart. the drawing table! them on paper in the way that they’re to improve and grow!

1 Know your pencils

B (Blackness or softness) H (Hardness) I use both traditional and
mechanical pencils. Mechanical
pencils are usually better suited for
8B 6B 5B 4B 3B 2B B HB H 2H 4H precision, while traditional pencils
are great for laying down large areas
of texture. Whichever you prefer
doesn’t matter as much as the pencil
hardness in the graphite you’re using.
For example, there’s a big difference
between a 2H and 4B hardness. I
recommend starting somewhere on
the H scale as a foundation and then
finishing with the darker B scale.
Keep in mind that most mechanical
pencils come with HB pre-inserted,
which gives you only the middle
range to work with.

There’s a
big difference
between a 2H and
4B hardness
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 Elevate your sketching skills

Hatching Cross-hatching Stippling

Scribbling Small circles Finger blend

2 Make use of different methods of mark making

There’s no “right way” to draw. There are so many different methods and techniques to achieve the same end result and look within your
work. Here are a few examples to show that you can create form and depth with completely distinctive styles of rendering. I believe it’s
important to experiment and find what works best for you, to not only complement but enhance your style. So while I prefer smoother value
transitions with the pencil strokes blending in against a thin outline, you may be more partial to cross-hatching against a bold outline.

Low-value contrast High-value contrast

3 Impact of high and low contrast

Even though I enjoy working with contrast, that doesn’t mean every drawing has to have high-contrasting values everywhere. Subtle, low-
contrasting shading can also showcase form and can be just as effective (if not more) in showing details and pull the viewer’s eye to a specific
area. In these examples, you can see that the softer, low-value contrast piece enables the eye to wander and doesn’t define an area of focus, while
the area of focus in the high-value contrast piece rests on the darkest darks against the lightest lights.

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4 Edge control Thin edge Undefined edge

When I think about edge
control within a drawing, there are
four techniques that come to mind.
A thin and hard edge that first
generates a literal border to your
subject matter and then defines
where it begins and ends. A lost edge,
where the subject matter and
background values blend together so
that the edge is ultimately implied.
And finally, an undefined edge, Hard edge Lost edge
which relies on the viewer to do the
heavy lifting and decipher the
subject matter’s edge. All four of
these can be used to separate your
subjects within your composition.
You can also experiment with a
combination of them to produce
interesting results.

You don’t always need extreme

contrasts to show dimension, just
well-placed hints to imply it

6 Make gradients work for you

My favourite inclusion within a drawing (besides
contrasting values) is a well-placed gradient. This is
5 Creating the illusion of form typically referred to as a gradation from a light to dark
We draw on a flat surface and it’s our job to create the illusion of form and value. They are visually pleasant to the eye and can direct
depth. This can be done with gradations or purposeful mark making, often with a the viewer’s attention to an area of focus. The scope of the
light source in mind. You’ve seen the examples of a well-shaded sphere and it gradient is important as well. A gradient that covers most
showcases how light-to-dark value transitions can create a three-dimensional form. of the drawing or subject matter will influence where the
I want to also show that you can imply the illusion with subtle shading and well- viewers look, and smaller gradients can add a pop of
placed highlights/shadows within a mid-range value spectrum. You don’t always detail and contrast. If you feel your piece is looking flat or
need extreme contrasts to show dimension, just well-placed hints to imply it. has lost focus, try adding a subtle gradient.

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7 Contrast, contrast and more contrast

I love contrast. Our eye is attracted to areas of contrast and we
8 Applying the 70/30 rule
can play with that knowledge in our imagery. Contrast is usually The 70/30 rule is applied to all sorts of different facets in life,
thought of as a value contrast, which consists of a dark and light value but I was taught this rule when creating art. The main idea is that you
butting up against one another. But contrast can also be found in hue, place 30 per cent of the detail/focus/contrast in one area of your piece
saturation, shape, texture, edges, proportion and more. Heavy contrast and let the remaining 70 per cent be “filler” or less interesting, to push
will demand attention, thus I recommend placing the highest value more attention towards that 30 per cent focal point. In this drawing
contrast in your area of intent focus. You can also add contrast to I’m showing a 70/30 detail example to show this rule applied in
separate forms and distinguish subject matters from one another. practice. This can also be a reminder that in some cases, less is more!

9 Concave
versus convex
This is a simpler tip I learned in
college while grasping the
differences between shading
something convex and concave.
I think about it every time I draw
horns or when I’m placing the
lighting within the iris of an eye. It’s
all about the direction of a light
source and how different forms will
respond to that information to create
the illusion of depth. In these
examples you can see how a simple
study can be pushed further and
result in a more complex form while
still maintaining the same
construction and thinking process
behind both.

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Interesting

Basic

Fantastical

11 Imperfections and anomalies

The details and quirks that make an object stand
out also add character and a potential story for the viewer
10 Understanding textures to elaborate upon. Instead of just looking at what makes
Textures are distinct from one another and should be drawn to reflect that an object recognisable, you should also consider how to
– you wouldn’t want to shade skin the same way you shade metallics or fur. They make this object distinctive. For my examples, I’m taking
each have unique properties and capturing that will elevate your drawings because a simple vegetable and showing the general “look” that
of the accuracy depicted. To begin understanding textures, analyse two main may come to mind at first thought. From there I bought
concepts: does the texture tend to absorb/reflect light, and how smooth/rough is an actual carrot for reference and emphasised its
the surface? For example, a reflecting and smooth texture such as chrome usually anomalies, bumps, roots and imperfections. Look to add
has higher contrasts and prominent highlights, while an absorbing and rough those on any given subject matter and try to have some
texture like cotton has low contrasts and little to no highlight present. fun pushing it into something fantastical.

12 Step by Step: Building up your image from a strong foundation

KEEP AN OPEN MIND ENSURING A CLEAR ‘READ’ ADDING A LAYER OF DETAILS

1 When looking to start, I try to keep my line
2 After I feel comfortable with my base, I
3 My favourite part is the rendering and
work fluid, quick and open to change. At this then look to introduce some values. I’m still not detailing of a piece – just remember not to enter
stage nothing is permanent, so don’t treat it as focusing on the details, but rather seeing if the this stage early because you want to be efficient
though nothing can be altered or changed. Focus drawing reads clearly and creates accurate form. with your time, and detailing can consume a lot of
more on laying down lines that you can construct It helps to back away from the sketch to better it! Just be patient and have fun adding the details
your drawing on top of. see if there are any mistakes. that will help to bring your piece to life.

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13 Realism versus stylised imagery Realism Stylised

I believe it’s necessary to understand the value of learning realistic pursuits
such as lighting, values, proportions, anatomy and much more while honing in on
your craft. It’s not that a realism look is any better than a stylised one. Once you
understand how to recreate something realistically, it becomes incredibly easy to
then create a stylised version of the same object, especially for creatures and
characters. Over time you’ll make seemingly small, personal preference choices on
the actual execution of a piece (often straying from realism) and that’s what will
help you to gradually build up your own style.

Once you understand how to recreate

something realistically, it becomes easy
to then create a stylised version

15 Trust your intuition and be

confident in your decisions
Creating art takes courage. Fully expressing who you are,
what you’re interested in, how you’re feeling and what
you stand for can be daunting. Too many artists play it
14 The heart is in the details safe, finding an appealing and marketable comfort zone,
How often have you heard “The little details are the most important”? and then only creating from that space. I can speak from
I believe those details are where a piece reflects the artist’s heart and soul. The experience that people respond and will resonate when
additional time put into adding elements that may go unnoticed are like treats for the work feels authentic. When you’re in your creative
viewers who take the time to look for them. I emphasise putting that extra care zone, trust your gut feelings, and be expressive with your
into adding the secondary details without rushing them, because it also teaches preliminary sketches and thumbnails. Don’t worry about
patience and practice. Great art should be nurtured, not manufactured. Don’t the reaction. Create without the fear of whether it will be
overlook those details or let time be a deterrent. Embrace them! “good or not”.

