Wacom eStore - official Onlinestore Wacom InfoChannel http://eu.shop.wacom.eu/wacom-infochannel?p=2 2018-08-15T04:19:34Z Win an original copy of the book "Portrait Drawing" by Miss Led http://eu.shop.wacom.eu/detail/index/sArticle/1147/sCategory/2213303 Wacom and Joanna Henly a.k.a. Miss Led joined forces to give away two of her 'Quick guide to Mastering Technique and Style' books with her best tips and examples on how to improve your drawing skills.

Win an original copy of the book: "Portrait Drawing" by Miss Led

Wacom and Joanna Henly a.k.a. Miss Led joined forces to give away two of her 'Quick guide to Mastering Technique and Style' books with her best tips and examples on how to improve your drawing skills. OH! And we´re giving away two Wacom Intuos pen tablets as well.

Want to be the lucky winner?

Find out how at the end of this article.

Why you need this book

It is simply one of the best quick guides that we have seen. Straight to the point with complete examples from mark making, bone structure, indepth step-by-step drawings on every facial feature, to details such as skin tone and hair.

POCKET ART: PORTRAIT DRAWING presents a lively, graphic approach to explaining concepts which will have you learning quickly with step by step illustrations and expert tips straight from London-based artist Miss Led.

Miss Led begins by guiding you through your initial set up, then moves on to 'Understanding the Face'. She takes you through every detail of capturing facial features and expressions and mastering the texture of hair and skin. Her exercises demonstrate and reinforce everything you learn as you go along. 

Miss Led´s 'Portrait Drawing' book

About Miss Led

She is well known by her professional name, Miss Led and is an illustrator, artist, and art director based in East London who exhibits her work across the globe.

Miss Led is a strong promoter of professional practice within her art and illustration, including as a Global Ambassador for Liquitex paints and European Ambassador for Wacom.

She is also a passionate educator, using social media and podcasts to her teach her online audience, which reaches 1.3 million people.


The lovely Miss Led herself. Photo credit: Sophia Shorr-Kon @ 3rd Lens Studio.

For a chance to win

1) Simply comment on our Facebook post or Instagram post
2) Let us know why you need this book

Deadline is: end of July.


Of course, an avid Wacom user. Photo credit: Sophia Shorr-Kon @ 3rd Lens Studio.

Follow Miss Led on social media

WEBBehance Instagram - Facebook - Twitter

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Wed, 13 Jun 2018 17:02:04 +100
Announcement | The Creators behind the Let’s Talk Art logo http://eu.shop.wacom.eu/wacom-infochannel/announcement-the-creators-behind-the-lets-talk-art-logo/1140?c=2213303 Our Let’s Talk Art series has been going on for just over a year now, and with the growing interest & support from so many talented artists we decided to create a short video series. Hosted by PosterSpy founder Jack Woodhams, the Let’s Talk Art video series started by looking ...

The Creators behind the Let’s Talk Art logo

Our Let’s Talk Art series has been going on for just over a year now, and with the growing interest & support from so many talented artists we decided to create a short video series. Hosted by PosterSpy founder Jack Woodhams, the Let’s Talk Art video series started by looking at four unique and equally brilliant artists.

No video is complete without engaging content. In order to create the “look” of the series, we reached out to motion designer Ploy Jeana Boal to create our Let’s Talk Art logo and animations seen in the videos. We love what she came up with, a combination of fun, creative and organic animations to set the vibe for the video to come.

Finally, the series has a new logo and we’re delighted to showcase it.

 

Intro and Animation - Ploy Jeana Boal

How did you develop the logo?

Research is the absolute key to any of my designs. I find it so hard to even start to develop basic concepts without research.

I wish I was one of those amazing artists that has concepts oozing out of every orifice, but lo, I am a mere collector.

The client specified a modern look that feels “alive”. I collected a tonne of research of routes I’d like to explore and started to work on forming a bespoke font  and design style that fit the brief and that I was happy with.

As a motion designer, how do you typically work on a project, describe the process?

It’s all about staying up to date with current trends, constantly pushing yourself to create something new, different and challenging with every project.

I always start with research, It’s my favourite part of the design process because you have every option available to you. From there, I narrow my research down into a few different routes/looks and develop a couple of my favourite. I then work on a storyboard. 

It can be a very simple one just as long as the basics are mapped out. After that, I begin designing the support elements such as logos, textures, shapes, paths, etc, and then jump into the programmes needed to make the animation. It’s a lot of experimenting and test rendering to see how the animation and style is developing before you finally have something you’re happy with. Finally, I send it off to the client and hope they don’t hate it!

What software did you use to create the animation?

I used Photoshop, Illustrator, After Effects and cookies for this animation. Cookies fuel my creativity…… at least, that’s what I tell myself.


Work in progess using After Effects

Where can other people see your work?

I’m currently working on my website so for now, I just have my showreel which you can watch it here.

Sound Design and music - Aurélien Rubod

Motion graphics are not complete without great music. Music is often overlooked but it can really help pull together a project, especially when being used for transitions. We wanted the music to be evocative and to give a sense of the creative content that would be displayed in the video. Something up beat yet professional.

For the music, we approached Aurelien Rubod, who is the brother of Alexia, the artist featured in our first interview. Aurelien is based in Los Angeles and works as a composer day to day, we also asked him a few questions about the music he created for Ploy’s animations. 

How did you begin developing the music for the intro?

This job came at an interesting timing because Alexia had just gone back to Berlin after spending 3 months with me in LA. We had lots of fun together, so I had plenty of happy moments to draw inspiration from. In particular, there were a few nights where we would go out with friends and find ourselves silly dancing to LCD Soundsystem. I tried to bring this aesthetic into this intro music, as a little tribute of sorts.

The music fits the movement in the animation, as a composer, what do you consider when creating music to fit visuals? 
Ah yes, well that’s one of the best things about being a composer! I would go as far as saying that it is a process that creates meaning. It’s like the images are transparent to the sound. They follow it.

To me, the most successful projects are the ones where music considerations arrive early in the production process. It is a vital dimension of the storytelling, and I always feel very privileged when I get to work on projects where this is  acknowledged. 

What is your typical workflow and software to use when creating music?

Ableton Live is at the core of my setup. In terms of workflow, I try to keep the first intentions as playful as possible. It is a very exciting process to get into initially. Then, once I have an idea that I like I start refining the song over and over, and that’s usually when the crippling self-doubt kicks in.

I think it’s something that creatives in all fields experience. The initial excitement of finding something new, losing yourself in the details of it, and hopefully finding your vision again. I never take it for granted, but it is a nice feeling when things work out this way.

Where can people find out more about you or listen to your music?

All my projects, including my personal work, can be found on my website.

Speaking to Let’s Talk Art producer and host Jack Woodhams, he had this to say about the development of the project:

“I reached out to these guys after I’d seen and listened to their showreels, I knew just from a snippet of their work that both would be perfect for this project. Ploy, our motion designer was given 3 key words, fun, creative and organic. From that she was able to craft our intro which I think is just right for the series. The energy, the modern style, perfect.

