Elements - Digital Painting Tutorial Series [Volume 2]

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Digital Painting Tutorial Series : Volume Two

Contents Rock and Stone Rich Tilbury

Rock and Stone Vinegar

Sky Linda Tso

Sky AquaSixio

Sky Rich Tilbury

Skin Rich Tilbury

Skin Emrah Elmasli

Trees Chris Thunig

Trees Rich Tilbury

Water Rich Tilbury

Chapter 01 003

Chapter 02 009

Chapter 03 017

Chapter 04 023

Chapter 05 034

Chapter 06 040

Chapter 07 045

Chapter 08 052

Chapter 09 058

Chapter 10 063

Waterfall

Chapter 11

Don Seegmiller

071

Rock & Stone

Chapter 1 : By Richard Tilbury

elementsRock

and Stone

Painting Rock and Stone Step 1: The irst stage which forms the starting point for most of my digital work is a sketch done on paper. This is where I assemble any unformed ideas and decide on how the composition will be structured and try and give myself a template to begin working from. In Fig01 you can see a pencil sketch that I scanned in which would form the basis of my inal painting. For this tutorial I wanted to combine a natural looking rock face that incorporated some element of architecture that had been carved into the stone.

Step 2: The next stage was to get rid of the glaring white of the image and so I traced

around

the drawing and on a separate layer which I named “Background”, I used the Gradient tool fading from a pale to a darker green. On another new layer set to Hard Light I used a dark grey and illed in the area that makes up the rock itself and then to establish the

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light source I simply erased parts of this layer

involved with details. In order to keep control

to reveal the white underneath (Fig02). It is

of the painting process I ind it is best to work

important to deine the light source as this is

on a larger scale to begin with and gradually

paramount in how the viewer reads the image

work your way down to the iner detail. In other

and interprets the forms. Rock can be a dificult

words, decide on a light source and block in

subject to paint as it varies tremendously, not

the main highlights and shadows and carve

only in its colouration but more importantly

out the general structure and form of your

in its structure and the types of formations it

image before concentrating on the numerous

adopts. Because its surface is so uneven with

incidental passages that will help add interest

so many undulations and crevices it is easy

and detail to the inal piece.

to loose sight of the overall form and get too

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Step 3: In Fig03 you will notice that I have added a new layer which I called “Main” and begun to rough in some of the areas that fall into shadow and started to shape some of the crevices. I used warm tones ranging between those seen on the left using a standard soft round airbrush with a varied diameter. I set the opacity to between 65 and 100% and the low to around 50% using pen pressure to control it as shown below the brush presets. It does not matter too much how rough your marks are at this stage as the painting will go through a process of reinement until it is inished. Quick and seemingly random marks are perfectly suitable and may even inadvertently suggest part of the inal outcome so be bold and carefree!

Step 4: At the moment the light areas on the rock face appear far too light. I want to create quite a smooth and relective surface but white should only be reserved for the extreme highlights and not used across the entire picture. In order to tone it down I’ve added a new layer set to multiply at 71% which I called “Overlay”, and with a very pale brown illed in some warm tones to soften the contrast and reduce the white to certain areas (Fig04).

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Step 6: The image is now starting to take shape and we can see how the eventual rock face will look. The two vertical uprights on the left and right are meant to almost form a right angle but at the moment the rock in between appears to be on a similar plane and so in order to remedy this I am going to add a “Shadows” layer set to Hard Light at about 50% opacity and using a dark grey, block in a large area that signiies shadows cast by the sun (Fig06). At this stage we have the main elements irmly established and we can now begin the inal phase which is that of reining what we already have and painting in some details across the rock face. You can either do this on separate layers, work on the existing ones or even latten the PSD ile and then continue – it is up to you. It is wise not to continually create new layers as the ile will become very large and

Step 5:

navigating through it will become a chore – just

Because there will be a strong light source in the upper left of the picture with some very bright

preserve the key layers if need be. Also do not

highlights it is only itting that there will be some strong shadows to match. So on another layer

be afraid to change anything if you feel it is

which I named “Dark areas”, I used a dark brown as seen in Fig05 to accentuate the forms and

wrong no matter how advanced the painting is;

add volume to the rock face.

it is never too late to re-work problem areas!

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Step 7: To the details then! You will have noticed from Fig06 that I had painted in some cracks, most notably the one running up the lat face on the left. However the overall surface still looks lat and uninteresting and so needs far more fractures and undulations. I started by erasing parts of the original grey layer (part2) to create highlights exactly as before. Knowing that the light is being cast from the top left I then traced a darker line to the left of these lines on the “Dark areas” layer where the shadows would reside. With the large shadow layer above all other layers it means that when erasing the grey it does not reveal a white anymore (Fig07).