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 SKETCHBOOKS
Delve into the minds – and sketchbooks – of some of the world’s
best fantasy and concept artists and illustrators

60 78 Sam Hogg

Dawn Carlos

66 70

Alex Thomas Moon

76

Chris Campana

84 86 92

Joel Rong Martin Abel Sai Foo

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98 100 106

Jenna Kass Daria Theodora Michal Kus

112

Trent Kaniuga

124

118 Elise Hatheway

130 136

Lorena Lammer Genevieve Tsai Lois Van Baarle

142 148 154

Eliza Ivanova Chantal Horeis Giorgio Baroni

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Artist
PROFILE
Dawn Carlos

DAWN CARLOS
LOCATION: US

Dawn is a concept artist,

illustrator and fine artist
from San Francisco.
She loves fog, her
Telecaster, a good hearty

Insects, gaming and aliens – in fact, almost everything stout, mossy green forests and those
mushroom city-looking things that
grow on dead trees. The only place
she sees – provide inspiration for the concept artist she goes without her sketchbook is
the bathroom. She’s currently working

and illustrator’s sketchbook as a concept artist at WB Games.

www.dawncarlosart.com

INSECTARIUM
AND THE QUEEN
MOTH-ER
“Studies from the insectarium in
the Montreal Botanical Gardens.
The Queen MOTH-er was originally
a sketch of a woman’s face that
never quite worked out, so it was
abandoned. After seeing all
manner of insects I was able
to return to it with some
fresh ideas on how to
salvage it.”

SPACEY ROGUES
“I love how far you can push the
weirdness of aliens – using animals,
insects, shapes and textures –
ROOT MOTHER
“From roots and turkey tail
but still retain a sense of mushrooms – rotting, blossoming
character and humanity – all while hiking through
through it all.” Muir Woods.”

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FOUR
EYED SAGE
“Inspired by fishes, frogs and
tree bark. Using my trusty
brush pens and those
little label dots.”

I love how far you can push

the weirdness of aliens but
still retain character

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YOSEMITE GROVE
“Ink drawing as a gift for my parents,
based on a grove I hiked through during
my first time in Yosemite.”

I played the Mass Effect CROW BRO

“Starting with the idea

trilogy and my love for all of a shoulder-perched

pet, this turned into a lone
wizard, his familiar and a

things sci-fi was rekindled magical crow claw

prosthetic.”

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TWO WHAELSTROM
“I felt like drawing a
EYES, THREE…
“These were postcard-sized
monster whale. This one
is also based on a pun, a
drawings done shortly after play on the word
I had played the entire Mass maelstrom.”
Effect trilogy over two months
and my love for all things
sci-fi was rekindled.”

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JERK MAGE
AND TROLL BIRD
“Mages can be real jerks sometimes,
picking whatever, whenever from whomever
for some potion or spell or magic stuffs. Poor
Troll Bird hasn’t even got that many
feathers to begin with!”

IF YOU CANT BEAT ’EM…

“Played Overwatch one night and had a horrible
losing streak. So I gave up and drew the
characters instead.”

Played Overwatch
and had a horrible
losing streak. So gave
up and drew the
characters instead

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 Dawn Carlos
CAT-LIKE THIEF AND
THE MUSHROOM PONCHCOAT
“Couldn’t decide if our Mushroom Merchant is
wearing a poncho or a trench coat, so it’s a
Ponchcoat. Or was it Trencho?”

ITS A TRAP!
“Started with fishy mouth
up right, then scales, then
thought, ‘Oh, like scaly
armour!’ Then a hooded
figure, a squire and
an elf.”

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Artist
PROFILE
ALEX THOMAS
Heavy-duty industrial design plays a big part in
Alex Thomas
LOCATION: England

Alex describes himself as

a freelance concept artist
who works on hard surface
designs. His work has
developed from a love for
machinery and vehicles that filter into
the futuristic concepts that feature in this English his concepts. For the past few years
Alex has been freelancing full-time in
artist’s sketchbook the video games industry.
www.alexthomas.eu

SANDCRAWLER
“A vehicle for transporting
cargo across desert worlds.
I wanted to create a vehicle that
would have a stable base with
DEEP
as many wheels as I could fit.
Hydraulic platform trailers
SPACE FUEL
were my main
inspiration here.”
TANKER
“A long-haul fuel ship for
interplanetary fuel transport.
This was inspired by the
super oil tankers and
liquefied natural
gas vehicles.”

TROOPER
DROPSHIP V1
“A small dropship design based on
a World War II troop boat. Its
purpose is to move troops
and equipment.”

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RED BARRON
CONTAINER JET WWI
“This started as a fun theme that me
and my hard surface buddies had
TRANSPORT BOT
“This is an idea for a robot that
discussed at a London drink and
draw after being inspired by
picks up cargo containers and E wo kaku Peter’s work. This was
moves them around a bustling my Fokker Dr.I triplane WWI
flight deck.” jet concept.”

RELAY BOT A fun theme

“This robot acts as a relay
station for areas with bad signals that was discussed
for communications. It also has feet
so it can automatically move
when it needs to transmit
at a London drink
the signal.”
and draw

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DISTRICT 9 GUNS
“Having fun playing with shapes while trying to keep
in the District 9 universe. I wanted to develop
interesting forms that felt alien, yet read like
a gun or weapon.”

LUNA H3
COLLECTION
CRAWLER
“A large, moving excavation
platform used to extract
Helium-3 from the lunar soil. This
was inspired by articles on He-3
becoming a future energy
source. This would have
companies racing to the
Moon’s surface where the
soil is rich with this
new fuel.”

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I was inspired
by cranes seen
across parts
of London

TRAIN WITH TRACKS

“I just spent a bit of time playing with the shape of
steam trains and tank tracks, I thought of this vehicle
CRANE
as an off-road land train that would pull cargo on
carriages behind it.”
BOT CONCEPT
“Bearing future tech in
mind, this felt like
something that could
potentially be automated,
making for a more
interesting concept. I was
inspired by the cranes
seen across parts
of London.”

WALKING
FUEL TANKER
“A concept created for Inktober.
I was inspired by the shape of
Russian nuclear submarines: the
idea was to show a tanker that
could carry large volumes of
fuel over long stretches
of land.”

TROOP
DROPSHIP V2
“Same concept as the first design, but this
dropship was designed to take larger
cargo-like vehicles as well as people
and equipment.”

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PROFILE

MOON
MOON
LOCATION: France

Moon started his graphic

career by doing graffiti. He
graduated in graphic arts
and now works as an art
director, graphic design
Colourful sketches of melancholic characters teacher and illustrator. Outside of
work he enjoys drawing in the woods,
populate this graffiti artist-turned-professional developing his own art and continuing
to develop his personal universe by

illustrator’s sketchbook working on a new book.

www.instagram.com/moon_mxtr

PORTRAIT
“A shy girl drawn with
four colours and white
ballpoint pens on grey
paper. One of my many little
female figures who live in
my sketchbooks.”

YOU SAID?
“When I sketch with
coloured pencils, I love to
work with only two or
three colours only.”

SAD CLOWN
“A rare sketch of a boy – I usually
draw female figures. And this one
became a sad clown.”

COMPOSITION
“A small sketchbook and four
coloured ballpoint pens are my
favourite tools for sketching these
days. A limited palette can lead
to so many possibilities.”

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 Moon
A limited
palette can lead CRYSTALS
“I wanted to explore
the balance between
to so many elements. I love to
use water on fresh
ink to paint
possibilities the shadows.”

