Wacom eStore - official Onlinestore Wacom InfoChannel http://eu.shop.wacom.eu/wacom-infochannel?p=3 2017-11-20T03:10:44Z Tutorial | Sculpting Demo for Beginners with the Wacom Intuos 3D & ZBrushCore... http://eu.shop.wacom.eu/detail/index/sArticle/1091/sCategory/2213303 Digital sculptor and character designer Joern Zimmermann, working at Ubisoft, did us a favour by creating a sculpting demo for beginners. He will take you through sculpting a demon head. Starting from a base head mesh that comes with ZBrushCore and using a couple of basic tools.

Sculpting Demo for Beginners with the Wacom Intuos 3D & ZBrushCore Bundle

Digital sculptor and character designer Joern Zimmermann, working at Ubisoft, did us a favour by creating a demo for beginners with our Intuos 3D and Pixologic´s ZBrushCore.

This article is written by Jörn himself and from his perspective. The demo is also available on Youtube.

Important to Know Before we Start

In this tutorial, we’ll sculpt a demon head. Starting from a base head mesh that comes with ZBrushCore and using a couple of basic tools. There is a section with a quick explanation at the beginning of video part 1.

You start out in symmetry mode along the x-axis by default. You can toggle the symmetry by hitting the X key.
Make use of the Subtool panel. It helps you organize the different parts of the mesh and easily work on them individually.
You can inverse the effect of a brush by holding the ALT key (e.g. carving into the mesh instead of building up material).
The Dynamesh functionality (in the Geometry panel) redistributes the geometry evenly on your mesh by ALT+ dragging on the canvas (outside of the mesh) - no limits to your creativity!
The finer the details you want to add, the more resolution you’ll need (by increasing the Dynamesh resolution or subdividing the mesh).
It’s best to start out with a low-resolution mesh and start blocking-in the basic shapes. You can increase the resolution and add smaller details, as you go along and once you’re happy with the basic forms.
Check out the tutorials from Pixologic, they explain everything in detail in short and understandable videos.

Blocking Out the Basic Shapes

To start, we open up the LightBox by pressing the button on the upper left or by hitting the , key. Double-click on the DemoHead.ZPR.

Then open the Geometry panel in the right shelf and head to the Dynamesh section. In this stage, I usually set the Blur to 0 and disable the Project feature. Hit the Dynamesh button and we’re ready to go.

To select a brush, simply click on the brush icon top left, select one from the bottom shelf or just hit B and open the floating panel. We’ll begin by modifying the shape of the DemoHead using mainly the Move, Smooth and maybe the ClayBuildup brushes.

Just play around and try to find a cool shape. You can always undo each step or duplicate something you like in the Subtool panel and explore from there. If the mesh is too deformed to properly work on it, simply re-Dynamesh (ALT-drag on the canvas) and continue with a clean mesh. Just go crazy until you find something you like.

Adding Parts

Since we want to sculpt a demon head, we’ll need horns and pointy ears :-) We can add them by inserting primitives - spheres in this case - with the IMM (Insert Multi Mesh) brush.
Once the new parts are inserted, ZBrush automatically creates a mask on everything but the new parts. This is very handy as you can now directly work on the new parts while the rest of your model is protected by the mask.

Or you can go to the Split section in the Subtool panel and hit „Split Unmasked“ and you’ll instantly have a separate subtool, created out of the inserted parts.

In this case, we’ll do exactly that for the horns. The ears, we’ll leave on the mesh. Clear the mask (ALT-drag on canvas - when a mask is active, this clears it; without mask this re-Dynameshes the model). Now Alt-drag on the canvas again and the ears are part of the head mesh.


The fangs are added exactly like the ears and horns. We’ll split them apart and adjust the form of the mouth to make them fit.
With the Move, hPolish and DamStandard brushes, we’ll block out the basic shape of the teeth.

Adding the First Details to the Face

After inserting eyes with the IMM brush, we can start adding some detail to the face. With the ClayBuildup, DamStandard, Smooth and Move brushes, we can define some facial features and add wrinkles and skin detail.

Detailing the Horns

Once we’re happy with the basic shapes, we can add more Dynamesh resolution. With the DamStandard (using the ALT key here to make creases instead of carving into the mesh), TrimDynamic and hPolish brushes, we work on the form of the horns and sharpen the features to make them look more solid and dangerous ;-)

To break up the shapes and make them more interesting, we can mask parts of the mesh and work separately on it. This way, with the Move brush, we create overlapping segments.

Let’s finalize the horns by adding some micro detail. We’ll use alphas to easily add them all over the place. Under the brush button top left, you’ll find a button for the mode in which the alpha is applied and a button to select an alpha. 
In a nutshell, an alpha is a texture applied in 3D - geometry applied directly on the mesh. Just pick different alphas and test out the different modes to see how they work.

Here, we’ll add the details in two steps: first we add a bump effect over the complete mesh of the horns, using the Spray mode. Following-up with some crooked lines that we apply via DragRect mode and holding ALT to carve them into the horns. Increase the Dynamesh resolution if needed.

Remove Unnecessary Parts

Since this will be a bust, we don’t really need the shoulders. We mask them out and hit CTRL+W to make them a separate polygroup. Polygroups serve to organize your mesh. Basically, you can show or hide each polygroup separately, without needing to have them as separate subtools.
CTRL+SHIFT+clicking on the part of the mesh we want to keep, we’re hiding the other parts. Now going to the Geometry panel > Modify Topology and click Del Hidden - and the unwanted parts are gone. And re-Dynameshing once again to close the holes - done.

Detailing the Head

Time to add details to the head. Increasing the Dynamesh resolution to suit our needs and using mainly the ClayBuildup, DamStandard and Standard brushes, we add more and finer details to the head. Play around with the Brush Size and Z Intensity sliders (top shelf or press + hold SPACE to open up a floating panel) for the right control over your brush strokes.

Finally, we also add some micro details to the head. Using different alphas, we first add a layer of pores (low Z Intensity recommended). Following-up with a striped alpha (which we turn 90° in the Alpha Menu) to add a ribbed structure for some highlights. And, as a last step, using another alpha to add some structure to selected areas.

And that’s it - we turned the nice and innocent DemoHead into a nasty Demon! ;-)

I hope you’ll have fun following along and creating your own sculpts - happy ZBrushing! 


Video Part 1:

Video Part 2:

Wed, 08 Mar 2017 15:10:37 +100
Interview | Let´s Talk Art with John Keaveney http://eu.shop.wacom.eu/wacom-infochannel/interview-lets-talk-art-with-john-keaveney/1090?c=2213303 This time I'm chatting with London based illustrator John Keaveney who often combines traditional painting methods with digital finishing techniques to create his stunning work. In this interview, we'll be discussing illustration training, the importance of social media and se...

Let´s Talk Art with John Keaveney

Welcome to the second interview in the #LetsTalkArt series. The aim of this series is to explore what it means to be an 'artist' and to find out how artists have developed their craft over the years. Throughout the series I (Jack Woodhams) will be chatting with artists from countries all over the world, many of whom have worked for incredible brands such as Disney, Marvel, BBC, 20th Century Fox, Empire Magazine and more!

This time I'm chatting with London based illustrator John Keaveney who often combines traditional painting methods with digital finishing techniques to create his stunning work. In this interview, we'll be discussing illustration training, the importance of social media and self promotion as well as the evolution of style and technique.

So, let's talk art...

Your art style is very unique; you tend to combine traditional and digital styles. Can you tell us more about your workflow?

Lots of research is done and reference material is gathered before I start my sketches. I break my ideas down to decide which are the basic elements I want to include and I try and fit them into a composition. Sometimes I'll go through a couple; sometimes I'll go through 5-10 initial concept designs. Once I’m decided on my composition I begin working into detail. I use a range of techniques and mediums to create my final illustrations. I paint with acrylic or gouache paints to create a traditional textured aesthetic, once I’m happy at this stage, the artwork is scanned into the computer. I digitally add tones and work into the piece further, colour is applied in Photoshop.