I then gave Aurélien, the music composer the exact key words, and what he produced merged seamlessly with Ploy’s animation. I love the playful sounds, the spontaneous beats they really help the intro fit seamlessly into the content. It was great working with these two brilliant creators and having them put their stamp on the Let’s Talk Art series, which after all, celebrates creators.” 


Aurélien Rubod in his studio

We hope you enjoyed the read.

Project Details

Let’s Talk Art animations:
Creative Direction: Jack Woodhams
Animation work and Logo design: Ploy Jeana Boal
Sound design: Aurélien Rubod

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Thu, 07 Jun 2018 10:40:25 +100
James Simmonds and his colorful animations in the white snow. http://eu.shop.wacom.eu/detail/index/sArticle/1146/sCategory/2213303 James Simmonds caught our eye because of his cool flow with snowboarders and ski-goers. His edits look super fun and they would encourage anyone to take their gear into the slopes or their Wacom tablet into their desks. You decide.

 

James Simmonds and his colorful animations in the white snow

James Simmonds caught our eye because of his cool flow with snowboarders and ski-goers. His edits look super fun and they would encourage anyone to take their gear into the slopes or their Wacom tablet into their desks. You decide.

"My name is James Simmonds, and I'm an illustration student.

 

 

I've only recently started illustrating (2.5 years) and I'm just about to graduate with an Advanced Diploma of Graphic Design (Illustration) from the Design Centre Enmore in Sydney, Australia.

I draw inspiration from my Pacific Islander heritage, a love of the snow and mountains, the motion and momentum of movement, and finding form with light and contours.

 

 

I've used Wacom since my first Graphire 3 when I was young for playing with photo manipulation, and now an Intuos 4 for mydigital arts. 

The benefits for me have been the capability and amount of control for drawing and art, and a general increase in my workflow over a mouse.

I've only just started this journey into illustration and I'm really open minded about what the future holds for me.

 

Ideally I'd love to be able to sustain self employment and live closer to the mountains I love."

 

James Simmonds in his studio
Go follow him on Instagram here

We hope you enjoyed the read.

"My name is James Simmonds, and I'm an illustration student.

I've only recently started illustrating (2.5 years) and I'm just about to graduate with an Advanced Diploma of Graphic Design (Illustration) from the Design Centre Enmore in Sydney, Australia.

I draw inspiration from my Pacific Islander heritage, a love of the snow and mountains, the motion and momentum of movement, and finding form with light and contours.

 

I've used Wacom since my first Graphire 3 when I was young for playing with photo manipulation, and now an Intuos 4 for mydigital arts. 

The benefits for me have been the capability and amount of control for drawing and art, and a general increase in my workflow over a mouse.

I've only just started this journey into illustration and I'm really open minded about what the future holds for me.

Ideally I'd love to be able to sustain self employment and live closer to the mountains I love."

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Thu, 07 Jun 2018 10:40:25 +100
Let’s Talk Art | 3D Artist Alexia Rubod hosted by Jack Woodhams http://eu.shop.wacom.eu/wacom-infochannel/lets-talk-art-3d-artist-alexia-rubod-hosted-by-jack-woodhams/1138?c=2213303 Wacom is proud to present part 1 of our Let´s Talk Art video series hosted by Poster Spy founder Jack Woodhams. Jack visits prolific artists to explore their everyday lives as creatives working in today’s industry. First up, Berlin based 3D artist Alexia Rubod.

Wacom Presents: Let’s Talk Art with 3D Artist Alexia Rubod hosted by Jack Woodhams

Wacom is proud to present part 1 of our Let´s Talk Art video series hosted by PosterSpy founder Jack Woodhams. Jack visits prolific artists to explore their everyday lives as creatives working in today’s industry.

In this interview, Jack chats with Alexia Rubod, a 3D artist who currently resides in Berlin. She´s most notable for her beautiful Amethyst piece created for the ArtStation challenge ´Ancient Civilisations: Lost and Found´ which placed 3rd. Alexia has also worked on feature films like including hit animation Despicable Me.

Using a Wacom Intuos, Alexia creates her stunning pieces of 3D art across various programs, including Autodesk Maya and 3ds Max, Pixologic ZBrush, and Yeti by Peregrine Labs.

Enjoy our 20 minute documentary and find out more about Alexia’s work, her influences, tips for aspiring 3D artists and more.

You can jump to...
Anna short film at 11:21
The Making of Amethyst (ArtStation Challenge) at 14:45

 

Follow Alexia's work:

Website - Instagram

Filmed with the support of LUMIX UK cameras.

Want more Let´s Talk Art?

Click here to read our latest interview with illustrator Diana Novich.

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Tue, 22 May 2018 22:47:45 +100
Let´s Talk Art | Studying Texture Light and Creating Abstract Portraits - Dia... http://eu.shop.wacom.eu/wacom-infochannel/lets-talk-art-studying-texture-light-and-creating-abstract-portraits-diana-novich/1135?c=2213303 This time, Jack Woodhams chats with Diana Novich, an illustrator based in Russia. Some of you may know Diana from her very popular pop culture illustrations. We dig deeper into Diana’s process, her influences and she gives some incredibly helpful advice like how to deal with I...

Studying Texture Light and Creating Abstract Portraits

Hey everyone, my name’s Jack Woodhams (founder of PosterSpy), and welcome to another Let’s Talk Art interview!

This time, I chat to Diana Novich, an illustrator based in Russia. I have always been a fan of Diana’s work, her use of colour, composition and her very artistic and creative approach. Some of you may know Diana from her very popular pop culture illustrations. 

In this interview, Diana talks about her experiences as an artist, including working with custom brushes, dealing with imposter syndrome and sudden overnight success.

"Drawing without references is like building a house without a blueprint."
Diana Novich

So let´s talk art...

Firstly I’m a huge fan of your art, I absolutely adore your use of colour and texture. Tell us a little bit about your process. How do you typically start a piece?

Thank you so much Jack!

I start with a very vague image stuck in my mind and proceed by gathering reference material on Google/ Pinterest to help me build a strong core for my imagination to go off from.

Then, I get my notebook and write down 10 keywords that come to mind when I’m thinking about my idea. I find that breaking the subject down to small bits helps to stay focused and keeps me motivated. The rest is just craftsmanship.

Once I had the piece visualized in my head, I roughly sketch out the initial composition with pencil brush, block some colors, then merge everything and start painting. After that it’s just details, details and more details.


Diana´s painting process

Once you have an idea of the work you’d like to create, how long typical do you spend on apiece of art?

Somewhere between 4 hours to 4 months (if there’s no deadline). I’m very nitpicky about thesmallest details on a compulsive-obsessive level, I tend to polish things over and over again untilI’m at least 98% sure that I did everything as best as I’m able to. Unfortunately, it's hereditary andthere’s nothing I can do about it. Apart from doing freelance, I also have an office job, sosometimes that can get in the way as well.