Step 8: In Fig08 you will see that I’ve added a lot more detail in the form of cracks and crevices as well as darkening the shadows around the top and bottom of the picture. The best approach is to be quite loose and free about the way you apply marks to begin with – if they are wrong you can simply erase them (if you are erasing from a layer such as the grey one, just add in more grey to undo it). There is no logical pattern or set of rules to follow here, just use your intuition and add detail where you see it. This is when I use some of the initial marks made in stage 3 to suggest how and where to place the details. You can see when you compare this image with Fig06 that there is now more clarity and deinition and the whole image looks less sketchy.

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Step 9: The inal phase of the tutorial involves improving the detail further and using a customized brush to add a subtle pattern across certain areas to break up the surface somewhat. Starting with a default Dry brush I then opened up the brush presets and chose a suitable Dual brush and altered the Scattering settings until I ended up with a result similar to that shown in Fig09. You could do this on separate layers if you wish and set the blending mode either to Soft light or Multiply depending on the area and desired effect – it is up to you. You can see in the picture where I have applied the marks, numbered 1- 4. With a bit more work and a few tweaks I arrived at the inal result as shown in Fig10.

Tutorial by :

Richard Tilbury

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Rock & Stone

Chapter 2 : By Vinegar

elementsRock

and Stone

Painting rocks, mountains and stones This tutorial will show you how to basically get the inal scene (image 2) from this rough sketch (image 1), focusing on painting rocks from a close and distant view. I have to admit painting rocks and mountains was never something I focused on before, although I painted quite a few as backgrounds in my illustrations. So with for this scene I’ll try to show the general progress and some tips about painting various kinds of rock structures. For painting this scene I used both Adobe Photoshop 7 and Corel Painter 7, but frankly speaking it doesn’t really matter which program you’re using.

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Choosing colour scheme and blocking in the shape: I have chosen a very natural colour scheme without any fancy lights, thinking that it’ll show you how some things work. As for colours – it’s not as simple as just picking grey for stones, green for grass and blue for sky. Actually there are colour perspective rules used by artists since Renaissance and a general law that works in nature – things you see in the distance are becoming more and more desaturated and begin to get a blue-ish tone. I know it may sound obvious but very often I see images that lack depth because an artist didn’t follow this simple rule. Draw some basic outlines of the rock face you’re interested in (image 3), I’d recommend to draw these two plains on separate layers as it will help to keep the focus on each. At this point it doesn’t matter what brushes you’re using, you just have to block in the general shape. Choose colours as I mentioned before – here you can see the ones I chose – more saturated for the closest foreground, colour 3, and desaturated for the background, colours 1 and 2. The same rule applies to the grass. Now you need to block the general light source. As you can see on this picture I drew lines to show you how it looks like (image 4 & 5). Follow strictly the scheme you chose, remember that some parts will take more light than other. Same goes for darker parts in places where the light won’t reach it. See it on the picture (image 4) the light source. Darken them but only the parts that need it, not the whole structure.

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Defining the shape (rocks on the first plan): Right now let’s focus on the rocks at the irst plan. As for drawing the shape – there are no magical tricks here. Your best friends in this case will be Google for reference pictures. Try inding many various example and study for a moment how the structure of rocks look like. You can for example notice that very often small rocks will be at the bottom of the structure, also that often small stones, lat places and bigger stones are mixed all together and such observations tried to implement in a rough sketch (image 6 & 7). A nice trick here – use brushes with a low opacity, this way you won’t loose your basic light scheme so quickly

Photoshop’s low opacity brushes, smudge tool

(although you’ll probably need to correct it very

or Painter’s blenders – it’s all up to you, just

often and you’ll see that in a minute). You can

remember not to overuse them later in inal

blend the general structure you have using

touch up’s.. Right now you’re just working on a structure, not on the details so it can be as smudgy and rough as you like.

Creating a structure: Now the general rule is to work from big surface to small details. When we have a general shape, it’s time to focus on rendering smaller bits of rocks. Let’s see the general work low here (image 8, 9, 10 & 11). Right now you should’ve seen many pictures of rocks already so try to add some more details to this structure using what you noticed about stone’s structure (see images 8, 9 & 10). Also try to think of such stones as a 3D form, don’t forget it has it’s own depths and is lightened from one or more sources. It doesn’t matter what brushes you’re using. In Photoshop I’d recommend standard brushes with low opacity and low and in Painter I usually use Digital Airbrush or Detail Airbrush and later blend it a bit with blending tools. The outcome will be really similar. In image 11 you can see some textures added to make it more realistic..