Working digitally helps me have control over the final process. The Wacom tablet I use has been designed to feel as natural as possible, which supports my traditional style. The benefits of digital painting are helping me to produce work faster, being more flexible and allowing me to enhance my paintings or correct proportions and mistakes.

When working on new art, how do you best discover the best composition or style for the piece?

I use pencil and paper or Adobe Photoshop to sketch concepts. I tend to look at cinematography for inspiration. When I was a student I would study artists that I admired to learn how they approached their work.

Usually the subject matter decides the approach to composition. When creating a new artwork I always ask myself, what’s the story? Who is my target audience? My job as an illustrator is to portray a story through illustration and making it engaging with my work. I generally focus on the protagonist as the focal point.

In 2010 you graduated from Portsmouth University, England, would you say that studying at University helped to excel your skills as an illustrator?

The illustration course at the University Portsmouth is respected for its emphasis on professional practice and contextual Research in Illustration. The course helped me with exploring different materials and techniques I would never use otherwise. But I developed my existing skills through specialist workshops which included print workshops, Adobe workshops, etching, printing and photography. Whilst at University I was able to explore themes such as, narrative and sequential illustration, ethical and social positioning of the artist, and exploring literary sources for inspiration.

The third year of University was focused on self promotion, which encouraged us to challenge ourselves, push boundaries and realise your potential as visual practitioners. We had professional illustrators David Lupton, Sara Fanelli and other working illustrators discuss their working career. A significant experience, that provided us with a basic understanding of the commercial world of illustration.

For any artists reading this who may not be able to go to University, what advice would you give them in regards to progressing their talents?

For me it was a great experience. It was a place to make friends, advance my skill set and learn to be independent. University courses allow you the opportunity to explore techniques and mediums you wouldn’t else be able to do whether you find you enjoy them or not!

The internet has created an explosion of opportunity for digital designers and artists. Today the high amount of accessible tutorials and guidance access is everywhere. Video tutorials are accessible in an instant on YouTube, Instagram, social media and for free.Self-taught skills are great, I’ve taught myself a lot of techniques over the years including airbrush and sculpting. But being at University surrounded by other students in the same position as yourself helps push your creatively and communication skills. The knowledge you can obtain from others experiences can really boost your skills. I feel a University degree helps you get your foot in the door if you plan on working in an art related industry. At the end of the day, it’s up to you and which what path you want to go, and how much effort you put into it. I think it’s defiantly possible to become a successful illustrator without a degree.

Throughout your career you’ve worked in many different sectors, from pop culture to fashion to storyboarding. Is there a sector you prefer or would like to work more in?

Over my career, I have professionally worked as an in-house designer and illustrator for design agencies as well as taking on freelance projects form my home studio. I’ve learnt a lot so far over my profession. I originally thought the best carrier suited to me would be a concept artist but as my style developed over time I realised I was more suited to working at a slower pace on detailed pieces. I have become quite a perfectionist.

Right now I am where I always wanted to be, creating alternative Licensed and official movie Posters and being a freelancer, deciding which clients I want to work with is great.

I am passionate about film and cinema so having the opportunity to interoperate my favourite characters and films couldn’t be more awesome. I often get to choose the characters or subject matter when creating a new piece. I feel my best work has come out of being passionate about the subject.

Talk a little about your process, how do you create your art?

I paint in greyscale and then add colour digitally. Traditional paint can be unpredictable, from using textured brushes to watercolours. They have various densities and blending properties, so each requires a different treatment.

When working in Photoshop, there are great advances to drawing and painting that counts. Drawing on my Wacom effortlessly I can paint knowing that I can fully control the process. I have the ability to easily able to go back in my history tab, effortlessly colour enhancing my works. I use custom brushes that have the appearance of a traditional paint brush. When drawing traditionally, you'd need to spend a lot of time carefully building up layers to make such an effect. You know exactly what you want to do, it just takes a lot of time.

In the past year you’ve had some of your work sold via Bottleneck Gallery in New York, including some officially licensed prints. How did you get to that point?

Having worked for Empire Design (Award Winning Design Agency) for a few years has been one of the biggest helps in my career. Whilst working at Empire I designed and created concepts campaigns for Official movies & TV. I was lucky enough to work on some amazing campaigns. Breaking Bad, Walking Dead, ParaNorman, Alan Partridge, James Bonds Skyfall, Drive, Stoker to name a few.

After working at Empire I had a desire to keep creating poster artwork, this time focusing on cult classics. Movies and Pop culture have always appealed to. There is a community of poster collectors out there and I think that's partly due to companies like Bottleneck Gallery, Grey Matter Art, Mondo and PosterSpy. The release of alternative posters is growing, a large community of artists and movie fans that follow this movement. I entered a few creative briefs, including a PosterSpy competition designing a poster for ‘Star Wars The Force Awakens’. My artwork gained recognition online through social media which went viral. The gallery contacted me interested in collaborating on such projects and the rest is history.

Being part of the Bottleneck Gallery has been such a great experience, to have this extended network of friends. Having my work sold online next to artists like Drew Struzan, Tomer Hanuka and Laurent Durieux such talents and a great honour to be amongst them.

For artists looking to collaborate with galleries or to sell their work, what advice would you give?

I would research the gallery or design agency website you plan to approach. See if your work is a match to the other art they sell, or maybe your style might fit in. Being polite and friendly, showing that you are someone that they’d see having a good working relationship with. Your work must be up-to-date, have a web site, not just a social media account of available work. Show current work not artwork that was done 5 years ago in high school. They would want to see what this year's work looks like. 

Don’t be disheartened if you don’t hear back. Not everyone will get back to you. I’ve being the same position, and it takes time and perseverance. Keep the work flowing and explore different ways to grab people’s attention. Most importantly make sure to listen to feedback, have an open mind. Speak to the illustrators you aspire to and ask them advice.

What’s your favourite illustration that you’ve created in the last 3 years?

Tough one, usually it tends to be whatever I'm working on currently. I guess I would have to pick the campaign poster I designed for the film ‘Stoker’ collaborated with my partner whilst working at Empire Design. The mood in that piece is really close to what I shoot for in all of my work and the drawing seems to speak well for itself. 

The poster is fully hand drawn illustration. It’s not often you get to draw a fully illustrated official poster. As more often than not posters these days are created in Photoshop. I was included as part of the film trailer for ‘The Making of the International Teaser Poster’ showing me and my partner drawing the poster over the trailer, fun experience! Seeing my artwork printed onto Advertising posters/buses on my way to work in the mornings was a bit surreal. Furthermore the work we created was shown at the Curzon cinema Premiere. Whilst at the Premiere I got a chance to speak to the talented Old Boy director Park Chan-Wook. I managed to meet up with him after the premiere. He mentioned he loved the poster artwork we created for his campaign. He was totally humble friendly guy!

Another favourite piece of illustration I created recently was Marvels Captain America for Bottleneck Gallery/Grey Matter Arts. It was a dream; I’ve always loved comics as a kid, so I had a personal connection to the piece.

In 2010 you were an exhibitor at the New Designers exhibit in London, one of the most important events for student and graduate artists. How did you find this experience useful?

Very useful! I went 2 years, first as a student, second year I was invited back as a graduate for the ‘One Year On exhibition’. The New Designers exhibit was a great experience to meet other students and graduates in exactly the same position as you. 

It was a great opportunity to interact with design companies and get advice. I received useful guidance from The Association of Illustrators. Explaining the best ways to get an agent or and get your work out there. Helping you recognize your own abilities and give you the tools to develop them. New Designers is a great place to sell yourself, offering networking and connections that might help you get a job in design or freelance projects.

For graduates or emerging artists, what is the 1 most important thing you tell yourself as an illustrator to stay motivated?

I am motivated by film trailers and upcoming releases. My licensed poster for The Force Awakens was purely motivated by my excitement for the movie and being a big fan of the franchise. I keep myself motivated by choosing subjects that excite me. 