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SKINNY
BODY AND LARGE HEAD
“Usually when I start a drawing I don’t
know where I’m going. Sometimes it’s
all about mixing colours.”

WADER
BIRD
“Here’s one of my favourite
kind of birds; beaks and necks
SPRING
“I drew her on the first day of spring this
are so graphic. I love to play with
letters, too. I wrote ‘Moon’ on
year. It’s a kind of spring sprite who’s top – a reference to my
just woken up after winter.” graffiti past for sure!”

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WALL
OF SKETCHES
“I love to use patterns or
text between sketches to
make them part of a
whole piece.”

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SKULL
“A two-colour sketch with coloured pencils.
It’s kind of a still-life drawing, and it’s funny
to know that ‘still life’ in French is
‘nature morte’… or dead nature!”

WHISPERS
“To draw a lonely
character can be
tricky sometimes, but
four at the same
time is even more
challenging. These
figures are not
inspired by Little
Women!”

SUCCULENT
“I find plants a big
inspiration. I never paint
from life – I usually memorise
forms and then use them to
create new settings.”

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WATERCOLOUR SKETCHES
“I usually paint with watercolour over an Indian ink drawing.
Here I wanted to explore watercolour with coloured
pencils lines.”

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ChRis Artist
PRoFilE

CamPana
Chris Campana
loCation: US

Chris is a comic artist with

credits including IDW and
Dynamite. “I try to tell a
powerful story through my
Heavily influenced by fantasy, this comic artist’s art, and inspire young
creators,” he tells us.
sketchbook is filled with dragons and mythical beings www.campanaart.store

SAJA LORD CALRO

“Lord Calro is the leader of the dark
AND ARANA
“Saja discusses how we
army, which is also known as The
Noctem. He believes the world needs
control our oath by the choices to be cleansed by evil and death.”
we make.”

SAJA
AND HIS
DRAGON
“Each dragon is matched with a
temple and dragon. Together they
work to keep the ancient secrets
safe and protect the realm.”

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 Chris Campana
I try to tell a powerful story
ARANA
through my art, and inspire
AND THE young creators
DRAGON KANTARA
“In a quest to find her way back
home, Arana must learn the secrets
of the ‘path’ from the dragon,
Kantara.”

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Artist
PROFILE
SAM HOGG
Horns, hats and characters from the web video series
Sam Hogg
LOCATION: England

A UK-based concept artist

in the video games
industry, Sam has worked
on a varied number of
titles and IPs from Forza
Horizon to Hearthstone, James Bond
Critical Role crop up on a regular basis on this concept to Transformers. A Blizzard fan girl and
Critter, she’s also creator of The Whaler
artist’s sketch pages Girl novel and art book project.
www.artofsamhogg.com

CADUCEUS CLAY
“I’m a huge Critical Role fan and
Taliesin’s firbolg character
just fell out of the pencil.”

CROWN
“Inktober is always a great
excuse to practise in a medium
that usually terrifies me.”

Blending cultures to
create unexpected yet
familiar costuming is one of
my favourite things to do

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KALAM EXPLORATION DARK MERCHANT

“Blending cultures to create unexpected
“These are early sketches my Whaler Girl’s yet familiar costuming is one of my
villain, whose look was a mix of Moorish, pirates favourite things to do when I’m
and Day of the Dead.” building worlds.”

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NILA
“Nila’s performance
by voice actor Sumalee
Montano for Critical Role
really moved me, especially
her thoughts on the death
of a character.”

GRAPHIC
COURTESANS
“May Sketch a Day is always a
fruitful exercise, because it
enables me to discover new
styles like this.”

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 Sam Hogg

RAVAHN
THUMBNAILS
“A pirate city set among
huge rock stacks. I love finding
ways to try and make the
unbelievable grounded. See
https://ifxm.ag/samh-ravahn
for a timelapse video of
my process.”

CRITICAL
ROLE
“The larger-than-life
characters and narrative
antics that feature in
Critical Role are never far
from my sketchbook.”

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DAICHEN
“My finished pieces often start as thumbnails
like this. Redheads and big cats are my jam.”

THE SPEARS MOTIFS

“All the factions in The Whaler Girl have their
KALAM
“This is usually what happens when I just
own motifs. This is the Spears’ design, who sketch for fun. I love exaggerating
are a brotherhood of whalers.” facial features.”

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 Sam Hogg
Horns and
DRAGON DEMONS
headpieces are my QUEEN “More horns and
headpieces! Inspired

go-to comfort zone “Toned sketchbooks are

a fast favourite for
sketching. Horns and
by Brom, one of the
artists whose work sent
me on my fantasy

drawing subjects headpieces are my

go-to comfort zone
drawing subjects.”
art path.”

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Artist

JoEl Rong
Cats are the main feature in this illustrator’s
PRoFilE
Joel Rong
location: Singapore

Joel is a self-taught
illustrator who enjoys
sketching and painting
Japanese architecture.
sketches, where they are often seen among He’s also a cat lover, and
incorporates cats and their unique

Japanese buildings stories into much of his art.

www.instagram.com/jlron

ARE WE
SAFE HERE?
“This is my favourite cat
artwork so far: a combination
of Japanese buildings, strange
giant people and talking cats!
Hopefully I can create a
comic series revolving
around this theme in
the future.”

JAPANESE
HOMES
“The houses in Japan each
have their own unique details.
There are potted plants,
colourful curtains and lots of
GIANT other small details on each
property that make drawing
CAT DISTRACTED!
“Sometimes it’s hard to find
them challenging and
fun to sketch.”
references to sketch, such as the
crumbling parts of buildings in
this drawing, so I have to use
my imagination to mix
things up.”

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GIANT
CAT ATTACKS!
“To introduce some creativity
and fun into my artwork, I added
With a simple story,
strange cats into my building
sketches. With a simple story,
I’m able to create a narrative
I’m able to create a narrative
for the cats in every
drawing.” for the cats in every drawing

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Artist
PROFILE
MARTIN ABEL
This illustrator is busy designing creatures for his very
Martin Abel
LOCATION: Australia

Martin has been

freelancing for 15 years,
working for comic books,
magazines and a wide
range of clients. He’s

own fantasy stories, and his sketchbook bears the recently delved into creating art for
board games with Plaid Hat Games’
new title Crystal Clans. While taking
fruits of his labours client jobs here and there, he’s now
focusing on his own characters and
stories, and hopes to bring something
out into the world very soon.
www.martinabelart.com

BLUE FAUN WING

“I wanted to try creating
a character with a long, CONCEPT
“Just playing with
elegant form and graceful
flow, but also a very the idea of a different
otherworldly nature.” faerie body
structure and
leafy wings.”

I wanted
to try creating
a character
with a long,
elegant form

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ROCK TROLLS FOLK
“On a trip to Mount Wellington, I imagined these
rock trolls living at its peak. I like to think they would
OF THE WILDS
“Some early concepts of the
be a hybrid of a mountain goat and a troll. Because
Fae, drawn traditionally and
their skin’s made of stone, they can blend
with tones added using
into their environment.”
ink washes.”

LEAFY FAE
“I’m developing my own fantasy
world. It consists of many creatures
from legend, one of which being the Fae,
more commonly known as faeries.
I have the fun of creating my own faerie
race, and the challenge of making them
unique in appearance compared
to all the other fantasy fiction
out there.”

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CHARACTER
DESIGN
“A mysterious little fellow
who can tell your fortune by
rolling magic die, but such
wisdom comes with a price.
A small portion of your soul
is his favoured form
of currency.”

SKETCHING
ADVENTURES
When I travel, I like “When I travel, I like to draw
in small Moleskine
sketchbooks, with fine pens
to draw in Moleskine and a travel watercolour kit.
This page is from my

sketchbooks UK travel journal.”