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Using your own brushes and textures. NEVER, and I really mean never, use directly photos for creating textures. Well, I can’t forbid you anything but if you’re using photos you’re not really painting, you’re just making a photo manipulation and that’s not what we’re doing here. Use photos to make your own textures and brushes with which you’ll paint later. Also – whenever you use some photo make sure it’s royalty free (there are plenty of web-sites that offer such photos with no credit needed) or, well, take some yourself ;). Add bits of texture in various places but don’t do it mindlessly. Try to imagine which texture will be better in which place – some are more lat, some have very rough structure (image 12). Don’t use one texture only, mix them together, experiment with settings. Add them to a new layer set to “soft light” or “screen” or any other blending mode depending on which will look better. And remember, there aren’t any strict rules when it comes to painting. It’s always a constant experiment and every painting is done in at least slightly different way. Also try to add some depth by painting with custom brushes. You can see here how mixing various textures and brushes gives you a more interesting results (images 13, 14 & 15) than just lat pasting a random photo. As for creating brushes (I think Photoshop will be a more useful tool here, although you can try and use Painter, for me Photoshop’s brush settings are just more intuitive) the same rule apllies, experiment to create various ones and have a bit of fun with your own brush settings, opacity and low. Let’s take a look. Images 16 and 17 shows how I created this brush. Image 16 is a cutout I did of some royalty free photos, image 17 is a brush I deined after playing about with it a bit (erasing some parts, repainting others). Use Edit > Deine Brush in Photoshop and voila! You have

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a new brush. Here I’m showing a few I created and used to paint this picture (image 18). But you’re not done yet, now have some fun with the Brushes options (image 19), spend some time to see how it’ll act with some scattering options, play with adding a texture to it, change it’s opacity, low and dynamics. And save your best results. Now you have a whole palette of new ways to add some more depth to the picture. You can see (image 20) how quickly you can achieve something resembling bushes just by experimenting with your newly created brushes.

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Setting rocks in the environment Now the reasonable thing to do, would be to set your rocks in some environment so they don’t look too fake (it’s a simple thing of ixing the lights and adding some greenery to it). As you probably have already noticed, low rock structures are never completely bald so adding some grass and moss will make them look more realistic (image 21). And now here’s a little trick on how to ix the lights. This far into your image you probably might of lost the light source a bit. At least I always do. So what I do is create a new layer above the rocks and ill it with a black and white gradient (image 22). Then I change the blending mode to multiply. This way the lower parts, which the sun can’t reach, became darker (image 23). Compare image 21 and 23, and the difference I think is obvious. Right now you’re pretty done with the rocks on foreground. Of course later on, some additional touch up’s will be needed to blend it well with the rest of your picture, but as for now let’s focus on the background.

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Painting rocks and mountains in the distance The general work low will be, of course, similar. What’s most important to remember, is that things in the distance won’t have as much detail as these on foreground. If you’ll add too many you’ll lose a feeling of depth as everything will look too lat. Another important thing is what I mentioned at the beginning. For things in the distance use more desaturated colours than the closer ones. With all that in mind and after checking references just start to render the general shape (image 24, 25 and 26).

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When you’re done with it start working on smaller details and more speciic shapes of rocks (image 27, 28 and 29). The last useful trick is to add some grain to it in the end (image 29). You can use Photoshop’s Filter > Noise > Add Noise or Painter’s Add Grain tool to get this effect. Adding textures can also work ine, just remember it needs to be less sharp than the ones you used on foreground. You know what I’m going to say now, just take one last look at what you’ve done and add adjustments if needed so it all looks more natural. And you’re done! I hope you’ll ind this tutorial helpful :)

Tutorial by:

Vinegar [email protected] www.vinegaria.com

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Sky

Chapter 3 : By Linda Tso

elementsSkies

Step 1: Take a large soft edged brush to block in the most basic colours. I have used a very dark, saturated blue, a lighter medium blue as the base colours of the clouds, and a medium purple to suggest the sky.

Step 2: Choose a bright, saturated red, with mode set to Hard Light and brush over the bottom of the picture, then use bright orange and yellow and brush over the same area a few times. This will create a nice sunset like gradient.

Step 3: Using custom brushes, and mainly picking some colours from the image, block in the main shapes of the clouds/sky. I have decided on the upper left corner to have some bright sky showing through with a large supercelltype cloud occupying the rest of the space. The custom brushes add some interesting irregular edges and textures at this beginning stage.