It’s hard at times to keep the motivation up, if I’ve hit a wall I have to take a break and make sure I’m looking after myself.  I make sure to get enough exercise which will not only improve my physical health but also reduce stress, enhance my mood and overall well being, which will aid my creative practice. Whenever I hit a problem with my creative process I try a different approach, try experimenting with different angles. Being positive and actively articulating your ideas with a partner improves your overall well-being.

Some illustrators find too much exposure to artwork hinders their own creations, how do you feel about the enormous amount of work available to view online?

Creativity comes from everywhere, everyday life, from a photo or a conversation you had that day. Originality is difficult at times, most artist have been inspired the way they perceive the world around them. The artwork I see online pushes my creativity to produce work that progresses my work.

A lot of the time we subconsciously take in what we see.  Every major influence of mine is present in my thought process, whether I'm intending it or not.  A lot of art is created from personal experience, memory, observation, and imagination but I think we can’t help but be inspired by online research, trends and movements.

You currently use an Intuos Pro Graphics tablet for your work, how does the tablet aid your workflow?

I've used Wacom products for about 9 years now. It’s being an essential tool and wise investment. It speeds things up enormously. Whenever I’m conceptualizing ideas or creating storyboards the Wacom tablet has being ideal for quick sketch creations. I have been using the tablet for so many years that it feels natural to work with. The Intuos Pro has advanced over the years creating it even more of a comfortable experience. The pen pressure sensitivity has improved and feels more accurate than ever. 

Using my Intuos Pro I have a huge advantage over my workflow, especially for detail-oriented image editing. When using it with Photoshop, the pressure sensitivity applies to my brushes helps my work look and feel almost traditional. I’m able to blend colours, add effects, and apply retouching techniques efficiently creating maximum productivity within my workspace. I sometimes use custom brushes to recreate authentic looking textures. Combing my traditional work, doesn’t deter my productivity, but allows me to have much more control over the final outcome.

You have worked on some ‘pin up’ style illustrations for pop culture characters. What draws you to the pin up style?

I appreciate the female form and the glamour of pin up art, it’s a beautiful subject. I love vintage pin up art and Pulp. It’s a big inspiration to my work. I like to create pin ups that have a vintage feel with a modern edge. 

With the huge landscape of social media and the overwhelming amount of art that’s available online, do you feel like it’s becoming essential as an artist to utilise these platforms? 

For me creating a social media account has helped immensely. I’m not the best at self promotion; I’m usually laid back and reserved. But social media helped me find my voice and has been a great tool for me to communicate to my supporters and other members of the art community. The potential for social media is huge, and if your work is good, people will begin to follow you. Depending on where you are as an artist, you can at the very least have a way for followers and clients to contact you directly. It’s created a platform for artists to showcase what they could do and connect directly with their peers.

Creating a presence online with social media helps exposure, your artwork shown to the world. These social platforms have led to the vast majority of work for many artists.

As a freelance illustrator, how important is self-promotion and do you have any advice for artists looking to promote their own work?

Self promotion is massively important as a designer or artist; arguably the most important brand that you ever work on is your own. Being able to demonstrate your compassion, creativity and dedication. After graduating from the University I spent a few years working on my portfolio and starting to get my work seen by clients to gain commissions.

The Internet is probably the first port of call for most clients these days when sourcing an designer or illustrator. Promoting your work on website portfolios, blogs, inspiration sites, interviews, Twitter, are your useful ways to promote your work. Sites like PosterSpy, Deviantart, Behance and AOI portfolios are also excellent portals for clients to find creative talent too.

With self-promotion it’s important to be rememberable. Be yourself, and embrace your work and show it to as many people as possible. Don’t be afraid of failure, I’ve taken many setbacks and lost many gigs over the years, keep up the passion and it will pay off.

You currently work as a freelance illustrator, how do you get motivated to work from your home studio? 

Good music is a must! 

As an artist working in the isolated environment, it is important to be able to share thoughts and ideas with other artists, friends and family. 

I like to set myself goals, and meet targets. Whether it’s planning to paint 4 pieces this month, 2 paintings this week. Try and reach those goals, it’s good to push yourself.

Getting out and having time to reflect, it helps to step back from the studio; you never know when inspiration will strike.

Lots of motivation and inspiration comes from what is around me. Surrounding my workspace with books, or artwork I admired that either directly influences me. Creating a calm environment is vital to an enjoyable and productive workspace, not only for you, but for your work.

Illustrators often find it difficult to find their styles and although you have worked in a traditional style a lot, you’ve also experimented with other methods. Would you say you tend to lean more towards one angle or are you happy to try any style? 

I’ve gone through many styles over my career. Developing and learning along the way. When working with some clients I see myself as a chameleon, I adapt to any circumstance to suit the needs of a clients brief. In the future my style might change, depending on where my work takes me. I’m still experimenting all the time, I recently took up airbrushing. 

I enjoy combining traditional and digital together, getting the best out of both. I’ve always strived to develop my skills by trying different techniques but making sure to have a distinctive style. When it comes to the themes of my paintings, they also change, as they are the reflections of significant narrative of the work.

Are there any artists who particularly inspire you?

Without doubt my partner is first and foremost my biggest influence that inspires me to be the creative person I am today. We met at College 10 years ago and we’ve worked together strongly throughout the years, she’s supportive and marvellously talented!

I try to be inspired by other mediums like films, comics and music. Of course I have my favourite artists, I’m deeply in love with the works of Bob Peak, James Jean, Alex Ross and Jason Edmiston for example but the list goes on. Some of these artists have marked my carrier in one way or another I've always been interested in poster and comics, not only as a form of entertainment, but as a medium that I could use for my own visual illustrations.

You were very much a 90’s kid, what was your favourite part of growing up in that era and do you feel like it’s inspired your art in anyway?

My favourite part of the 90’s were classic TV shows like, Batman The Animated Series, Teenage Mutant Ninja Turtles, X-men animation/Spider-man and Fresh Prince of Bel Air of course! I honestly have no clue what children watch today. I feel like the variety of cartoons and animations of the 90s influenced me today and which projects I want to work on. 

At Art Foundation I took up Animation and at one point I was planning to study it at University. But one thing led to another and I found that Illustration was the path to go down. I respect all the traditional animators of the Disney era who’ve created movies that have inspired generations. To me, the creativity and fantasy of the 90s and 80s originality can’t be compared to today’s blockbusters. Fantastic storytelling, that something films these days are missing. Man, I miss the 90s.

Wacom has been working hard on their product development, especially with competitors popping up. Do any of Wacom's upgraded products with improved technologies interest you? And why?

Wacom products are catered for professionals and home.  These range of products are designed for different circumstances depending whether you’re a enthusiast or a professional designer/illustrator. They offer a range of products, each with its own suitability depending on your budget. For example The Cintiq Touch-screen tablet seems to be becoming popular with professional designers but I haven't got my hands on one yet!

I’ve tried other tablet devices, but none of them has the same precision and reliability as my Wacom Intuos Pro.  The tablet I use feels natural and like second nature to me. Something I feel other competitors haven’t achieved. As an artist it's incredibly important to be able to rely on my Wacom tablet for the precession and speed. I feel other tablet devices haven’t achieved the same quality and reliability. To me is essential to creating professional, detailed, digital design.

Finally, what is the ‘dream project’ that you’d love to work on? 

I’ve done a lot of artwork that I’m proud of, that I thought I’d never achieve if you told me when I started my journey. 

I would love to continue doing Official Posters. I would love to do a solo exhibition that speaks to the world in a very profound way, shown in a prominent gallery, in a well respected art community.

That brings us to the end of this month's Let's Talk Art, be sure to follow Wacom on social media to be informed about the next instalment. I'd like to say thank you to illustrator John Keaveney for taking part in today's interview and for sharing his techniques and experience with us. Be sure to follow him on the below links for more great art:

Twitter - Instagram - Website - Poster Spy

Let's Talk Art series is written by Jack Woodhams.
Follow Jack on twitter for series updates: @jswoodhams.