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PISKIES
“I love to develop my
WARM-
own creatures and lore.
This includes this race of
UP SKETCHES
“I like to have total freedom in my
Piskies, who live deep in warm-up sketches, so I usually draw
the forests of the whatever comes to mind. It’s fun to not
Western Wilds.” have any clear direction and to find
out what my mind wants to
come up with.”

PISKIE
HOMES
“It’s fun to imagine what
types of homes piskies
might live in. I think they
dwell in refurbished hollow
trees, and being such a
homely race they
welcome visitors
with open arms.”

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ELVEN ROYALTY
“A quick study of some elitist elven royalty.
I enjoyed drawing them so much, I had to colour
FACES
them in Procreate to see how they might look
in lavish red velvet and luxurious
OF FAE
“While developing the
gold accessories.” faeries, I wanted to divert
from the character Wysh
and focus on a couple of
different genders and
ages with these little
head sketches.”

I especially love
combining fine,
detailed lines with
watercolour paints

SWAMP
NYMPH
PAINTING FUN
“I’m trying different mediums and
“This nymph will lure its
victim in with her beauty,
then change to reveal its
ways of drawing. I especially love true form, which is a
combining fine, detailed lines with little… pointier than
watercolour paints.” expected.”

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FLOW!
“One of my favourite things to draw
is long, flowing hair, so this was really
just an excuse to have fun.”

MAKE
YOUR WYSH
“I drew this to get back into the
groove after a long holiday. I liked the
character so much that she’s woven her
way into the story I’m working on,
and spawned my current designs
for the faeries.”

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Artist
PROFILE
SAI FOO
Sai Foo
LOCATION: Malaysia

Sai has worked in

advertising, animation and
video game industries.
He loves creating dynamic
Here’s an artist who’s happy to address his perceived line-art poses, sketching in
his free time and trying out various

illustrative shortcomings in his sketchbook… and it’s all drawing styles and techniques. The
artist readily admits that he struggles

the better for it with some character poses, and says

he still has a lot to learn.
www.artstation.com/sai

NAP LADY
“I had this idea to draw a figure lying down. After a
brief struggle with the perspective, I managed to
come up with something I was satisfied with.”

ASTRO
REUNION
“I’d been watching lots of
space rocket documentaries
and wanted to draw an
astronaut returning from
a space mission and
greeting his family.”

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I was inspired by the morning light

outside, and decided to stay at
my desk and colour it in

ROOM
SKETCH 2
“I made this piece last
year. I didn’t intend to add
colour, but as I was
sketching I was inspired
by the morning light
outside, and decided
to stay at my desk
and colour
it in.”

NINJA
SQUADS POSE
“I really love the ninja genre,
and anime really inspired this
sketch. Ninjas performing the
ninjutsu hand seal fascinate
me, because I really like to
draw hands and fingers.”

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TEEN NERF DUO

“I wanted to draw a comic as a
personal project based on these
characters solving mysteries. This
would be for either a splash page
or a possible cover.”

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IMPERIAL
DEMON POLICE This piece is one of the few that I felt
“This was inspired by Owari no Seraph,
a manga about an Imperial police force
hunting demons. I love the designs in the
the most relaxed as I’ve sketched. The
series and wanted to come up with
some of my own.” pose and feeling came naturally

HIKING
PHOTOGRAPHER
“This is a character who I meant to use later on
in my personal project. This piece is one of the few
that I felt the most relaxed as I’ve sketched.
The pose and feeling for this artwork
came naturally.”

ROOM SKETCH
“I find it easy to sketch a
character in their environment
– especially when the reference
is all around me!”

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DEMON
SHINTO PRIEST
“This character was
interesting to draw, with all
the complicated knots and
folds in her clothes.”

EARTH
DEFENSE FORCE
“I combined Ultraman’s squad and a
SWAT team vest for this character. I wanted
to draw a female character who’s
prepared for a fight.”

I’ve been told that

I draw women like
they’re men, especially
their faces

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FEMALE
TRAINING
“I’ve been told that I
draw female characters
like they’re men,
especially when it comes
to their faces. So I’ve
been working on that,
although I’m not
finding it easy…”

FIGHT
POSES
“I sketched this a
while back, to
practise drawing a
believable fight
scene. I don’t think
I’ve nailed it yet,
but I like the feeling
I got from
these poses.”

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Artist

JENNA KASS
With a focus on emotion, this artist’s sketchbook is
PROFILE
Jenna Kass
LOCATION: US

Jenna likes to explore loss,

loneliness and love.
“I invite the viewer to
filled to the brim with pencil and graphite powder explore each piece by
using turned away faces

illustrations of loss and love and mysterious settings,” she says.

www.jennakass.com

LOSS
AND LONGING
“I enjoy including uncertainty in my
narratives. Did she drown her love?
Were they already dead, or did
they die for her? She clings to
their memory regardless.”

THE
QUEEN’S
RISING
“A queen is destined to rise
and lead the battle to reclaim
the crown. Inspired by
Rebecca Ross’ novel
The Queen’s Rising
to celebrate warrior
women from all
walks of life.”

STEADFAST
“There’s so much in the
It’s on us to stand against
world currently that feels
overwhelming. But no matter the
odds, it’s on us to stand against the
the onslaught in defiance,
onslaught in defiance, however
we can.”
however we can

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FIDELIS
“When Tristan and Iseult
died and were buried, King Mark
separated their graves. But ivy grew
between them, weaving them
together; even in death they
remained steadfastly entwined.”

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Artist
DARIA PROFILE
Daria Theodora

THEODORA
LOCATION: US

Daria’s works feature

delicate hand-drawn ink
drawing, to which colours
are applied digitally or
traditionally. She was a

This illustrator uses her sketchbook for visualising her gold medallist in the Gallery category
of the Society of Illustrators of Los
Angeles’ (SILA) 56th competition, and
ideas. Even if they remain there as rough drawings, the has been featured in Spectrum. In her
spare time she enjoys leisurely strolls
art is worth exploring in the woods, biking and travelling.
www.xintheodora.com

EXPLORATION 1 WARRIOR
“I produce many sketches AND CAT
“I very much admire
to generate ideas for my
next painting. Some sit in the Sergio Toppi for his use of
sketchbook for a long time lines in his illustrations. This
before I get to pick it drawing was one of many
up again.” mark-making exercises
using Sergio’s art
as reference.”

Some of my ideas sit

in the sketchbook for
a long time before I get
to pick it up again

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WELCOMING
DUSK
“The fantastic Mr. Fox
(well, sort of) and an
ornate lantern.”

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EXPLORATION 2
“A pencil drawing when sitting
in a café drinking coffee.”

BIRDS
“Part of a fun project, drawing
a bird’s skeleton and birds
in flight.”

TRAVEL
SKETCHES
“Just a doodle while
travelling, using a fountain
pen and watercolour in my
Moleskine sketchbook.

Just a doodle while

travelling, using a fountain
pen and watercolour

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CORMORANT
STRIKES
“A literal take on Cormoran
Strike, my favourite series
from JK Rowling (writing
as R Galbraith) that’s
not Harry Potter.”

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MOUNTAIN GOAT
“When drawing from reference, I try to
take the art into my own style while
making sure that the result is
still recognisable.”

MISCELLANEOUS
WONDERS
“Where necessary, and
especially when doing a big,
complicated illustration, it’s easier
to draw each component
separately, then rearrange their
placement digitally.”

MISCELLANY
“Here are some more
components from this
sketch project. I had to make
sure I kept a steady
hand to draw the
clean lines.”

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When drawing
HIDING MELANCHOLIC
IN LAYERS SHUT-IN from reference, I try
“Here’s an Inktober
drawing that was
supposed to be quick,
“Here’s the base of a
piece, before my paints
obscure everything.”
to take the art into
but ended up taking
me hours!” my own style

MAKKUROKUROSUKE
“A sort of fan art of My Neighbour Totoro,
a must-see Studio Ghibli feature.”