Chloe and Rachel, Life is Strange illustration by Diana Novich

Many artists own many art pieces they’ll probably never share online. Do you have a lot of art that never made it online and why did you decide to keep them private?

I’m certainly not an exception. Besides private commissions and work for projects that never saw the light of day, there’s a folder stocked up with abandoned art that is taking up space on my harddrive.

There’s no particular reason for that, but if I had to really analyze it... I guess it’s mainlybecause the bulk of that art has no theme, and I mostly share artwork that has something to do with pop culture, i.e. “fan art”, because I enjoy all the different reactions and conversations it sparks in people. And I know if I post something that doesn’t fit into that category it won’t get quite the same feedback I desire, so I just don’t post it at all. Not the best mindset, I won’t argue.

You work mostly digitally, what does a digital workflow enable you to do as an artist and isthere anything you prefer to do with traditional mediums? (pencil, ink etc).

Digital media offers way more versatility and creative freedom. It allows you to draw, paint, sculpt and experiment with many different techniques while just having a tablet and a stylus (or a mouse, if you’re feeling like it). Which is practically impossible when it comes to traditional media, as you need quite many different tools and supplies to explore the world of art beyond pencil scribbles in your notebook, so to speak, which is not suitable for every wallet. So, for me that’s probably the most important aspect when comparing the two mediums (also,Ctrl+Z).

The only downside that comes to mind is the “Digital art is cheating and therefore can’t be considered real art” mindset many people unfamiliar with digital process have. It is something that will inevitable die out with further development and integration of digital technologies.

I still have a soft spot for watercolors, mainly because it’s what initially got me into art. And to this day I haven’t been able to find any other medium quite like it that has this zen-like aura to it. I always feel at peace whenever I paint with watercolors, just like I’m having a personal meditation session. Also, it’s way easier to wash out from clothes than oils, lets just say that. 


Will Byers “The Spy” illustration

A few of your pieces have gained huge recognition online, especially your Will Byers “TheSpy” illustration. Did you ever expect your work to become so popular?

Not in a dream! Well, I guess there’s always that thought in the back of your head thinking that everything you draw is a masterpiece and deserves to be hanged at the Louvre alongside “Mona Lisa”, but it’s nothing more than a self-deluded childish fantasy.

I remember freaking out the first time the artwork I posted online got 100 likes, I even send the screenshot to my mom. She was really proud. So needless to say that when my “Will Byers” illustration reached over 100,000 notes on Tumblr I was beyond belief. Noah Schapp even reached out and personally thanked me, so that was great (what a lovely kid, side note).

Though the self-deprecating part of me still thinks all of this attention is highly undeserved, especially after chatting with, in my opinion, more skilled artists who struggle with countless insecurities about their work and abilities because of lack of exposure they get. And then here I am, you know, “drawing mediocre fan-art and getting it all”, which is an actual comment I saw once under my artwork.

I am beyond grateful for all the amazing feedback and support I got over the years, I can’t emphasize enough how much it helped me to get through the hard times in my life, but I suppose this impostor syndrome is not something that disappears so easily. You are your own worst enemy and all that.


"Study of some random pretty face from Pinterest. Freckles/ moles are still my fav thing." - Diana Novich

As your work becomes more popular, do you ever feel a certain pressure as an artist to produce a piece you hope people will like?

Yes and no. I do feel the responsibility to exhibit quality artwork for people who now have certain expectations of me. However, at the same time with bigger publicity I gained this sense of freedom I didn’t have before - freedom of being able to do things the way I want to.

Before, I always focused on creating something that would appeal to the major audience, and would often put down topics that interest me in order to save time for something that people would enjoy more. But at this stage I feel confident I can potentially create a triptych based on a hallucinogenic dream I had while being under anesthesia for all four wisdom teeth removal and it won’t go unnoticed.

Artists often spend time sketching, studying and exploring the world around them, howoften do you spend time sketching and practicing, and how long for per day?

*Nervously laugh*

Truth be told: nowhere near often enough. I used to be a complete lay about when it came down to practice. I much preferred the flexibility of figuringing things out on the go rather than spending “precious time on theory knowledge”. I had this same attitude towards everything since I was a little kid.

Surprisingly, I was an “A” student. But eventually I had to force myself to do studies at least once in a couple of days because I stopped progressing and felt that. So ever since I semi-regularly do master studies, anatomical sheets, palette challenges, etc.


Diana´s #WacomWorkspace

Your character portraits are very emotive and contain subtle but effective facial expressions. How did you learn to create such intricate illustrations? Do you study or take classes?

I don’t have a formal artistic education, I consider myself mostly self-taught, aside from a few years I spent in a community center art class where I learned 101 ways to paint a flower vase.

At a certain point in my life, art became the only way for me to express myself - something that no one had control over except for me. So I was very driven to become better for my personal contentment.

When I was a kid, my mom used to constantly take me to various museum exhibitions, and I have this distant memory of just gazing at the subdued expressions of the characters from the vast majority of the Renaissance era paintings. I’m not sure if I really understood anything at that age, but I remember being really intrigued by the fact that you could never guess those character’s thoughts/ feelings by simply looking at their faces. Unlike in cartoons that show very clear expressions and often exaggerated for the purpose of making the viewer react with emotions of the character. It really forced me to examine every small detail of the painting to get the overall message and just have more appreciate for it in general.

These memories imprinted themselves into my brain and over the years my fascination with human face reached the point where I sometimes find myself riding on the subway and creepily staring at the face of a person sitting in front of me for way too long, examining its features and how much a subtle eyebrow raise can change their whole expression. It’s something I always try to take into account while working.

I might spend 2 hours just redrawing the same mouth over and over again until I reach the perfect curl of the lip, so to speak. I think more subdued expressions work best with my type of work, cooperating with other elements of the painting to tell a more engaging story while not attracting too much attention.

"R.I.P Dolores Oriordan- Diana Novich" 

You have a very specific style throughout your work, often utilising strong, contrasting colours. Do you have any particular method when it comes to colours or do you just create what feels natural?

My love for vivid colors is driven by a natural desire to bring some brightness into the dull and dusty environment I’ve been living in for majority of my life.

I don’t have a well-thought method behind deciding on color scheme, it’s mostly intuitive. At the beginning I’m guided by the overall feeling I’m aiming for and pick the colors accordingly, bearing in mind the surroundings and lightning. Typically in the middle of the process I start feeling like the colors I’ve chosen stopped cooperating with the mood of the painting, so I completely revamp them by either putting a black/ white filter on top of the painting and adding new colors with overlay/ gradient maps, or by going crazy with “color balance”/ ”curves”, hashtag digital art privileges.

More than anything, it’s important for me that the colors have the right emotional impact, the rest is secondary. To anyone wanting to learn more about color and light, I highly suggest reading "Color and Light" by James Gurney, it’s easy to read and it covers a lot of topics such as color theory, light exposure, limited palettes, etc. It’s a must have whether you’re a digital or traditional artist. 