The brand new Wacom Intuos Pro is available to purchase now!

Wed, 08 Mar 2017 12:00:53 +100
Interview | Carli Davidson on Shooting Shake http://eu.shop.wacom.eu/wacom-infochannel/interview-carli-davidson-on-shooting-shake/1089?c=2213303 How about a photo series of dogs shaking that promptly went viral on Facebook? Got millions of clicks on her web site? Led to two best-selling books, national acclaim, and international renown?

Carli Davidson on Shooting Shake

Where does inspiration come from? For photographer Carli Davidson, the seed was planted while she was wiping down her kitchen wall – again – because Norbert, herbeloved Dogue de Bordeaux, had bedewed it with spit - again - during a particularly long and satisfying shake of his jowly head.

 “You spend enough time cleaning up drool and eventually you’re going to want to know – how exactly does this happen?” said Davidson, author of the best-selling books “Shake” and “Shake Puppies”. As the titles suggest, the wildly popular photobooks catch dogs and pups, freeze-frame, looking adorably weird in mid-shake.

That “how” question dogged (sorry) Davidson until one day, when she had finally saved up enough cash to spring for some good high-speed lights for her studio, she cast about for a subject to shoot.

“I’m thinking, pop a water balloon? How boring,” Davidson said. And then the Norbert question returned: how about having a dog shake his head in front of the camera?

How about a photo series of dogs shaking that promptly went viral on Facebook? Got millions of clicks on her web site? Led to two best-selling books, national acclaim, and international renown?

“It was crazy,” Davidson said.

The sweet smell of wet dog success

Just how crazy became clear when, while in the airport in St. Petersburg , Russia, Davidson overhead the man sitting behind her ask his friends if they’d heard about these amazing photos of dogs shaking their heads.

“I turned and said ‘Those are my photos,’ and he didn’t believe me,” Davidson said.“So I showed him the shots on my iPhone -- really, this is me.

Not too bad for the one-time wild child, a regular in high school detention who managed to get kicked out of detention for selling the room monitor’s belongings through an open window.

“You’re not going to use that story, are you?” Davidson asks, then laughs. Yeah, pretty funny coming from the person who describes herself in a post on her Facebook as “…covered in strange tattoos, have a penchant for cursing a lot, andoften dress like a 15-year-old boy. Professionalism is not my thing.”

Rescue me

But animals are.  Davidson, who grew up in a small town on the Hudson River justnorth of New York City, says her earliest memories are of being outdoors.

“We lived near a nature preserve and I was just obsessed with animals,” she said. “Iloved being around them and wanted to learn everything I could about how theylive and what they do.

As a child, Davidson hung around the nature preserve and pestered the staff until she was allowed to help feed and care for the resident wildlife rescues. When she was old enough she was officially hired by the preserve and worked as a camp counselor.

At the same time, Davidson’s interest in photography took root. Her father, a Madison Avenue art director, always had a camera in his hands. By the time she was5 years old, Davidson was shooting photos. When she was in high school, her fathergave her his Nikon F2.

Never one to do things the easy way, Davidson skipped out on college and hopscotched around the country, Brooklyn, Los Angeles, Olympia, working as abouncer, an assistant in a tattoo parlor, and a photographer for the state legislaturein Washington. It wasn’t until she settled in Portland, Oregon and started working with the animals at the city’s zoo that her future took shape.

“First I volunteered, which turned into two full-time internships where I was caretaking the animals, primates and marine life, working on their diets and training and enrichment, which was such a cool experience,” Davidson said.

Bump in the road

Life in Portland was pretty great -- and then came the accident. Davidson’s truck got totaled and the neck injury she sustained meant she could no longer do the heavy lifting her zoo work required. Just a few weeks away from closing on a house, she knew she had to get some cash flowing.

She managed to get a small loan, secured some studio space and started shooting pet commissions. 

“I wanted to be in the studio every minute and I realized that this was what I wanted to do – nothing else,” Davidson said.

A growing clientele giving her a steady income from work she adored, and Davidson had found her true calling. Then she bought those high-speed lights and the rest became dogs-gone-viral history.

Lights, camera, action!

So how does she do it? The first thing step is using her knowledge of animal body language to get her canine clients comfortable.

“We’ll get down on the floor and play, just hang out for as long as it takes,” Davidson said. “I let the animal direct the shoot, tell me when they’re comfortable to go on set, and then let them do what they want.

For her “Shake” series Davidson uses a Nikon D4, which shoots 10 frames per second, and synchs the studio strobes to 1/13,000th of a second. As each wet dog does what comes naturally, Davidson looks through her lens, presses the shutterand makes time stand still.

Once the photos are shot and uploaded into Adobe Lightroom, Davidson’s go-to for processing is the Intuos Pro, with its its pressure-sensitive screen, customizable screens and precision stylus.

“The Intuos Pro is always on my desktop – I haven’t used a mouse since I first used aWacom tablet during a summer job in 1996,” Davidson said.

The work she does in Photoshop, creating paths and layers, adding effects, would beimpossible without the Intuos Pro, Davidson said.

I can’t ever borrow a computer now because using a mouse is just so clunky, ”Davidson said. “Wacom has spoiled me.”

As for what’s next for the photographer whose love of animals has led her to fame, it’s more of the same. An avid supporter of local pet rescue groups, Davidson volunteers her time at various shelters. She and her husband have also begun tofoster dogs in their home, though with mixed success.

“We were fostering this really sweet schnauzer – Saul the schnauzer – and then weadopted him,” Davidson said, and laughed. “That’s what’s known as a ‘foster fail’.”

Tue, 07 Feb 2017 14:44:41 +100
Interview | Let's Talk Art with Doaly http://eu.shop.wacom.eu/detail/index/sArticle/1088/sCategory/2213303 #LetsTalkArt, a brand new artist interview series. Today we share Doaly story, advice, art and more!

Let's Talk Art with Doaly

Welcome to the first Let's Talk Art, a brand new artist interview series. Written by Jack Woodhams.

Back in 2014 I set up Posterspy.com, a show and tell website dedicated to alternative poster designers. I'm a designer myself, (I don't quite consider myself an artist) and through my experience running a platform for artists, I've met and made friends with many creatives.

The aim of this series is to explore what it means to be an 'artist' and to explore how artists have developed their craft over the years. Throughout the series I will be chatting with artists from countries all over the world, many of whom have worked for incredible brands such as Disney, Marvel, BBC, 20th Century Fox, Empire Magazine and more!
In this interview I chat to Doaly, an artist from Birmingham England who has had the chance to work on some really brilliant projects.

So, let's talk art... 

What made you want to become an artist? What were your earliest influences? 

I wouldn’t say I ever set out to become an artist, I studied graphic design at university and majored in multimedia design. I’ve since had a successful career in the web industry but I guess like any other creative you want to try and learn new and different things. I always had a passion for drawing as a child so I naturally picked it back up as a hobby while trying to learn and get better.

Movies were always a big part of growing up, as my parents owned a video store, I wasn’t old enough to watch most of the films but I’d spend hours looking at the box art and posters, which were plasters all over my bedroom walls thanks to my two older brothers. Based on the artwork I’d make up my own stories for the films I couldn’t watch and that’s why I gravitated to creating movie art. I enjoy the art of story telling and wanted to tell these stories myself in my own way. My earliest influences would be the likes Warhol, Dali, Lichtenstein, Seurat and Picasso from studying art history at colleague, I still refer back to a lot of these art movements in my work today. 

Would you say your surroundings influenced your art in any way? 

I would say my surroundings helped develop my imagination, Bham was a more industrial area when growing up and I was a big day dreamer as a child and still am if I’m honest. I’d constantly be imaging going on adventures to far away lands and batting dragons. I don’t really battle dragons anymore but I still have an imagination that works overdrive. 

Do you feel the poster art movement is celebrated enough? Or do you feel that it's still quite 'underground'?