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Artist
PRoFilE
MicHal KUS
Vehicles from an alternative take on World War II jostle
Michal Kus
location: Poland

Michal is a concept
designer, illustrator,
educator and co-founder
of Focal Point School.
He’s worked in the

for space with sci-fi craft in the pages of this concept entertainment industry since 2011,
spending half of his career in-house for
various studios and the other half as a
artist’s sketchbook freelancer. His clients include Platige
Image, Valve, Disney and EA. In his
spare time he loves to create designs
for his personal project, Project: 1952.
www.artstation.com/michalkus

INTERPLANETARY
INTERCEPTOR
“This design, done in ink and
markers, has the familiar form
factor of the TIE fighter from Star
Wars. I tried to experiment with
how far I could push the design
language of something that was
already well established in
our pop culture.”

SPACESHIP
“Here’s a set of exploration
sketches that I did as a recorded
demo for my CGMA class.
I focused on how to depict shapes
efficiently in a short amount of
time while maintaining a
decent level of detail.”

RECONNAISSANCE VEHICLE
“One iteration of my armoured scout car that
I’m designing for the German army. It’s from my
personal project, Project: 1952. I want to keep the
look and feel of the technology grounded to
World War II, but with fresh twists and visual
hooks. I find that designs grounded in
reality are harder to do than
sci-fi artworks.”

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Tankata © Pavel Dudrenov

SCI-FI TANK DESIGNS
“A series of tank designs I did a while ago
for the game project Tankata. Both of these
designs belong to the same faction. Above is
the light battle tank, while the main battle tank
is pictured left. It’s always a good challenge to
draw something in the same design style,
but with a different function.”

I focused on depicting
shapes efficiently in a
short amount of time

LUNAR
RACE CRAFT
“Colour can dictate the
emotional reaction of your
audience. This design was
done as a demo to showcase
how to quickly render your
vehicles and show off a
colour scheme in a
short amount
of time.”

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TRANSPORT
SPACE SHIPS
“These were done as live
demos during my class at Focal
Point School. We focus on design
language, its philosophy and on
the core foundations, rather than
what tools to use. These are
ideas we tend to forget as we
try to become successful
concept designers.”

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DRAGON GUNSHIP
“Here are some of the more refined line
sketches during a fast but fun run at Platige Image.
I was tasked with exploring the designs of the
lead character’s gunship for the short film
Polish Legends: Dragon.”

A successful concept
designer should be able to
work with different styles
SPEEDER DESIGN
“A successful concept designer
should be able to work with
SCOUT different styles. Note how the overall
form and main shape of this craft is
PLANE SKETCHES
“More vehicle designs from my
the same as the sketches above.
However, the smaller details within
Project: 1952 endeavour. These were the main shape give away the
done with a lot of focus placed on actual style and technology level.
fast, dynamic perspective, strong I’ve moved from a World War
design language and line II/diesel-punk style to a
control skills.” more sci-fi look.”

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JAGDPANTHER RETRO
DESIGN CAR DESIGN
“To get out of my artistic comfort zone
“The Jagdpanther was the feared I like to visit different time periods and
tank hunter during World War II. tech levels on which to base my new
I gave my version a slight redesign designs. This sketch was created during
to fit into the universe of Project: a live demo where I talked about how the
1952. This was done with ink appearance of a car can change over
and marker pens.” time while the function remains
essentially the same.”

SNOW
ORCS
“I’m not much of a
character concept artist
However, as an artist we have
to embrace design as a whole.
By understanding the
fundamentals and being
able to see everything as
basic shapes, things
become clearer.”

EXPLORATION
CRAFT
“One of many designs I did to explore the
influence of nature, such as birds. I regularly
challenge myself to look beyond the
source material and to take inspiration
from the world around us rather
than, say, an imaginary
sci-fi setting.”

I regularly challenge myself

to take inspiration from the
world that’s around us

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SCI-FI COMBAT MECH SKETCH

“Another design I did for the small video game project
Tankata. It’s a combat mech with a large main gun
and smaller machine guns for close combat, which
can be folded away when not in use.”

TITAN MAIN
BATTLE MECHS
“I started doing these mech
designs as an in-class demo.
At Focal Point we explain how
to make mechanics look
believable, when working for
the entertainment industry.
Tankata © Pavel Dudrenov

I ended up being inspired by

Tiberian Sun and did
a redesign of the Titan
Medium Mech.”

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Artist
PRoFilE
TREnT Trent Kaniuga
locaTion: US

Trent’s 25-year art career

KaniuGa
began in comics on the
self-published Creed,
before he moved to Marvel
to work on Ghost Rider
and Marvel Knights. He then became a
video game concept artist, and spent

The veteran concept artist takes us through his time at Capcom (Final Fight:
Streetwise), Blizzard (World of
Warcraft expansions and Diablo 3) and
ideations for games, personal speed sketches and Riot Games (Summoner’s Rift). Now
he runs Aquatic Moon, an independent

impractical collection of battle axes visual studio that he founded on 2013.

www.artstation.com/trentkaniuga

MAGE
League of Legends art © Riot Entertainment

SHOPKEEPER
“Blue-sky sketching for a shop in
Summoner’s Rift. I wanted to draw a
magical creature that wasn’t
a Yordle.”

I was inspired
by JJ Abrams’
use of so-called
mystery boxes HEAVY
CYBORG
“This was commissioned by Wacom to
showcase its tablet technology. I mixed
the Metal Gear design ethic with
oversized proportions.”

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OLDER
MAO
“Here’s the main
character from Twilight
Monk, depicted a little
older and more mature
than the cutesy, anime,
kid version seen
previously.”

THE
LAST ORCHID
“This is a redesign of the
villain from the comic series
Twilight Monk. I was inspired
by JJ Abrams’ use of so-called
mystery boxes, and placed CREATURE
objects around her person
that would puzzle and
DOODLES
“These guys feature in the
intrigue the viewer.”
Bestiary section in the
World of Twilight
Monk art book.”

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SHOPKEEPER SAMURAI
“A rejected concept from
Summoner’s Rift. I thought
WARRIOR
“I wanted to create a painting in
putting underwear on his head the Japanese Sumi-e style, and
was interesting. Apparently, not then integrate mechanical
interesting enough.” cyberpunk elements.”

TOWER
REDESIGNS
“Some of the explorations
created when we were
redesigning Summoner’s Rift.
When I’m doing a design I try
to think of the key elements,
eliminate the unnecessary,
focus on the function, and
ask how can I give it a
unique identity.”

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CYPERPUNK
NINJA KID
“A loose, 30-minute sketch,
channelling urban hip-hop into
this character’s design.”

LEONARDO
“Here’s a little-known fact before you email
me: originally the Ninja Turtles all wore red
headbands. I’ve gotten into some
debates about this.”

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MAO
TENZA
“Here’s the lead
character from Twilight
Monk in a more dynamic
pose. In the story, the staff
contains benevolent spirits,
and so I drew the figure
holding the staff, with a
mind on creating a title
screen for a game.”

AXES 2 AXES 3
“… and how the
“…so I created these function works. Clearly
axes for a tutorial, based the heavier ones would
AXES 1
“For a period of time
on the look of World
of Warcraft. Designing
have to be redesigned,
as would this one,
weapons is all about where which has a blade built
I was sponsored by
you place clusters in the handle!”
Autodesk to showcase
of details…”
SketchBook Pro’s
toolsets…”

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GORDON
FREEMAN
“I redesigned the lead character from
Half-Life as a portfolio piece when
I was applying to work at Valve.
No joy, sadly.”