As a self-taught illustrator, do you have any advice for artists who want to explore their own skills? Are there any things you studied that helped you to get to the level you are today?

My major advice, that was actually given me by my community art teacher is

“Don’t let the inevitable failure to discourage and stop you from enjoying the process”

As you try new things, you’re going to fail miserably once, then again, and again. But after each time you fail, you'll realize that you got through it and you now you have a new chance to start again.

All in all, you're not building an airplane, so keep your head cool and don’t let stress weigh you down. Draw what you love and what you´re are passionate about. Don’t force yourself into a specific setting you’re not interested in or comfortable with just because that´s what people want from you.

Another thing I would add: never underestimate the power of internet! We live in an era of almost unlimited access to information, so use that to your advantage. I taught myself nearly everything I know about art through tutorials, painting process videos and observing other artists’ work, and I didn’t even cover 5% of the information that is out there.

Publish your work online, interact with people, get feedback, do challenges and art trades. All of this will eventually reward you, if you invest thought and time in it that is.


"Mr Robot" art piece by Diana Novich

For aspiring artists looking to improve their portraits and character illustrations, what is the one major piece of advice you’d give?

References! Don’t be afraid to use references. This is a simple, yet often overlooked advice. Expanding your visual memory library and turning to it whenever you feel frustrated and stuck is going to help you learn much quicker and more efficient.

I often see young artists saying they’re afraid to reference because they’ve been told it’s just as bad as tracing, which is a really damaging mentality. Drawing without references is like building a house without a blueprint, it’s just not going to work out unless you’ve done it a couple of million times blindfolded.

Personally I think even tracing as a learning technique can be helpful for improving your muscle memory, it’s all about how you manage it.

Last year you entered an artpiece for a´Star Wars The Last Jedi´ fan art contest and won! Then your work was displayed at the Worldwide premiere. How did that feel, knowing your work was on display in front of the cast and crew as well as hundreds if not thousands of fans?

Crazy! I didn’t actually knew that my entry was chosen beforehand, I was watching a livestream of the premiere and suddenly saw a glimpse of my artwork being displayed in the background.

It was definitely a bucket-list deal for me, can’t say anything much. Being able to contribute to this enormous franchise (alongside with many amazing artists) even in such a small way was a great experience and it definitely increased my appreciation for this universe. And now I have something to brag about at dinner parties.


Rey and Leia art piece for a ´Star Wars, the Last Jedi´contest and in memory of Carrie Fisher

You piece focuses on Rey and Leia, what inspired you to feature these two characters inyour illustration?

Well, considering I learned about the contest 5 days before the deadline, so there was no time for debating. The overall image was partly inspired by various religious images I saw a few days earlier at a local Museum of the History of Religion, so at the beginning I decided I wanted to convey a kind of ethereal feel with this illustration.

After some idea brainstorming, I remembered the first time watching the original trilogy when I was about 6 years old and immediately falling in love with Leia’s character. She quickly became the epitome of the perfect “princess” for me: fierce, passionate, witty, always being true to her beliefs and fighting for them.

Over the years, I saw many issues with how Leia´s character was written, but she still continued to be one of my icons alongside with Carrie Fisher, whose wit and unapologetic attitude inspires me to this day. I remember after the news of Carrie's passing I was left nearly heartbroken, like I’ve lost a very distant space fairy godmother. So that’s how I came with the idea of Leia passing the “torch of force” to Rey, who from now on will carry it to the new generation of girls and boys in need of a powerful female character to inspire and give them hope, just like Leia did generations before.

So, well, that’s the story. Sadly, I didn’t get the chance to fully explore this idea because I was very limited on time, but I’m proud of the outcome nonetheless.


´Star Wars, the Last Jedi´ illustration by Diana Novich

When trying to gather inspiration for a new illustration is there anything you turn to or utilize?

Music is a powerful moving force for me, so I always turn to it when I’m in need for inspiration.

For me it’s important to find something close to the theme of the painting or the character. Whenever I am working on private OC commissions, I like to ask if the client has some specific songs they associate with their character, or bands they listen to while writing. I find that it always helps set me on the right track.

A lot of your art focuses on pop culture and characters from movies and tv shows. Are there any film or tv shows you are planning to create an illustration for or is there a particular title you’d love to cover in the future?

My art always reflects something I’m currently obsessing over, be it video games or TV shows, but for now I’ve been stuck in a place where nothing really fascinates me much, so until I find something that catches my interest it's hard to promise anything.

Though thinking about it, for the longest time I wanted to do something for “Let the Right One In”, which is one of my favorite books, so hopefully I’ll get to it one day.


´Life is Strange´ art piece by Diana Novich also used as cover for Urban-Muse magazine

When you’re creating art, what do you like to do during your spare time? Do you find that your hobbies inspire your art at all or do you like to keep work and free time separate?

Well, illustrating is my main hobby, so it’s mostly what I do when I’m having a spare time. Other than that, I’m a big video game enthusiast and a film/ TV devotee, the usual bunch.

I take interestin law, psychology, politics… cooking. I love traveling, but sadly it’s not something I can enjoy regularly.

I have a musical upbringing, my dad was a theater actor/ operetta singer, so I quite enjoy singing and playing various musical instruments, even though I can’t call myself a natural talent in that area. But I do consider myself a giant music junkie and try to visit as many gigs in my area as possible. I absolutely love the atmosphere of unity out there, where all people are driven by the same energy and connected through mutual love for music.

All of the small things I’m passionate about shape me into the person that I am, so in some way they definitely have impact on my artwork.

Do you find yourself using consistent brushes and techniques or do you tend to experiment with different looks?

Mixing up your usual techniques now and then can help break the routine and get you out of anart block, so I’m always on the hunt for new ways to jazz up the process.

For me it’s not always about changing the final outlook, but finding different paths to the same goal. The only downside is that it makes it extra hard to develop a consistent style, since I’m constantly changing my approach.


A digital painting of Sadjan Stevens by Diana Novich

What kind of brushes do you use to achieve your style and do you have any tips for artists trying to create a painterly, natural feel to their art?

Generally I like using brushes that have bristle texture and simulate the look of traditional materials. Some I created myself, some I found on random artist platforms or bought from Gumroad.

My absolute favorites to use lately are from the Munch brush pack created by Kyle T. Webster, which I can’t recommend enough for anyone looking for free high-quality brushes with detailed stroke textures.

While sketching, I use a small brush with uneven edges and set the brush flow to 60% for a more natural approach. I would suggest choosing a custom brush for eraser as well. Painting with small strokes and maneuvering different hues and shades of your current color can also help achieving a more natural look.

Another trick is adding a canvas/ paper texture to the brush setting, or overlaying the texture over the base of the painting, then flattening the layers and paintings on top of that.

Finally, I try limiting my work to two layers max and using Ctrl+Z less frequently, that way if I mess up I’m forced to paint over my mistakes, like some would do with traditional tools, and not just Ctrl+Z my cares away. It helps the painting look less flat, which is a constant issue with digital medium.