I wouldn’t call it underground anymore but at the same time I wouldn’t say it was mainstream, there’s an avid community of collectors out there and I think that's partly due to IMAX releases of posters and the growing community of casual fans of the movement, they might not know all the names of the artists but they like what a illustrated poster brings over its Photoshop/photograph based counterpart. 

You work a lot around Film, TV and pop culture. How does your love for pop culture transcend into your work and do you feel you're a better artist because of your passion for it?

I wholeheartedly believe that if you can find a love, connection or understanding for the subject you are trying to capture then it will show itself on the page. I feel my best work is based on the properties I have a real passion for and it’s why I revisit them because of that passion.

You are currently part of a global art collective The Poster Posse what do you feel about being part of a collective and how has it aided your creative career? 

Being part of the Posse has been one of the biggest helps in my career, to have this extended network of friends who understand what you’re going through with your work and there to give advice and an honest critique of your work has been invaluable. It’s a great buddy system that pushes you further with your work, I don’t think I’d have developed as much as I have without the support of the Posse.

Besides the obvious love for film and tv. Do you have any other less obvious passions that aid your work?

As well as TV and film I’m a big gamer and love to unwind at the end of the day when I really should be sleeping, I have also studied Jeet Kune Do which has helped develop a discipline with my work as well as a mind set that with practice I can learn and get batter as long as I stick with it.  

You currently use a Cintiq and have also owned Wacom pen tablets in the past. In what way are they are vital to your creative process?

The Wacom tools allow me to quickly get my ideas down and develop them, I often hand sketch ideas when I’m on the move but when I’m at my desk I jump straight on to sketch and develop my ideas. It also allows me to easily try out different mediums to draw and paint with.  

You recently had your fan posters for Planet Earth II picked up by the BBC. What encouraged you to create these in the first place?

After watching the first program I was instantly inspired by the beautiful cinematography and story telling, I wanted to try and capture that one episode in a piece, I also wanted to create awareness about the planet we live in and the animals we share it with. As a designer or artist you’re not saving lives but through your work you can create awareness and help worthwhile causes. I’ve been lucky enough to lend my artistic talents to worthy causes and intend to carry on doing so.

Your style varies greatly from project to project, do you find it easy to dip in and out of styles? 

I always try and use the style best suited for the subject matter and I love to explore new techniques. When thinking of ideas I often paint them in a particular style in my head and they very much become key to that piece itself. So when it comes to execution, I’ve pretty much drawn every line in my head, I just now have to recreate it on the computer so its never that had jumping between styles.

Is there a particular style you prefer to work in?

I often get asked what my style is and it’s not something I can answer as of yet, I would say there’s a few I gravitate towards but I would say what I choose to draw and compositions I create are a better definition of my and not the style I draw them in. 

The poster art community has grown a lot in the last few years and it seems studios are starting to take notice of the artwork being produced. What do you predict for the future of this movement?

I still think there is a place for the photography based movie poster but I think audiences want more than just a few floating heads, alternative posters are getting bigger with reversible sleeves on Blu-ray boxes and limited run posters for opening nights. I see there being an alternative approach for most mainstream movie posters. If illustrated became the mainstream then in time another movement would come along to oppose it.

The poster community is full of artists with different styles, backgrounds and from countries all over the world. Who are your favourite contemporary artists and why?

There is a massive list of contemporary poster artists and I can say I admire something from most artists, to name a few: Oliver Barrett, Matt Taylor, Francesco Francavilla and Gary Pullin. These artists have expanded what I thought was possible to create with simple lines and shadows, it’s not always a case of what you draw but what you choose to leave out to allow the mind to fill in the gaps for you.

Do you have any plans for the future regarding your artwork? 

I want to keep exploring and trying out new things, I also want to work in more fields, I love movies but there are other stories I went to tell through my work so I guess I’m looking for those new opportunities where I can push myself creatively.

A lot of your work is digital, do you feel digital art gives you more flexibility over traditional methods? 

I would definitely say its more flexible working digitally as I’m still not able to press cmd Z on my sketch, but I like to gravitate to an approach which is routed in an organic style, I want people to still see every stroke in my work. I don’t want to loose myself and have my work become too polished to the extent when you cant tell its been drawn or painted.

You recently created an official print for Rick and Morty which went up for sale via Bottleneck Gallery in New York. The print sold out almost instantly, how did that feel?

It was a great feeling, I love the show and I wanted my piece to speak to the people who also loved the shows original sense of humour, so I’m really glad that people appreciated what I put on paper. I already thinking of what next to do for the show so I hope my next piece is as well received.

Many artists find it difficult to consider their work 'finished' at a particular stage. How do you know when your work is complete? 

Deadlines often play a part in that but its when you feel you cant ad anything else to the piece that would make it anymore whole than it is right now. Over time I always want to go back and play with some pieces but that comes with learning more and seeing things with fresh eyes.

Being an artist isn't always easy, and sometimes artists find themselves lost and confused about their work. What helps to keep you focused and motivated? 

I think being lost and confused it part of being an artist, there are definitely times where I’m not sure what to do next or where to take my work. For me its best to take a step back from the work and do something completely different, go out and get some fresh air and get away from the screens. Its these breaks whether they’re just to go out and get some lunch or even a day away from work that gets the creative juices going again.

I sometimes think it’ll be great to take a few weeks off but after a day or so I’m eager to get back to creating something. The worst thing you can do when your in a slump is just stare at the screen, break the routine and do something different.

Your work was exhibited last year as part of the Star Wars an Art Odyssey at Le Cafe Pixel. As a pop culture fan was this a dream exhibit to be part of? 

It truly was an amazing experience to have my work exhibited in such a beautiful gallery space, what made it extra special was that I knew every artist in the show and to admire their final work on the wall. It’s not often you get to go  to the spaces that exhibit your work so this was something extra special for me.

I also got the chance to meet up with members of the Posse who I hadn’t previously met in person, so that was the icing on the cake.

Although you've worked on some really exciting projects, was there ever a time you weren't so fortunate and doubted your skill if so, how did you move forward?

Even though I’ve worked with some great brands and properties I think there’s always going to be a time when you doubt your own skillset. But for me that’s why it’s great to have such a supportive network of fellow artists that you can talk through the hard times with and you’ll find comfort in the fact that you’re not the only one that goes through this.

If there’s ever a time I’m feeling down about my work I look to be inspired by others, its that inspiration that lights the creative spark in you and I guess I’m fortunate that I can happily play around with styles to keep everything fresh for me.  

For any aspiring artists reading this who wants to work in the entertainment industry, what advice would you give them to get their work seen?

I would say the Internet has made the world a very small place, if you’re passionate about working in the industry then produce the work you’d like to be doing and share it online. Upload it to design/art blogs, use your Instagram and Twitter to share and tag the studios, they love people being passionate about the films they make.

Finally, do you recommend any publications for artists to follow for aspiring artists out there looking for inspiration?

I personally subscribe to imagine FX, but the net is vast and infinite and there are many blogs out there that curate amazing work, I also follow xombiedirge.com, pixalry.io and fromupnorth.com to name a few.

More coming soon!

That brings us to the end of this month's Let's Talk Art, be sure to follow Wacom on social media to be informed about the next instalment. I'd like to say thank you to artist Doaly for being such a great interviewee and I'm sure you can agree that his work is simply outstanding.

You can find Doaly on the below links:
FacebookTwitterWebsitePoster Spy

Fri, 03 Feb 2017 18:45:32 +100
14 Tips to a successful Valentine´s Day By Mikiko http://eu.shop.wacom.eu/wacom-infochannel/14-tips-to-a-successful-valentines-day-by-mikiko/1087?c=2213303 Even for those who care about Valentine´s Day it can be difficult to remember and to find the time to prepare. Though I think we all agree that doing something last minute lacks effort and love. So, Wacom and artist Mikiko have teamed up to give you some helpful tips to a succ...