METAL
GEAR FIRE TROOPER
“I’m a big Metal Gear fan so I wanted to
redesign some characters from older
instalments of the series.”

Designing
weapons is all
about where you
place clusters
of details

SAMUS
ARAN
“Metroid is a legendary
game and I used SketchBook
Pro’s brushes to capture the
feeling of these alien tendrils
chasing after Samus, who’s
in a very sleek, energised
running pose.”

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ElisE Artist
PRoFilE

HatHEway
Elise Hatheway
location: Canada

Elise is a vis dev artist from

New Orleans with seven
years of experience in the
animation industry. She
Future tech and mythological mash-ups mix with works at Animal Logic in
Vancouver worked on the second

grumpy oldsters and juvenile monster hunters on this Lego Movie. Some of her other film
credits include Book of Life, Free Birds
and Rock Dog. Elise has worked with
animation artist’s sketch pages several award-winning studios
including Disney, Warner Bros., Animal
Logic, Reel FX and Duncan Studio.
www.elisehathewayart.com

GOOD
OL’ STOGIE
“I’ve always loved sketching
age, especially crusty ol’ men.
The grumpier the better.”

TRICKSY
TARDIGRADE
“I started this drawing after
my shiba chewed my
MacBook cord. I wanted a
story of a robotechnician
and her mischievous
water bear.”

TAIL-FIN SOUP
“I usually draw with a story in mind.
Inspired by Hans Christian Andersen’s
fairy tales, I wanted the grim
consequences of a fisherman’s
catch of the day.”

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SYNTHETIC Cyborgs are

SIGNALS
“I’m a huge fan of the 1995
just way more
Ghost in the Shell film.
Humanistic cyborgs are just
way more fun to draw than
fun to draw than
regular humans.”
regular humans

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A TRIBAL
FUTURE
“I saw a fashion spread of
Grace Bol and instantly
fell in love. Light’s
reaction on dark skin
is just spectacular.”

FALLING
FOR CONNECTION
“Working in film, hubby and
I endure many long-distance
runs. After a month of no
internet, I drew the longing
to vid-chat.”

Reading different
cultures and myths offers a
playground of ideas for me

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EAT CROW
“I reference a lot of mythologies in
my work. Morrighan from Irish
mythology visited the battlefield
as a raven.”

MONSTER
LEAD ME HOME
“Listening to Sara Hartman’s ‘Monster
Lead Me Home’, this visual popped
into my head. A serene but
impending doom.”

THE
DRYAD
AND KODAMA
“Reading different
cultures and myths
offers a playground of
ideas for me. Here’s a
Greek and Japanese
mythology mash
up of tree
spirits.”

A PLACE
WITH A VIEW
“My husband was writing a
story and wanted ‘a cute little
cottage on a cliff.’ A gnome
hat cottage seemed
spot-on.”

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MINIMAL
LINKS
“I usually draw women in
clothes I wish were the
trend. Give me modernist
minimal graphic
clothing any day.”

LITBOT 3000
“This is an actual thing I want.
I often drop my iPad, book
or cellphone on my
face while laying
down reading.”

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MONSTER WEARY
HUNTER
“This doodle came out MONKEY KING
watching some good ol’ “I read that the Monkey
Ghibli. I wanted to draw a King was imprisoned in a
seemingly sweet girl who mountain by Buddha and
hunts monsters.” thought he’d probably
be very bored.”

ALCHEMY SISTERS
“Inspired by me and my sister’s
relationship, this sketch is an idea
of two sisters bound by
alchemy and strengthened
by their differences.”

I wanted to draw a seemingly

sweet girl who hunts monsters

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LORENA
Artist
PROFILE
Lorena Lammer

LAMMER
LOCATION: Germany

Lorena is a freelance
illustrator and concept
artist based in Germany.
She works mostly digitally,
but loves sketching
Classic fantasy themes are mixed with a dark traditionally – especially with ink.
When she isn’t painting or drawing,
undercurrent to produce a beguiling range of sketches she spends her time with friends,
reading, playing video games and

and visual explorations entertaining her two crazy cats.

www.lululana.com

CANDLES
“I love illustrating things that are
surreal and magical, even if it’s just in a
test drawing like this one.”

FEED THE RAIN

“I came up with this drawing while listening
to the song ‘Carnival of Rust’
by Poets of the Fall.”

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I’LL BE WAITING HERO’S SORROW
“Peter S Beagle wrote that great
“I often experience sleep paralysis
episodes, being watched by an heroes need great sorrows and burdens,
unknown presence while asleep.” or half their greatness goes unnoticed.”

I love illustrating things that COLD WIND

are surreal and magical, even if “I was always fascinated by the tales
about the Kelpie, which inspired
me to draw this piece.”
it’s just in a test drawing

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Not everything
is as beautiful on
the inside as it is
on the outside

CARRION
“This piece is about
how not everything is
as beautiful on the
inside as it is on
the outside.”

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STRANGE TREES
“I love drawing trees and faeries,
SOONER OR LATER
“Of course this one is inspired by Alice In
so here I combined both elements. Wonderland, but this bottle isn’t
Basically it’s trees coming to actually labelled ‘Poison’…”
life in the form of nymphs.”

SCARED
“This drawing also
deals with sleep paralysis.
It’s one of the most
terrifying feelings even
though it’s not real.”

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REAL
MAGIC
“To make real magic
happen, you can’t
simply offer anything –
you have to give away
pieces of yourself
to make it work.”

To make real
magic happen you
have to give away
pieces of yourself
to make it work

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SOULS
“Here I wanted to show a silent
world, with just one living being left
among the souls of the dead.”
I REGRET
“I always felt so sad for
the Last Unicorn. She’s
probably one of the more
tragic characters in
literature and film.”

FAIRIES
“A fairy collecting stars. This
was inspired by a JM Barrie quote
out of Peter Pan.”

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Artist

GEnEviEvE PRoFilE
Genevieve Tsai
locaTion: US

Tsai
Flip through the pages of this character designer’s
Genevieve is a lead
character designer on the
upcoming Animaniacs
reboot at Warner Bros.
Animation. She’s been a
character designer in the film, TV and
video game industry for over 13 years,
working with companies including
sketchbook and you’ll find mutants, rockabillies and Illumination, Blizzard, Riot Games
Hasbro, EA and Activision. Genevieve

Pomeranians with attitude! enjoys video games like Monster

Hunter, fighting games, MOBAs,
SHMUPs, Overwatch and watching
ridiculous, over-the-top action anime.
She loves mochi, boba tea and crazy
paranoid mech-piloting goblins.
www.genevievetsai.com

WOLF SKETCHES
“I love wolves and dogs, and they’ve
always been one of my favourite creatures
to draw ever since I was a kid.”

GEARHEAD GOBBOS
“I have an unhealthy obsession with goblins, no
joke. These are early concepts from my personal
project, Cherry HiJinx, of the goblin
inventor Fyzzleglitch.”

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I was inspired by the Tokyo
Rockabilly Club, who sport
crazy greaser hairstyles

CHERRY
HIJINX – SQUID
“Squid is another character from my Cherry HiJinx
project. A graffiti artist born from a long history of hardcore
Mafia members, Squid loves to pick a fight and her weapon of
choice is a chain attached to her sentient demon-skull padlock.
I have a penchant for pompadours and Bosozoku¯ ¯ characters, and
was inspired by the Tokyo Rockabilly Club, who sport crazy
greaser hairstyles and dance to Rockabilly music in Yoyogi
Park. I love their passion and spirit!”

POMERANIANS
“I adore Pomeranians! When I found out that
two Pomeranians is called a puff while a group of
them is called a tuft, I had to make a bunch of
sassy, huffy puffs – one for every
day of the week!”