Diana´s good ol’ Wacom Intuos 4 from 2009 

What is your current work set up, what hardware do you use for your art?

As someone who doesn’t settle in one place for too long, keeping my office as mobile as possible is one of my highest priorities. My workspace consists of my trustworthy Wacom pen tablet, Logitech mouse/ keyboard, MSI laptop with external monitor, IKEA desk and a chair, and that’s about it.

Regarding painting software, I’ve always remained faithful to Photoshop, even if it’s a photo editing program first and foremost.

As for a pen tablet, I tested a few different models over the years, but nothing had worked as well for me as my ol’ pal Wacom Intuos 4 that I have been using for the last 6 years or so. It hasn’t failed me once throughout the years and honestly I’ve grown so close to it, it’s hard to imagine switching to any other model.


Diana´s trusty old Wacom Intuos 4 from 2009

Are there any artists that have particularly inspired your work?

It’s harder to say who hasn’t; I think almost every artist I’ve ever encountered has inspired me in one way or another. For example Botticelli or my mom’s fashion-artist-friend who would always teach me to draw fashion sketches when we would pay a visit (not talking about various photographers and musicians).

Of course, if I had to pick, I would say that I’ve always been keen on the early 20th century art, so artists like Leyendecker, Klimt, Rockwell, Mucha and a few more certainly left their influence on my drawing habits and gave me an idea of what I should aim for in my art journey.

The way I look at it, my style is very inconsistent, repeatedly changing and transforming. Thanks to social media I’m able to surround myself with numerous different talented artists and I’m in a constant creative boost.

I love modern traditional artists like Malcolm T. Liepke, James Jean, Andrew Salgado and Joseph Lorusso for example, as well as fellow digital artists such as Loish, Ross Tran, Yuri Shwedoff, Mezamero, Charlie Bowater, Tom Bagshaw, Alice X. Zhang, SachinTeng, James Fenner, Len-Yan, etc. The list is endless.

Also, Bob Ross. Always.

Finally, are there any techniques you’re currently trying to improve or experiment with?

Nothing special. I think right now I want to focus on leveling my overall artistry up and developinga more steady workflow.

Maybe after I reach a certain point where I feel like I’ve learned “everything there is to know” I will go out of my comfort zone, perhaps do more environmental studies, but I don’t see it happening soon.

Thank you for reading

That’s the end of this Let’s Talk Art interview, it has been wonderful finding out more about Diana Novich’s work. You can follow Diana on a variety of social networks:
Tumblr - Twitter - Instagram - Youtube

If you enjoyed this article, be sure to share #LetsTalkArt with your friends! And follow Wacom across the social platforms so you don’t miss the next episode.
Facebook - Twitter - Instagram - Youtube - Website

This interview series is produced by Jack Woodhams, the founder of showcase platform PosterSpy. We would like to thank everyone who has responded positively to this series so far and hope you enjoy what´s to come.

Recommended for further reading:


Book: "Color and Light" by James Gurney 

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Fri, 11 May 2018 11:30:18 +100
How To Draw Your Idea With Visual Thinking http://eu.shop.wacom.eu/wacom-infochannel/how-to-draw-your-idea-with-visual-thinking/1134?c=2213303 When we put our ideas down on paper, most of us write them out as written words using text. This absolutely works, but having both words and pictures stimulates our minds more intensely.

How to draw your idea with visual thinking

When we put our ideas down on paper, most of us write them out as written words using text. This absolutely works, but having both words and pictures stimulates our minds more intensely.

You’ve already done visual thinking without even knowing it. If you’ve ever moved objects around on a table to help tell a story, or mapped out an idea by sticking Post-it notes to a wall in particular places, you’ve used visual thinking.

If you wave your hands around to convey spatial relations during a discussion, you’re relying on something more than just words to get your message across. Visual thinking is just another powerful way to help solve problems, generate ideas, get organized, and communicate effectively.

Download your free ebook here

 

Now, you may be thinking you’re not an artist and so drawing or sketching your ideas doesn’t make sense for you, but slow your roll! We’re not painting the ceiling of the Sistine Chapel here, and branching out into graphical note taking doesn’t require an MFA degree.

All you need is a visual vocabulary that consists of a simple set of some basic shapes, like lines, arcs and loops. The bottom line is that if you graduated from kindergarten, you’ve got this.

The good people at XPLANE created an e-book called How to Draw Your Idea to explain the basics of visual thinking through drawing, and introduce you to a few basic concepts to get you started. It shows how it works, gives lots of great examples of visual thinking, teaches a few drawing basics, and demonstrates how to organize your drawings to get your points across.

Watch below how XPLANE uses Wacom Smartpads to improve their workflow:

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Tue, 24 Apr 2018 15:50:33 +100
Vincent Val and his amazing Shadowology Art http://eu.shop.wacom.eu/detail/index/sArticle/1137/sCategory/2213303 Vincent Val is a very creative person: he uses every day objects and lets the reflected shadows draw the beginning of his unique creations.

Embrace the shadows and let the light guide you

Vincent Val is a very creative person: he uses every day objects and lets the reflected shadows draw the beginnig of his unique creations.

He is a belgian filmmaker and illustrator, he works within the limits of/the walls of long shadowsof everyday objects resting in the light to create a wide range of playful and cool drawings. The shadow of a film metal container becomes a  tower, or the thin threads of a lightbulb cast a dramatic background as a staircase for a daring escape. Bal makesmany of his images available as prints over on Etsy. Also check out his Instagram


 

 

 

 

 

 


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Tue, 17 Apr 2018 00:00:00 +100
Wacom Talks | Designed to Inspire http://eu.shop.wacom.eu/wacom-infochannel/wacom-talks-designed-to-inspire/1133?c=2213303 Find out about Wacom’s dedicated approach in a series of interviews below, with Wacom CEO Nobu Ide as well as insights from the engineering and design teams.

Designed to Inspire

Creative professionals around the world are using Wacom’s creative pen computers, displays or tablets to create exciting products and art. “Some of them are also doing their magic inside of Wacom, working on our award-winning product design”, says Faik Karaoglu, Executive Vice President of Wacom’s Creative Business Unit.

Creative professionals, as well as passionate enthusiasts and hobbyists, find in Wacom a partner that provides them with innovative and intuitive solutions to support their ambition. “We are proud to be recognized as a company that for more than 35 years continues to provide technological innovation and solutions that are designed to make the world a more creative place.”

Find out more about Wacom’s dedicated approach in a series of interviews below, with Wacom CEO Nobu Ide as well as insights from the engineering and design teams.

Interviewees and their focus

1) Nobutaka Ide (Group CEO and President); Nobu covers Wacom´s role of driving the digital ink technology and shaping the future of creativity vision.

2) Yuichi Inada (Head of Engineering); Yuichi talks about the evolution and constant improvement of Wacom’s pen designs, leading up to the new Pro Pen 2

3) Harmut Woerrlein (Director Industrial Design); Hartmut covers Wacom’s design philosophy.