14 Tips to a successful Valentine´s Day By Mikiko

Even by those who care about Valentine´s Day it is often forgotten and difficult to find the time to prepare. For those who are not so much into it, we´re pretty sure you too will find some tips helpful. Valentine’s day is an occasion to show those we love that we care.

So, Wacom and artist Mikiko Ponczeck have teamed up to give you some helpful tips to a successful Valentine´s Day! 


Have a look at Mikiko’s 14 Valentine’s tips created on our Bamboo Smartpad #makingideas:

1. Don´t fret if you do not have a partner. Find someone you love.
2. Share the love! Friends, family, even strangers! Smile, it confuses people ;).
3. Surprise someone with breakfast in bed!
4. Say thank you to someone you care about. You´ll be surprised how well little gestures, like smiling, are appreciated.
5. Prepare a romantic dinner. But don't stress yourself! (pizza in a box by candlelight.)
6. Classics never fail: give flowers!
7. ...and of course: chocolate. But remember to share and not eat half the box yourself ;).
8. Watch a sunset together. In the end it is not about possessions, but memories.
9. Make someone smile, give a compliment. ('hey, love your coat!')
10. Leave an unexpected note somewhere for someone special to find. This will light up their day!
11. Watch a movie together and relax. Doesn't have to be romance!
12. Help out with chores. It's always appreciated.
13. Smile! (it's contagious)
14. Lastly, don't forget to love yourself!

Wed, 01 Feb 2017 11:09:55 +100
Product Review | Testing Intuos 3D and ZBrushCore http://eu.shop.wacom.eu/wacom-infochannel/product-review-testing-intuos-3d-and-zbrushcore/1086?c=2213303 Concept artist, creature designer and animal anatomy instructor, Tony Camehl, working in the entertainment industry, did us a favour by reviewing the Intuos 3D with Pixologic´s ZBrushCore.

Testing Intuos 3D and ZBrushCore

Concept artist, creature designer and animal anatomy instructor, Tony Camehl, working in the entertainment industry, did us a favour by reviewing the Intuos 3D with Pixologic´s ZBrushCore.

Tony shares his unboxing experience as well as creature design in ZBrushCore and ultimately printing the 3D design with Shapeways. This article is written by Tony himself and from his perspective.

Unboxing Intuos 3D

A few months ago Wacom asked me to review and unbox their new Intuos 3D and to test the software ZBrushCore included with the tablet. With this article I want to tell you about my experience of working with Intuos 3D and ZBrushCore. 

A list with the basic facts of the tablet shall give you a quick overview:
- The Intuos 3D is only available in medium size.
- The work surface amounts to 216 x 135mm.
- There are four express keys that can be assigned with various hotkeys.
- The Intuos is adapted to right-handers and left-handers.
- The pressure sensitivity amounts to 1024 levels.
- The tablet is sent with an Intuos Pen (a new version without the erasing function at the end of the pen).

In the process of unboxing I noticed the rough drawing surface. So far I have been working with the Intuos Pro whose surface is much smoother, so I had to get used to working on a rougher surface first.

Positively striking features are the engraved notes that explain the technical aspects, e.g. how to change the tip of the pen or how to insert the Wireless Kit (separately available) into the tablet and other helpful information.

The wrapping of the Intuos 3D is noble and of high quality. Also the weight of the Intuos 3D has been reduced distinctly, so as an effect it is much more comfortable to take with you and to work with.

Working with the software ZBrushCore

The software ZBrushCore is included in the price. In order to download ZBrushCore, the Intuos 3D has to be registered on the Wacom homepage. Then you receive the download link. Installing and activating the licence ran smoothly and quickly. In case of problems you can consult the handbook or Wacom´s customer service.
After a few minutes the software and the tablet (I already had a Wacom driver installed) were ready to work with. You can download a Wacom driver from here.

Regarding the software I would like to look more closely at its functions. ZBrushCore is a barebone version of ZBrush 4r7 and thus is cut down version. ZBrushCore is to facilitate the access to the world of 3D and to help beginners understand the main functions such as DynaMesh and ZSpheres.

Functions such as ZRemesher or GoZ are missing. Furthermore the maximum amount of polygons is limited to 20 million contrary to ZBrush where you can reach 100 million polygons per mesh. For further comparisons and which functions are not available in ZBrushCore you can visit this link.

For me it was no problem to adjust from ZBrush to ZBrushCore. I got accustomed pretty fast and had fun modeling the “Roman Sphinx”. There were no problems with Intuos 3D and ZBrushCore while modeling.

All in all ZBrushCore definitely is helpful for beginners that do not want to be overwhelmed by the sheer amount of possibilities of ZBrush 4r7. You can find further information and instructive videos on the Pixologic´s Youtoube channel.

3D Printing

After finishing modeling the figure, it was time to get it printed in 3D. I had to adjust the thickness of the figure in ZBrushCore several times. Unfortunately, I also had to erase a few elements, such as the shirt and the thorns of the tail because they would not have been visible while polishing the printing.

With ZBrushcore it was no big deal to export the model into a .stl format and to upload it on the Shapeways website afterwards. Shapeways specialized in 3D printing and comes up with great online functions in order to check the model before printing, such as the wall thickness. Furthermore there is an online function that recognizes whether there are objects that are not linked to the model. You can easily change that so there won’t be any problems with the printing.

A few days later the printed figure arrived. It was wrapped nicely so that there could not be any damage done. I was very satisfied with the final product and positively impressed with the level of detail. It is a great feeling to hold the real figure in my hands since I could only look at it on my computer until now.

Fri, 20 Jan 2017 12:14:26 +100
Announcement | New Series: Let´s Talk Art http://eu.shop.wacom.eu/wacom-infochannel/announcement-new-series-meet-the-artist/1085?c=2213303 Delve into the mind of the artists and find out what led them to where they are today, as well as discovering insider tips and advice on how to get your work out there. #BehindtheStylus

New Series: Let´s Talk Art

We're excited to announce our brand new artist interview series, focusing on creatives who use Wacom to enhance their workflow.

Delve into the mind of the artists and find out what led them to where they are today, as well as discovering insider tips and advice on how to get your work out there. #LetsTalkArt

Your monthly dose of inspiration

Each interview will provide advice and help for both emerging and established artists. They will be focusing on different aspects of creative design, highlighting work from a variety of different styles. We aim to showcase the artist´s work in the highest quality so the interviews act as a source of your own monthly dose of inspiration. So if you're an artist looking for ideas and motivation, be sure to follow this series on our social media.

Renowned Artists

The series will be written by Jack Woodhams, the founder of PosterSpy.com a global community for alternative poster artists. Jack will conduct interviews on a monthly basis with the website's most notable and renowned members as well as other popular artist. Artists who have created work for the likes of Marvel Studios, Disney, 20th Century Fox and more! Here is a snap shot:

Paul Shipper
John Keaveney
Payback Penguin (Josh Campbell)
Kevin McGivern

Stay tuned!

Thu, 19 Jan 2017 17:18:16 +100
Announcement | Level Up Your Art Competition http://eu.shop.wacom.eu/wacom-infochannel/announcement-level-up-your-art-competition/1084?c=2213303 After receiving an astounding amount of #levelupwithwacom entries, we finally managed to pick a top three! LevelUP! Held a special live session on Youtube discussing the submissions.

Level Up Your Art Competition - Announcing the Winners

After receiving an astounding amount of #levelupwithwacom entries, we finally managed to pick a top three.

Last Sunday LevelUP! held a special session on Youtube (see video at the bottom) to discuss the top entries and anncounce the three winners. The session includes many submissions with positive critique. First place was picked by ourselves, second by the LevelUp team and 3rd by popular vote (Facebook likes). 

We want to thank everyone for participating in our "Level Up Your Art" competition. And of course a special thanks to the winners.

The Competition Winners

1st place

Goes to Klaudia Kędra from Poland.

2nd place

Goes to Hazem Ameen from India.


3rd place

Goes to John Dimayuga from the Philippines.