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ODD DOG
“These are character designs
done for the upcoming animated
short Odd Dog by Keika Lee. It’s
about a cat who thinks he’s a dog.
I had a lot of fun playing with the
cat’s quirky personality and
organic shapes.”

TIMBERSAW’S
TI6 REHEARSALS –
DIRECTOR’S CUT
“These animation frames are from a short
I animated for the Dota 2 Short Film
Contest. It was done in Flash and was
one of the top 10 finalists in the contest.
It’s a small homage to my favourite
Dota 2 hero, Timbersaw, and
the talented voice work of
TJ Ramini.”

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HEARTHSTONE
– EVOLVED KOBOLD
“This was my Evolved Kobold card for Blizzard’s Hearthstone
in the Whispers of the Old Gods expansion. The aim was to
imagine the normal kobold being corrupted into a monstrous form.
I started with some rough thumbnail concepts, and liked the idea
of melding the pickaxe into his cursed tendrils. The original kobold
had a candle on its head and I kept that aspect, but thought it’d
be neat if a horn grew straight through it. My final
black and white illustration was coloured
by Nutchapol Thitinunthakorn.”

The aim was to

imagine the normal
kobold being corrupted
into a monstrous form

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RESCUE
SIRENS –
TANGLED
“Here’s one of my favourite illustrations
I did for the novel Rescue Sirens: The
Search for the Atavist. The story is about a
group of lifeguard mermaids, and at one
point the main character is entangled in a
fishing net. I felt the pose and acting was
priority, so I thumbnailed her without the
net. I was trying to get in her head to see
what happened before she went
unconscious: was she struggling and
then gave up, or struggling and
reaching out for help, or did
she just pass out in
mid-struggle?”

I felt the pose and acting

was priority, so I thumbnailed
her without the net

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LEAGUE
RESCUE SIRENS OF LEGENDS
– MEET NIM
“Another illustration I did for Rescue – WARWICK & SORAKA
Sirens: The Search for the Atavist, “This was for Riot’s League of Legends
introducing the leader of the lifeguard art book project, which depicted the
mermaids, Nim. This piece didn’t end up Champions in everyday situations.
in the book. It was used as a concept I wanted to tell Warwick and Soraka’s
piece to showcase her personality, lore in a lighthearted way, yet still
design and how she looked when maintain the dark twist of him
she was wearing her beach wanting to cut out
rescue uniform.” her heart.”

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Artist
Lois Van PRoFiLE
Lois Van Baarle (Loish)

BaaRLE
Location: The Netherlands

Lois has been drawing her

whole life. She currently
works as a concept artist
and character designer for
clients such as LEGO,

These loose, monochrome sketches are instantly Guerrilla Games and Amazon. She
recently published her second book,
The Sketchbook of Loish, the
recognisable as the work of the superstar illustrator. successor to 2016’s The Art of Loish,
both of which were published by

Discover the stories behind them… 3Dtotal and successfully funded

through Kickstarter.
www.loish.net

PLAYING CLINGING
WITH SHAPES
“I love to stylise the
“My drawings usually
don’t convey complex
stories or worlds, but
shapes in my drawing
instead focus on capturing
and see if I can
a certain mood or
exaggerate or push it
emotional state.”
beyond what I would
normally draw.”

GIRL GANG
“Sometimes when I
finish drawing one face,
I want to draw another,
and then another until
a cluster of characters
takes shape.”

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BREAKABLE
I love to stylise
“Inking is a challenge
for me, but one thing
the shapes in
I really enjoy about it is
using negative space to
give more definition
my drawing
to the shapes
and forms.”

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ANGULAR
“This one was created for the
Inktober prompt ‘Angular’. The
first thing that came to mind
was bearded men, so that’s
what I went with.”

STUDY: HANDS
“When I do anatomy studies,
I usually try to focus on the overall
shape and gesture, rather than
getting all of the details right.”

FLOWING
“One of my favourite
things to draw is hair – it
enables me to create flowing
shapes and lines that lead the
eye around the drawing.”

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STUDY:
CATS & DOGS
“I love using a
sketchbook to practise
and bring new things into
my visual memory.”

BUN
“I like to
experiment with
SCARF
“This one was drawn
ways to balance
more highly detailed
at the beginning of areas (in this case,
autumn, when scarf and the bun) with
coat weather returned rougher, more
for the year.” simple areas.”

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My sketchbook
pages can be a
mix of styles
and ideas

SCORCHED
“Ever since I saw
a burnt forest on
vacation in Canada,
I’ve been drawn
to the imagery of
a forest that’s
damaged but
regenerating.”

PRECIOUS
“This was my take on the
Inktober prompt ‘Precious’. I thought
about magpies and the myth that they
like to steal shiny objects.
and ideas.”

VARIOUS
DOODLES
“I usually doodle whatever
comes to mind, and as a
result the sketchbook pages
can sometimes become a
random mix of styles
and ideas.”

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SKETCH
PAGE
“These sketches were
drawn from reference.
I’m not only practising
faces and expressions
here, but also how
I can translate the
reference material
into my own
art style.”

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Artist
ELIZA PROFILE
Eliza Ivanova

IVANOVA
LOCATION: US

Eliza was born and raised

in Sofia, Bulgaria. She was
classically trained as a fine
artist. After high school,
Eliza moved to Los

When not working on animations at Pixar, this artist Angeles to pursue an animation
education at Calarts where she
graduated in 2010 with a degree in
spends time filling her sketchbook with shamans, character animation. Eliza was invited
to do an internship at Pixar and has

cyborgs and simians been a 3D animator there since. She

has made award-winning short films
and has a new one in development.
www.elizaivanova.com

WINGS CATCH
“I did this piece as a
tutorial for a short story. OF THE DAY
“One of the cities I grew up
I had to depict the moment
a woman realises she’s going in was a fishing town and going
through a transformation to the market to pick up the
that’s out of this world, which freshest catch of the day was a
was her gaining a pair of weekly event. I remember being
wings. It was a piece both repulsed by the smell, but
about anguish mixed also fascinated by the variety
with awe.” of sea creatures, and the
fishermen whose
livelihood depended
on the sea.”

I was repulsed by the

smell, but also fascinated by
the variety of creatures

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LIFELINE
“A life’s journey in the form of a
single thread that can break at
any moment.”

FERAL
“A wild woman literally
and figuratively. I enjoy
drawing women who are nude
but not sexualised, because it’s
still a visual paradox in this day and
age: why would she be naked if she
her nudity isn’t being exploited?
A naked female doing mundane
things, like a stroll in the forest,
is a wild concept apparently,
OCEAN
“This was one of the
thus why I called her
a feral character.”
pieces I did for Inktober
2017. The entire series was
based on music I liked, and
this particular sketch
represents an image that
often flashes in my head
when I’m distressed, like
a happy place of
some sort.”

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A little girl,
with the help of
a mighty crane is
able to soar above
everything

MAJOR
MOTOKO
“A fan piece for one of my
favourite animated films,
Ghost in the Shell.”

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CRANE
“This was a charity piece. It
represents longevity and the endless
possibilities for a little girl, who with the
help of a mighty crane is able to soar
above everything.”

EVOLUTION
“Another Inktober piece
inspired by Pearl Jam’s ‘Do the
Evolution’. It’s about man’s failing
attempts to turn an ape into a
human-like creature by simultaneously
expanding and enslaving the
mind of the primate.”

INITIATION
“A boy enters a new
age, and his initiation is
a reminder of mortality
to strengthen his will
and to learn not to
waste his time.”

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ORC
LEADER
“These charming fellas
were done for Even
Amundsen’s wonderful book
Tegn. It was an honour to be
one of the guest artists.”

I’m interested
in communities
that keep ancient
practices alive

SHAMAN
“I’m interested in
communities that keep
ancient practices, like
shamanism, alive and
part of their culture
to this day.”