Wacom Pro Pen 2

"How do we create the most natural feeling in a digital pen?"

Yuichi, Nobu, and Harmut answering this question by talking about:
The ultimate Pro Pen 2/ 3D
Pen and screen interaction
Latency/ accuracy
The pen nib 

 

 

Brilliant surface

"How does optical bonding help us create a natural drawing feeling?"

The topics covered by Yuichi in this video are:
Optical bonding
Display specifics (like glare)
Etched glass
Edging
Levels of pressure sensitivity

 

 

Wacom Cintiq (Pro) Engine

"How does it´s modular approach improve your experience?"

In this video Hartmut and Nobu talk about the new Cintiq Pro Engine (PC module) and future technologies like VR/AR.

 

 

Perfect ergonomics

"Why do we put form over function?"

Hartmut explains why we put ergonomics and user-friendliness first.

 

 

Design philosophy

Nobu, Yuichi and Hartmut answer the question:

"How is our design philosophy driving the products we design?"

Topics covered are:
Technology leadership
Driving innovation and new Technologies
Design is more than looks
Handwriting is the most intuitive input form
Leading design idea for Cintiq

 

 

Customer empathy

In this video Yuichi, Hartmut and Nobu answers the question:

"How do we involve real customers in our product design process?"

Topics that are covered:
Core customer needs and workflow – first and foremost
Forseeing future needs and wants
Dialogue with the customer and feedback integration

 

The "Wacom experience"

"How do technologies come together to deliver the unique Wacom feeling?"

Yuichi and Nobuexplain that the experience is more than product specifications.

 

The definition of creativity

In this video Nobu, Hartmut ask themselves what creativity is and who is actually creative, by answering the question:

"How do our products stimulate creativity in the world?"

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Fri, 13 Apr 2018 12:13:57 +100
3D Sculpting Tutorial | How to Create the Weasley´s Home "The Burrow" in 3D http://eu.shop.wacom.eu/detail/index/sArticle/1132/sCategory/2213303 Not only has freelance 3D artist Rafael Chies created something far beyond our expectations, but he is also willing to share his secrets through a three-part tutorial on how to create a beautiful 3D render of the Weasley’s home ‘The Burrow’ from Harry Potter.

How to create the Weasley´s home "The Burrow" in 3D

Rafael Chies has been working hard for the last two months producing a beautiful 3D render of the Weasley’s home ‘The Burrow’ from the Harry Potter books and films, on his Wacom MobileStudio Pro.

Not only has Rafael created something far beyond our expectations, but he is also willing to share his secrets through a three-part tutorial produced especially for Wacom. Check out his tips, tricks and how-to instructions for creating a 3D model house below, from blocking to adding details to deciding on the final composition.

Tutorial summary

Video 1. – Blocking, modeling, sculpting
Blocking (01:30)
Modeling (06:04)
Sculpting (10:54)

Video 2.  – Materials and layout
Materials (00:01)
Layout (14:33)

Video 3. – Lighting and composition
Lighting (00:01)
Composition (06:08)


We hope you will enjoy watching and learning from this 3D sculpting tutorial.

Video 1. – Blocking, modeling, sculpting

 

 

01. Blocking (01:30)

Concept design

Your sources are very important! Use reference images to get an idea for what you are creating and to use as inspiration. It’s a good idea to choose an image and use it as the plan for how you will build a 3D model, as it’s quite hard and frustrating to start on a 3D space without any references or guides.

Research and understand what key aspects make your subject recognisable and aim to capture those aspects, but balance with it your individual style and ‘touch’ and what you aim to show with the image. You want to make something recognisable, but still unique and ‘new’. Don’t make a remake of a concept but create your own version.

First steps

Your blocking step is not modeling, so work only with primitives, maybe moving some Vortex, but don’t go deeper than that. Define the bigger shapes first and then do the smaller ones when you’re happy with them.

Blocking is one of most important steps as you define the design and shapes. Don’t rush towards the ’exciting’ parts before you’ve done this. You need a good solid foundation or it won’t matter how hard you work in the following steps – there will always be something not quite right with the image, even if you can’t tell what. 

You have to take it seriously even if it’s not fun or you’ll be dissatisfied with the work. 

You should more or less define your canvas in this step.

02. Modeling (06:04)

Use everything you made in the blocking stage as a base to start to model.

Start with really simple modelling to see how it looks – don’t worry too much about corners at first. 

However, later on you should pay particular attention to the corners in any part of the model. When you first add parts to your model, all the corners will be 90 degrees. You should 100% avoid this in 3D because in the real world we never have perfect 90 degree corners, even of it looks like it. After modelling all the base shapes, go back to all the elements and bevel all the corners, making them rounder. In the lighting step, you’ll see that the light reacts in a much better way due to this. 

Trick to make the model look much more appealing or complex:

When you have repetitive patterns e.g. roof tiles, bricks or wooden planks, break the pattern by changing the position of a few of the pieces to make it look more less perfect and therefore more realistic. You can do this by using a variety of tools, e.g. the sculpting tool in Maya, the move tool, and the rotating tool. This gives the image a more organic feel. It can take 1-2 hours of work to break the patterns, but this is what makes all the difference between an interesting and a boring element. 

There are many ways to do things in 3D, so you should do what makes you most comfortable. Rafael doesn’t mind placing all patterns by hand if he has time, but there are other options if you need a recurring pattern, such as using plug-ins or Mash from Maya.

03. Sculpting (10:54)

Rafael’s main rule of using Zbrush is only subdivide if you really need to. You don’t want to work with really high resolution models if you don’t need to, as this makes the image very heavy and hard to work with.

Creating wooden effect on planks

For tasks such as adding detail to wooden planks, subdivide to create the patterns and knots on the wood because with higher resolution, you get more defined strokes.

Use the Dam standard brush, and get a really nice effect by changing the pen pressure during the stroke. 

Then use ClayTubes to define the shape further and build up the shape of the plank, following the lines you’ve already created. Go over and break up the edges, because in real life you never have 90 degree angles or edges. These smaller details matter a lot. Always keep your references in mind and don’t rush it.

Use the Polish brush to flatten the plank, then the ClayBuildup brush, and again the Dam standard to draw the deeper details back into the wood. Then use the Slash3 brush – it’s great for adding little cracks. It’s great to experiment with this to achieve the look you want.

Video 2.  – Materials and Layout

 

 

04. Materials (00:01)

How to create materials inside Substance Painter

Try to work on lower resolutions and raise them later or only at the time of export. Constantly working on 4k is really heavy and the computer will struggle. Rafael worked and exported in 4k, although in Substance Painter, you can export up to 8k.

You can try various types of HDRI. Add a background map to the image to see whether it’s the shape / size /etc., as you want it to be.

Always do textures on 2k and then raise on export.

Using Substance Painter

Substance needs lots of info to work well. 