LevelUP! recorded live session on Youtube:

Thu, 19 Jan 2017 16:33:14 +100
Product Announcement | The New Wacom Intuos Pro http://eu.shop.wacom.eu/detail/index/sArticle/1083/sCategory/2213303 Redefining the professional standard in creative pen tablets

The Pen Tablet that Works the Way You Do: The New Wacom Intuos Pro

For many artists and designers, creative expression starts on paper with the help of a favorite pencil or pen. Only after starting their concepts on paper and scanning the results do artists and designers fire up their computers and start their digital workflow.

What if one could skip the scanning step and have editable, digital versions of sketches available at the touch of a button? And this with the power to refine and complete the sketches later with Wacom’s most natural pen tablet experience?

The new gen of Intuos Pro

The new generation Intuos Pro provides a wealth of new features and benefits to artists, designers and photographers who demand the very best from their creative tools. The new Pro Pen 2 anchors the overall creative experience with enhanced pressure-sensitivity and precision, but it’s the Intuos Pro Paper Edition that really stands out by giving users the ability to incorporate paper into their creative workflow. Ink-on-paper drawings are captured and stored digitally on board the Intuos Pro Paper Edition and can be refined later on the tablet with any compatible layered raster or vector software application. Gone are the days of tedious and time-consuming scanning.

Thank you to the customers!

The Intuos Pro family of pen and touch tablets are born from customer feedback, with special focus on the importance paper plays in the creative process and the desire to have a seamless connection with the digital side of the creative workflow. The Intuos Pro Paper Edition boasts all the same amazing features as the Intuos Pro, but the Paper Edition model adds a Paper Clip (to attach the artists favorite drawing paper), pressure-sensitive Finetip gel ink pen and the Wacom Inkspace App to convert drawings for use with leading creative software applications. The Inkspace App environment also allows users to store and share work within the Wacom Cloud.

Slim Design and Advanced Functions

Less than 1cm thick, the next-generation Intuos Pro is the slimmest of its kind and more compact than the previous version, offering the same sized active area in a smaller overall footprint. The Intuos Pro occupies very little desk space and is easy to carry in a backpack or laptop bag for the daily commute or a business trip. It comes equipped with anodized aluminum backing, a smaller pen stand with 10 nibs and a new pen case. Both sizes of the Intuos Pro, Medium and Large, use a TouchRing, Multi-Touch and eight ExpressKeys™ for the creation of customized shortcuts to speed up the creative workflow.

Premier Pen Technology

The new Wacom Pro Pen 2 comes with the Intuos Pro and Intuos Pro Paper Edition, for the best Wacom pen experience to date. The Pro Pen 2 features four times the pressure sensitivity than the former Pro Pen, delivering 8,192 levels of pressure to support a natural and intuitive creative process.

The recently released Wacom Finetip Pen, included with the Intuos Pro Paper Edition, provides smooth-gel ink and unparalleled precision. Designed for those who begin their creative process on paper, the Finetip lets users visually depict ideas that are automatically digitized. Users can also select a Ballpoint Pen as an optional purchase.

Configuration, Pricing and Availability

Available in Medium and Large models, Intuos Pro is Bluetooth-enabled and compatible with Macs and PCs. The Intuos Pro comes with the Wacom Pro Pen 2, pen stand and features eight ExpressKeys™, a TouchRing and multi-touch gesture control. The Intuos Pro Medium ($349.95 USD) and Large ($499.95 USD) will be available in January.

Intuos Pro Paper Edition will contain added features as a bundled package to enable paper-to-digital creation. The Intuos Pro Paper Edition Medium ($399.95 USD) and Large ($549.95 USD) will be available in January.

Thu, 29 Dec 2016 12:53:11 +100
ARTtitude Presents: Poster Spy - Alternative Movie Poster Collection http://eu.shop.wacom.eu/wacom-infochannel/arttitude-presents-poster-spy-alternative-movie-poster-collection/1081?c=2213303 Win a copy of PosterSpy and ARTtitude's brand new art book 'Poster Spy – Alternative Movie Poster Collection. A beautiful book filled with incredible alternative movie poster artwork.

ARTtitude Presents: Poster Spy - Alternative Movie Poster Collection

ARTtitude is proud to present: Poster Spy - Alternative Movie Poster Collection.

Poster Spy, a website launched in 2014 is a community showcase website for alternative poster artists, this book focuses on Movie Posters. Poster Spy - Alternative Movie Poster Collection features the work of 58 Poster Spy members from countries all over the world.

Poster Spy - Alternative Movie Poster Collection

This book serves as a tribute to what was once a dying form of art. Artists like Drew Struzan, Richard Amsel and Bob Peak among others paved the way for illustrated design but sadly this isn’t seen anymore in commercial marketing.More recently, artists have taken it upon themselves to create their own movie posters.

We invite you to discover the world of the alternative poster movement and enjoy over 200 pages of incredible artwork for various different movies.


Poster Spy is giving away two copies of the book; Poster Spy – Alternative Movie Poster Collection. The give-away starts December 16th and ends December 31st 2016, at 11:59:59 PM (CEST).

How do I enter?

There are two ways to enter,
1) you can enter via Facebook here
2) or via Twitter here

• Folllow @Wacom, @PosterSpy and @ARTtitude social media pages
• Share, Like this post and comment below with your favourite movie
• You must be a legal resident of geographical: North America, Canada, Europe, Australia, New Zealand
• Participants must be at least 12 years of age

How do I win?

The two winners will be randomly picked by a panel consisting of representatives of Wacom Europe GmbH and Poster Spy. The winners will get a special shout-out on Wacom´s and Poster Spy´s social pages.

Or pre-order a copy:
Pre-order from ARTtitude (Released December 22nd), click here.
Pre-order from Poster Spy (Released March 2017), click here.

About the book

Artist List:

Adam Cockerton, Adam McDaniel, Andrew Swainson, Andy Fairhurst, Arden Avett, Ben Turner, Chris Garofalo, CranioDsgn, Daniel Nash, Daniel Norris, Dave Stafford, Derek Eads, Doaly, Dres13, Edgar Ascensao, Felix Tindall, Freya Betts, Giuseppe Balestra, Harlan Elam, Ignacio RC, Javier Vera Lainez, Jeremy Wheeler, John Aslarona, John Keaveney, Josh Campbell, Joshua Kelly, Kevin Tiernan, Ladislas Chachignot, Laura Racero, Liam Brazier, Liza Shumskaya, Luke Butland, Mainger, Maria Suarez-Inclan, Matt Griffin, Matt Needle, Matt Talbot, Michael Friebe, Mike Gambriel, Mobokeh, Neil Davies, Peter Strain, Rafal Rola, Rich Davies, Robert Lockley, Salvador Anguiano, Sam Gilbey, Scott Saslow, Scott Woolston, SG Posters, Sharm Murugiah, Simon Carpenter, Simon Caruso, Simon Delart, Steven Key, The Dark Inker, Tom Fournier, Tsuchinoko, Viktor Hertz.


Published by: Plan9 Entertainment
242 pages
Language: English
Format: 21 X 29,7 cm
Limited print : 1000 copies
ISBN: 979-10-93398-13-6

Curated by Frederic Claquin & Jack Woodhams.

Wed, 14 Dec 2016 18:07:24 +100
Tutorials | ZBrushCore Tutorial with Steve James - Part 6, Polypaint http://eu.shop.wacom.eu/wacom-infochannel/tutorials-zbrushcore-tutorial-with-steve-james-part-6-polypaint/1079?c=2213303 Professional 3D artist Steve James, from Pixologic, recorded these amazing video tutorials to show you how to sculpt a head using ZBrushCore. He will go through the benefits of integrating 3D into his workflow and breaks down the steps he will be showing you in this series.

ZBrush Core - Steve James - PolyPaint - Part 6

Professional 3D artist Steve James, from Pixologic, recorded these amazing video tutorials to show you how to sculpt a head using ZBrushCore. He will go through the benefits of integrating 3D into his workflow and breaks down the steps he will be showing you in this series.