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NEANDER WALLACE
“Blade Runner 2049 is one of my favourite films,
both for the characters as well as its visual richness.
I wanted to pay a tribute to this exceptional movie
by illustrating a few of its characters.”

MENTIRA
“A shaman performing a
ritual for the community.
Whether or not the shaman’s
practice has paranormal or placebo
effects, the impact is always
present, and the ‘lie’ doesn’t
matter, for it has done its job to
engage the people it was
meant for.”

CRAB KID FISHING

“Part of a series of ‘Crab kids’ that I’ll
eventually turn into a short story.”

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CHantal Artist
PRoFilE

HoREis
Chantal Horeis
loCation: Germany

Chantal works as a
concept artist and
illustrator in the video
game industry. She trained
Insects, gaming and aliens – in fact, almost everything as a fine artist and likes to
combine digital and traditional media

she sees – provide inspiration for the concept artist such as pencil and watercolours to
create mysterious, fantastical
creatures and tell their stories.
and illustrator’s sketchbook www.chantalhoreis.de

SUDDEN QUEEN
“This is a portrait of a young princess who found herself
queen overnight and felt overwhelmed by her new duties.
I was inspired by the photograph of a girl, whose face
I used as reference.”

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AND SUDDENLY I
BEGAN TO SEE YOU
“I usually start with a very hard pencil,
so that my lines are light and I can make
changes where needed. After that
I use a medium-soft pencil and finish
with a very soft one to go as dark
as needed. I also switch
softness back and forth
in the process.”

WISE,
WICKED, BEAUTIFUL
“A page from my sketchbook.
I remember it was one of my first
drawings. I dared to use my pencils to
their full potential and went really
dark in some areas.”

DON’T
YOU DARE
“One of my first attempts to
use my pencil drawings as a
foundation to create a coloured
piece in Photoshop. To me it’s
important not to overpaint
the texture of the
traditional base during
the process.”

TALKING
TO GHOSTS
“This is the first sketch of
a character created as part
of a story that I still want to
realise in some form. She’s a
ghost hunter who, ironically,
finds herself haunted
by a spirit that takes
possession of people
to reach her.”

To me it’s important not

to overpaint the texture of
the traditional base

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DON’T LOOK BACK

“If you examine my drawings
you may find that I like to draw
eyes in different intensities on the
same face. It’s a conscious choice to
do that. I think it gives more depth
and complexity to
a character.”

WILDLING
“A quick portrait sketch
of an Amazon kind of
creature. I just love to put
feathers, horns, big ears,
wings, fins and fur on
people – I can’t help it!”

I like to draw eyes ROSE

“A quick sketch to experiment with
in different intensities graphite powder, which I ended up using
in her hair. I like to apply graphite powder
with a make-up blender to give my drawing
on the same face some variation in texture
where needed.”

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LITTLE ELF GIRL

“She’s one of my favourites to this day as she combines
all the elements that I love to draw. The painting even
contains patterns on the snake skin. I love patterns! Plus,
she’s super cute. One day she’s going to be an
amazing elf lady, I’m sure.”

MERMAIDS
“She wasn’t here to
watch them take away
everything she loved. She
would fight till her death and
ANGEL she had the advantage of
being underrated. I like
ON HOLD
“Her wings weren’t
writing small story excerpts
for my characters.”
growing as fast as she
would want them to. She
had to watch the other
winged ones diving
through the sky,
waiting for her
day to come.”

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HIDE AND SEEK

“Not all the pages in my sketchbook end up looking as
successful as this one. I used a combination of pencils and
graphite powder and I think it’s successful because the lines are
very expressive. Also, her face doesn’t show a lot of
detail but you can still read it.”
GLÜCKSKIND
“This is a German word,
meaning ‘child of fortune’.
It’s another sketch for a
character I’ve had in my
mind for a very long time.
Her look has developed
since I did this sketch
but I still like the
initial drawing.”

My creatures often have

some sort of outgrowth
on their heads

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A MIND
FULL OF ROOTS
“My creatures often have some
sort of outgrowth on their heads.
It represents something majestic
to me, like a crown. Yet, I often
draw very organic
structures, especially
plants and roots.”

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Artist

GioRGio PRoFilE
Giorgio Baroni
location: Italy

BaRoni
After working for 10 years
as a children’s book
illustrator, Giorgio
switched fields and
became a character
designer for any kind of game:
tabletop, cards, miniatures, action
Insects, gaming and aliens – in fact, almost everything figures, video games and even
something for the film industry. Some
she sees – provide inspiration for the concept artist of his clients include CMON,
Modiphius, Paizo Publishing, John

and illustrator’s sketchbook Wick Presents, Sparkypants Studio

and Blur Studio. He loves to study
objects from the past, and constantly
marvels at how differently things were
designed just a few decade ago. They
inspire him in his sci-fi designs.
www.artstation.com/giorgiobaroni

WASTELAND
WANDERERS
“My sci-fi version of an old tractor –
one that was in use almost a century
ago. I love taking old machines and
their design principles and then
thinking what they might look
like in the future.”

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PRIESTESS
“This is my attempt at
mixing fantasy and sci-fi
elements. In this Inktober
sketch I wanted to become
better at line drawing, and
limited myself to using
only black ink on a
white canvas.”

MOR24
“This year I got right into the
GHOST Working with
#MarchofRobots initiative, and had tons of fun
designing mechs! This might look like a normal
RIDER
“Nothing very original here, silhouettes is
robot, but then you realise that those long limbs are but this sketch features two
actually arms. Working with silhouettes is like
doing the Rorschach test – you can see
anything in them.”
of the things that often
inspire me: Spaghetti like doing the
Westerns and robotics.”
Rorschach test

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MOR15
“Another one for
#MarchofRobots. After a
lot of anthropomorphic
mechas I wanted to try
something based on
animal anatomy and
silhouettes, and this
came out.”
ESKORPIO
“This is basically an old
Fiat 500 from the 1960s,
repurposed as a scout desert
vehicle a few years
in the future.”

MESSENGER
“I stumbled across a video
of these electric unicycles and
they really appealed to me.
They’re the perfect
commuting vehicle in a
futuristic wasteland.”

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SPEEDER
“Take some old World
War II war plane models,
glue them together, scale
them down and make
them rideable like
a flying bike!”

I wanted to try something

based on animal anatomy
and silhouettes

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LONG-RANGE
RECONNAISSANCE DRONE ‘LURD’
“I love finding new and interesting designs for things,
especially with robots and mechs. They can come in any
size and shape, and like this one, comes packed with
weapons and equipment. Yet it’s still able to travel
the desert on a single wheel!”

MOR13
“I’m always been in love
with robots since I was a kid,
and during the #MarchofRobots
challenge I had fun pushing
myself and my design skills
to the max!”

After finally
seeing Akira I had BOBBER
to design my own “After finally seeing Akira
I had to design my own
cyberpunk bike. So here it is,
cyberpunk bike with a deadly girl
riding it.”

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MOR19
“Another mech
MOR22
“As with many other of my
rolling on a single wheel. designs in the #MarchofRobots
I might have a secret series, I’ve been hugely inspired by
love for this mode real-life robotic arms and machines. I love
of transport!” to take as much as possible from real life
in all of my designs. This helps keep my
ideas grounded in reality, while still
keeping things enjoyable for
the viewer.”

SEARCH
AND RESCUE
“Nothing much than a quick
composition sketch, mostly to study
dark and light, and how to make
them work together.”

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 Pro tips and
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tutorials from
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and illustrators

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 T H E U LT I M AT E

C O L L E C T I O N

Where great art begins…

In this special book from the makers of
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artists and illustrators start their amazing work.
Alongside some handy tutorials, you can discover
their choice of mediums, how they come up with
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