Load the normal map. Select the normal map in AO. Then Substance will calculate the other maps based on the info you give to it - it’s very fast. You can then work with masks. There’s a lot of materials you can use as part of the program, but there’s also the ‘Substance share website’ where many artists share their materials so you can download them and mix with yours to create new variations.

Wood and peeling paint - Wood

Put directional noise on the base colour. Then add a filter with a gradient to control the colour of the noise. Create the base wood colour. Then add another layer, controlling it in levels to control the height or thickness of the colour to make it as subtle (or not) as you want. You can add another layer for roughness to control the amount of highlight and ‘shininess’.

You can add lots of layers on top of each other to get the effect you want.  

Paint

Add a layer to be the ‘paint’ on top of the wood. Then create a mask.

You can raise the height or thickness of the paint, change the amount of ‘shininess’ of the paint, and control the roughness.

You can also add multiple layers of paint to the same part to make it seem like the building has been repainted several times, and play around with the balances – create a layer in one colour, and choose a slightly darker colour to be the newer paint., Using mask ‘paint old’ will give it a peeling paint effect. Again, play around with the balances to control the extent of peeling paint and make it look realistic.

Finally, can add another layer as ‘dirt’ to make the image look realistic.

05. Layout (14:33)

Look at the overall scene. Always consider lowering the display percentage because otherwise the scene will be really heavy due to all the small details everywhere.

Making the background items

Clouds: These are not a flat image. He found the 3D clouds as a VDB preset free from Travis Davis on Gumroad.
Carpet: Xgen from Maya,
Roof: He exported maps of moss from Substance Painter and then scattered it across the roof in Onatrix.
Ropes: Ornatrix
Distant hills: These are made from really simple random textures. They are blurred and in the distance due to depth of field, so don’t waste time making it more detailed.
Flour sacks: Ornatrix
Logs: Plug in called DebrisMaker 2 made by Aaron Dabelow.
Wood planks: Exported from Zbrush

On Megascans there’s lots of content, even free stuff e.g. the mushrooms.

Tips:

Always put your effort on what appears in the image – there’s no point wasting lots of time on something that will never be seen.

Think about composition when making the image – e.g- using the plants to frame the image.

You don’t have to keep everything perfectly to scale in your image, e.g. you can have slightly larger trees or flowers if it helps the composition and keeps the focus on the main part of the image. Don’t go too over the top though, and try to keep it believable.

Making of the ground:

Gravel: spPaint 3D plugin from Creative Crash. Select your target surface, in this case the ground. Always remember to turn on the ‘Instance’ option as you don’t want to duplicate the proxies. The scene would be too heavy. Always work with proxies and instances to stop it getting too heavy. For this part, Rafael loaded some proxies that he’d previously created for the project, e.g. bluebells.

To make them individual, use randomisation in rotation, scale and transform attributes. This will stop them all looking the same.

There’s two options to scatter the elements

1. You can use the ‘paint’ button and click and drag, and paint the elements where you want them.

2. You can use the ‘place’ button and click and drag, placing them wherever you want. This gives you a lot of elements in one stroke, so that when you draw, you place randomized items down. This gives you the possibility to set it as several different types of flowers and therefore have a more ‘realistically’ randomised set of flowers in an area.

On Vortex Library YouTube channel, you can find some really good tutorials for learning how to use blender material and blender displacement, which is how I learned to blend displacement. Never underestimate the importance of a good ground. It can make all the difference.

Video 3. – Lighting and Composition

 

 

06. Lighting (00:01)

Tips for using Maya for lighting

First do the lighting for the focus of the image – the house. Show only this part of the image and hide all other aspects to avoid distractions – you should only be looking at the sky, no background. Later, we can turn the environment back on and then make some smaller adjustments.

Always work with 32 bits within the workflow, so you can have a lot of control and info for the post production.

To light The Burrow, he used a HDRI that he downloaded from HDRIHAVEN, a free Lighting site. Check your lighting with no distractions to see how it looks.

Mix the Maya sun with the HDRI to get the best end result.

Work with a few elements as possible to reduce lag time.

07. Composition (06:08)

Tips:

Always export renders in EXR 32 bits, then later convert into 16 bits

Look at your final render, and decide whether the colour scheme works, whether it expresses the mood you like, whether it fits in with the situation / location / season you were aiming for. It’s not too late to change it.

Paint over some tests in Photoshop to try out different colouring, lighting and styles, then you can change it after in 3D – it’s good to mess around in Photoshop first to see how it looks before you change anything in 3D. It gives you a chance to test out some ideas without lots of effort, and it can be inspiring. It’s much easier to do in PS than in 3D., especially with lots of textures.

After Photoshop, go back to Substance painter.

Look at your composition – is your desired main subject obviously the main subject? How can you change the composition to prioritise the main focus of the image? For example, you could use clouds to frame the house more, change the light, change the saturation, be selective about colours, vibrancy… For this image, he selected reds and made them brighter, and corrected the blue a little.

Try to see as much of the image on the screen as you can - it helps to stay focussed on what the overall image looks like.

Make sure none of the other elements in the image detract away from the main focus. Make sure that the colours don’t distract or ‘fight’ in the image – you want the overall image to work well together.

Never post your work when your eyes are tired – take a break away from the work and come back to it before making any decisions.

If there’s something bothering you, take a break, take a walk, relax, and then come back to it. It will make the problems easier to see more clearly.

 

And that’s it! Thank you for sticking with us this far.
If you’d like to see more of Rafael’s work, check out his sites below. 


The Weasley home "The Burrow" final 3D artwork by Rafael Chies

About Rafael Z. Chies

Rafael Chies is a freelance 3D artist who specializes in look development, lighting, and environment/ asset modeling, and is strongly influenced by what he sees on long walks.

Born and raised in Brazil, Rafael currently lives in Florence, Italy. He started to appreciate art when he was young. It became very clear that his curiosity in this field surpassed any other interest. "At school, for example, both the purchase of painting and drawing materials and the time dedicated to these activities were the events I looked forward to the most." All that enthusiasm for drawing, painting, modeling with clay - in short, all these ways of creation - started to interest him so much that they became the focus of his free time.

Follow Rafael on social media:
ArtStation - Behance - VimeoInstagram - Twitter - Facebook

 

 

Rafael at his desk, working on his Wacom MobileStudio Pro

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Fri, 13 Apr 2018 11:26:47 +100
Live Q&A with Ketnipz and Wacom http://eu.shop.wacom.eu/wacom-infochannel/live-qa-with-ketnipz-and-wacom/1131?c=2213303 Harry Hambley aka Ketnipz is back and this time, he took part in a live Q&A with Posterspy founder Jack Woodhams. The 18-year old is famous for his adorable and relatable bean comics and now has over 400,000 followers on his Instagram.

Live Q&A with Ketnipz and Wacom

Harry Hambley aka Ketnipz is back and this time, he took part in a live Q&A with Posterspy founder Jack Woodhams. The 18-year old is famous for his adorable and relatable bean comics and now has over 400,000 followers on his Instagram.