This series has 6 parts and in this sixth and final part, you will add polypaint. While sculpting, Steve uses a tool which makes ZBrush special, called DynaMesh. Keep this in mind, because you will be using it a lot.

Part 6, Polypaint

We will first show you the video for context. The steps are written out below the video. 

Choosing color

Let´s add color and material to our character. Zbrush uses Polypaint which allows us to paint directly onto the model.

1. Select the "Skin shade for" material from the Materials pallet. This allows us to see the colors are we paint them.

2. Push the Solo button to isolate the tool you´re working on.

Use the arrow keys to move up and down in the tool list.

3. Let´s start with the body and fill it with a skin tone.

4. Click on the small colored square to bring up a large color picker. It is an easy way to select colors.

5. After you select your colors, click on the Fill object button. This will fill the entire object with the chosen color.

6. Go through each object and select a color for it to fill.

7. Use the arrow keys to select between the tools and fill with with a desired color.

To get a good painting result, you´ll need to sub devide your meshes.

8. Devide each mesh a couple of times until they look smooth on the screen. Do not overdo it to present system failure.


Lets start painting.

9. Select the Paint brush at the bottom of the menu and pick a color for the lips.

10. Paint a large area over the lips so we won´t have to paint in those tight spaces.

11. Use the C button on the keyboard to activate the color picker. Select the flesh tone.

12. Use the S key to resize the brush. And draw around the lips with this flesh color.

13. To tone the lips like the skin, reduce the RGB intensity. Then use the fill object button to bring the lips closer to the skin color.

Adding blush

Let´s add blush on the cheeks, nose and ear.

14. Use the color picker to select the lip color and draw over the cheeks, nose, ear and forehead.

The reduced RGB intensity will keep this subtle.

15. Select a light purple color, and add subtle coolness around the eyes.

Eye lashes

Let´s paint the eye lashes.

16. Select a dark, black color and draw around the edge of the eye.

17. Pull it outward and upper on the corner.

18. To smooth out any painting, hold down Shift. Then click on the Z add button to turn of sculpting for the Smooth brush. This way you won´t mess up your model as you smooth your paint.

You can soften the edge of the eye lashes. Using Masking also works for painting.

19. Hold down Ctrl and draw out an eyebrow. And press C to pick the color of the hair. Remember to hold down Ctrl and tap on the canvas to invert the mask.

20. Draw over the eyebrows to fill that region. Use the Smooth brush to soften the edges of the eyebrows.

Painting the eyes

Let´s paint the eyes.

21. In the Sub tool menu, pick your eyes.

22. Hold down Ctrl and draw a circle where the iris will go. Ctrl tap on the canvas to invert the mask.

23. Select black and paint the entire area black.

24. Select a dark blue and paint the middle of the eye, leaving some black around the edge.

25. Select a lighter blue and paint towards the bottom.

26. For the puple, select black and paint a circle in the centre.

27. For highlight, pick a lighter blue and paint a little at the bottom.

Eye make-up

You can a hint of eye make up, but keep it subtle. I will show you a trick you can do with lighting. We can create a simulated subsurface scattering. This mimics how light interacts with translucent skin.

28. Open the Light pallet, click on the light bulb just below the light bulb that is activated.

29. Turn off the Main light and you can see how this light is affecting the model.

30. Click the white box below the sphere to pick a red color. Notice how this light brings warmth to the character´s skin.

Make sure you have the lower light selected when you change the color. If you change the color of the main light, pull it back to white.


Let´s paint some freckels.

31. In the Stroke pallet, select the Drag Rectangle option. And below that, in the alpha pallet, select Apha 7. The one with the soft dots.

32. Select a dark orange color.

33. On the model, click and drag to pull out the dots. For this we do not want symmertry. So push X on the keyboard to turn it off.

34. Drag freckles on the model and change color to ad variation.

Skin texture

To make a nice skin texture, you can use a lighter color as well.

35. To help integrate the hair and skin, select the hair color. And paint a little on the side of the ears. Remember to turn Mirror back on.

Adding shine

Let´s use a material to make the eyes look shiny.

36. Select the M button at the top which brings out the Material menu. So when we do a fill, it it will the object with the selected material.

37. For the eyes, we will use Toy plastic. Select that material and use the Fill object button.

Hair dye

Next let´s add some color to the hair.

38. Use the Solo button to hide the rest of the tools with the hair selected. And let´s set our brush back to it´s default settings.

39. In the Strokes menu, select the Dots and in the Alpha menu select None/ No-Apha.

40. Select a color darker than the hair color. And color the under sides of the hair and the roots.

41. Select a lighter color and create highlights across the forms of the hair. Also highlight the tips of the hair.

Continue to detail the hair as you like.

Adding details

To finish the painting, let´s add some more details.

42. Select the lip color and move it to a lighter shade. Use that color to paint the top part of the lower lip.

43. Select white, turn of Mirror and add some highlight to the lip and nose. Keep it subtle.

44. Change the material of the hair to Soft plastic. Select Soft Plastic in the Material menu and hit Fill object. Notice how this darkens the hair color. So you can fill it with a shade of red to bring the color back.

This completes the Polypainting.

Posing the model

You can pose your model. Let´s go through settings to get nice renders out of ZbrushCore.

45. On the right, dock the Render and the Light pallets. When you push the BPR button, it will render the image.

By default, the shadow is pretty harsh. So let´s soften it.

46. Turn down the shadow strenght and increase the shadow angle. Let´s set it to about 25.

47. When we hit BPR again, notice how this softens the shadows.

The shadow is calculated based on the position of the first light. Let´s change the color of the background.

48. Select a Pink color in the Color Picker. And click and hold on the Back button and drag it down to the color square. Notice how it changes the background color as we move it.

49. For the final render, let´s increase the number of shadow rays and hit the BPR button.

50. To export the document, open the Document menu and click Export.
Now you can save your image.

We hope you enjoyed this tutorial.
Happy ZBrushing!

Thu, 08 Dec 2016 15:51:58 +100
Competition | Level Up Your Art http://eu.shop.wacom.eu/wacom-infochannel/competition-level-up-your-art/1078?c=2213303 Wacom is here to make your end of the year a little more exiting! THUS we are teaming up with the LevelUP! team on a competition. Show us how you have leveled up.

Level Up Your Art Competition

Wacom is here to make your end of the year a little more exiting! And thus we are teaming up with the LevelUP! team on a competition.

Entry is free!

The goal is simple: "Redo an Older Art Piece". Show us how you have leveled up. Please read the rules and guidelines below and for the full Terms & Conditions, click here.

How do I enter?

• The contest starts December 1st and ends December 24th 2016, at 11:59:59 PM (CEST)
• You must be a legal resident of geographical: EMEA, North America, APAC, Japan, Australia and New Zealand
• Entries must be submitted to https://www.facebook.com/groups/levelup.livestream/
• Only one entry per contestant.
• Post must display side by side the old and new artwork.
• The work most be done exclusively for this contest.
• The old piece cannot date back more than 5 years.
• You must mention #LevelUpWithWacom hashtag, your country and the age of the old piece.
• Participants must be atleast 12 years of age.
• You can use illustration, sketching or mixed media to create your art work.

What can I win?

There are three prices to give away:

1st Prize:  Intuos Pro Small
2nd Prize: Intuos of choice (Art, Draw, Comic, Photo or 3D)
3rd Prize: Bamboo Smartpad of choice (Folio or Slate)

How do I win?

For the three winners of this contest, a special LevelUp Session will be hosted on their Youtube Channel to announce the winners. The session will include other submissions with critique of their work. First place will be picked by Wacom, second by the LevelUp team and 3rd by popular vote (Facebook likes). The winner announcement date will be published the day after the contest ends.

If you still have questions, please first check our full Terms & Conditions, otherwise feel free to contact us at Wacom through social media.

Good luck with the contest!

The LevelUp Team & Wacom

Wed, 30 Nov 2016 16:04:26 +100