Jack first interviewed him a year ago, when Ketnipz had 22,000 Instagram followers and had just started to become well-known. Check out the interview here.

In this Q&A session, Harry talks about his own art style and using art as an escape, as well as giving tips on how to start developing your own individual style. He answers questions from fans around the world and shows a little bit of the work he’s been doing in the past year, including a Wall mural in Mexico and an Instagram sticker.

We hope you find it as interesting as we did. Enjoy!

Watch the interview here:

 

More about Ketnipz

Harry Hambley’s bean comic took Instagram by storm last year, and it’s only continued to gain in popularity. Harry chose to pursue his art career and has been working with various companies and individuals during this time, opening his own merchandise shop and travelling worldwide to promote his comics.

Using a custom built PC, an Asus Monitor and a Wacom Cintiq 13" Pen Display, Harry produces roughly a comic a day for his many followers.

Follow him on Instagram: @ketnipz

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Thu, 12 Apr 2018 12:33:04 +100
Drawing a Manga Comic with Clip Studio Paint and Wacom Intuos - Part 3 http://eu.shop.wacom.eu/wacom-infochannel/drawing-a-manga-comic-with-clip-studio-paint-and-wacom-intuos/1130?c=2213303 Wacom teamed up with Celsys and professional artist Caterina Rocchi to show you the process of creating a manga comic. These videos are great for beginners who need help getting started, but the tutorial also works for more advanced artist who want to improve their comic drawi...

Part 3: 14 Steps to Drawing a Manga Comic with Clip Studio Paint and Wacom Intuos

Using Clip Studio Paint and Wacom Intuos, artist Caterina Rocchi will show you the process from sketch to final piece while creating a manga comic. Wacom teamed up with her and Celsys to give you this insider's view of manga creation.
The lovely Caterina is the owner of Lucca Manga School in Italy. In this tutorial series, she goes through the entire process of creating a manga comic and breaks it down in 13 steps.

These videos are great for beginners who need help getting started, but the tutorial also works for more advanced artist who want to improve their comic drawing skills.

So, let´s create a comic!

1) The process of creating a comic

This video is an introduction to the manga comic production workflow.

 

 

2) Creating a new canvas, resolution and layers

In this episode, we prepare a canvas to start drawing.

 

 

3) Drafting the comic

 In this episode, we draw a rough draft of your manga.

 

 

4) Text and balloons

In this episode, text is added, and speech balloons are drawn using various techniques. 

 

 

5) The Pencil tool

In this episode, we cover the [Pencil] tool which is used to draw a draft for inking.

 

 

6) Creating frames and borders

In this episode, we cover frame borders which are made by drawing frames over the draft.

 

 

7) Inking and speech bubbles

In this episode, we go over inking characters on the draft layer.

 

 

8) Background #1 of 2

A background is drawn using a perspective ruler.

 

 

9) Background #2 of 2

A background is drawn using photos and 3D data.

 

 

10) Hand-drawn text

In this episode, we´ll add hand-drawn texts such as sound effects.

 

11) Effect lines

In this episode, we cover effect lines which are drawn using tools such as Ruler.

 

12) Decoration brushes

Here we cover screen tones and adding patterns using the decoration brush.

 

13) Toning patterns and exporting

In this episode, we go over pasting screen tones, finishing up and exporting your manga comic.

 

14) Coloring a manga

This episode demonstrates the process of coloring.

 

About Clip Studio Paint and Wacom Intuos

Celsys Clip Studio Paint Pro is bundled with our new Wacom Intuos pen tablet and is the perfect 2D drawing software tool for comic and manga creation. Whether you want to simply enhance and perfect your pen-and-paper drawings or you want to experience a completely digital creative process. 

More about Caterina Rocchi

Caterina Rocchi is the owner of Lucca Manga School in Italy. She studied art in Italy and was looking for the opportunity to study Manga. So, Caterina took matters in her own hands and established a school of her own. Wacom is quite proud to be able to support this school and it´s mission.

Follow Caterina on social media:

Facebook - Instagram

She studied to draw Manga in Italy. She wanted to make the opportunity and place to study Manga for Italy so she established the school.Wacom supports this school so some WEG team might know her and the school:)
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Fri, 06 Apr 2018 13:02:51 +100
Let´s get ready with Clip Studio Paint and Wacom Intuos - Part 1 http://eu.shop.wacom.eu/detail/index/sArticle/1139/sCategory/2213303 Wacom teamed up Celsys to give you an insider's view of manga comic creation from start to finish in a 5 part video tutorial series. First up, we´ll take you through the process of installing a Wacom Intuos, setting up the driver and downloading the software.

Part 1: Let´s get ready with Clip Studio Paint and Wacom Intuos

Wacom teamed up Celsys to give you an insider's view of manga comic creation from start to finish in a 5 part video tutorial series. These videos are great for beginners who need help getting started, but the tutorial also works for more advanced artist who want to improve their comic drawing skills.

First up, using Clip Studio Paint Caterina Rocchi - principle of Lucca Manga School in Italy - will help you through the process of installing your Wacom Intuos, setting up the driver and downloading the software. 

So, let´s get ready!

1) An introduction to Clip Studio Paint

This video is an introduction to what the Clip Studio Paint software has to offer.

 

 

2) Connecting the tablet

In this lesson, Caterina shows how to connect and set up the Wacom Intuos.

 

 

3) Downloading the software

This lesson demonstrates how to access and download the bundled software that comes with the Wacom Intuos.

 

 

4) Launching the software

In this video Caterina explains how to launch the Clip Studio Paint software and how to register the license.

 

 

5) Pen tablet basics and settings

This lessons explains the basic user functions of a Wacom pen tablet and how to change the driver settings.

 

 

6) Drawing tools

This video covers what drawing tools are available in Clip Studio Paint.

 

About Clip Studio Paint and Wacom Intuos

Celsys Clip Studio Paint Pro is bundled with our new Wacom Intuos pen tablet and is the perfect 2D drawing software tool for comic and manga creation. Whether you want to simply enhance and perfect your pen-and-paper drawings or you want to experience a completely digital creative process. 

More about Caterina Rocchi

Caterina Rocchi is the owner of Lucca Manga School in Italy. She studied art in Italy and was looking for the opportunity to study Manga. So, Caterina took matters in her own hands and established a school of her own. Wacom is quite proud to be able to support this school and it´s mission.

Follow Caterina on social media:

Facebook - Instagram

 

 

 

Want to continue learning?

For part 2: Creating an illustration, Click here

For part 3: 14 Steps to Drawing a Manga Comic, Click here

For part 4: Tips for creating a monochrome manga for print, Click here

For part 5: Useful Features with Clip Studio Paint and Wacom Intuos, Click here

She studied to draw Manga in Italy. She wanted to make the opportunity and place to study Manga for Italy so she established the school.Wacom supports this school so some WEG team might know her and the school:)
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Fri, 06 Apr 2018 13:02:51 +100