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Step 4: Using more strokes of various custom brushes to paint in the back lit cloudy sky in the upper left. The brush sizes are still quite large here.

Examples of custom brushes and their settings.

Step 5: Use smaller brush sizes to start reining the cloudy sky. I alternate between simple painting with the colours chosen, or colour-picked off the image, and a soft edged brush set on Soft Light with a medium saturated blue over the areas where the sky colour shines through.

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Step 6: This step is mainly using the smudge tool to drag out some of the textures from the custom brushes, which have become just a bit too much for clouds. I mainly use the smudge tool with the spacing not checked, which is great for smooth blending of colours without that “Photoshop” look, although for this I also wanted to have that pulled colours look so sometimes I leave the spacing checked.

Step 7: Adding more details, this time using mostly small soft edged brushes, and start working on the large supercell.

Step 8: More details with a small soft edged brush, and blending and pulling colours with the smudge tool.

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Step 9: The last step is really just checking the overall image, I decided it would be good to adjust the lighting, and this can be done quite easily with a large soft edged brush. Chose more saturated colours with similar hues and mode set on Overlay/Soft Light/Hard Light. If you want to lighten an area, make sure the value of the colour is more than 50%, and vice versa if you want to darken an area. These blend modes are very useful for making things “glow”. I also blend out more of the too-recognizable texture from the custom brushes. If this were to be a complete painting, I would probably spend a lot more time to add details to the supercell, which could really enhance the sense of scale. Using a soft edged brush set on Overlay or Soft Light/Hard Light blend modes to lighten or darken large areas. These blend modes are usually better than say Screen or Multiply since they also tend to saturate the colours a bit more.

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In order to bind the image together and inish it we need to bounce some of the orange light along the bottom left edge across the clouds and unify the colour scheme slightly. Using Select - Colour range pick an area of the dark blue storm cloud and then feather the selection somewhere between 30 and 50. With this done go to Image - Adjustments - Colour Balance and add some warmer tones by moving the sliders towards the red and yellow. Then select an area of the bright orange using the colour picker and then on a new layer set to Overlay start painting in some light above the dark cloud in the upper left and also highlight some of the lighter clouds in the right of the picture in front of the main cloud formation. This will help these lighter clouds relect the light source at the bottom of the picture and bring it together more. If you like you could also select the light area in the upper left of the painting using the lasso tool and after feathering the selection, adjust the colour balance in a similar fashion to the large cloud. Tutorial by :

Linda Iso www.2dartistmag.com

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Sky

Chapter 4 : By AquaSixio

elementsSky

‘You have your head In my Cloud.’ How can I start ? First, I had to choose two complementary colours. I tried the orange / light-purple combo. Then I choose a basic brush ( size: 100 Opacity: 100 low: 20 ) and I paint in rough shapes. I drew the same cloud forms as I did when I was a small child. Use the form of the brush to help you ( size: 50 opacity: 100 low: 20 ). Reduce the opacity to add a misty effect ( size: 50 opacity: 50 low: 20 ).

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The light outline

elementsSky

I added A third colour ( don’t ask me why lol ) and used the same process as before except for one thing: The light outline - I picked the light-orange from the previous cloud and drew the cloud’s form( size: 6 opacity: 75 low: 20 ).

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Here, I tried to unify the two parts of the drawing.

elementsSky

What about the bottom part ? Here I added a dark orange. Then I drew a rough cloud form. I changed the hue ( -9 ).

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It’s not Precise ! Now is an important phase: WORK AND CLEAN, I tried to change all the crude shapes into precise cloud forms ( using the same brushes as the previous clouds).

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elementsSky

Recapitulatory for the brushes Remember there are no strict rules here because there no magic formula ha ha... Canvas’s size 480*640 pixels and one layer used. For crude cloud’s form: Size 100 opacity 100 low 20. For the cloud details: Size 30-60 opacity 100 low 15-25. For the mist: Size 100 opacity 30-50 low 15-25. For the light’s outline Size 3-6 opacity 60-100 low 20-35. You can build the cloud structures using the form of the brush, it easier.

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The second part The heaven thing... bah it’s the continuation of the drawing. You will see what I draw when I haven’t any inspiration lol. So I added another light effect with the basic brush ( size: 150 opacity: 20 low: 10 ).

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elementsSky

The composition Hehe now it’s time for the composition. What’s the composition ? It is the structuring of how people see your work and read your picture. If you don’t consider the perspective, the frame or the colours then the render won’t be as interesting as your work. I am sure my composition is not perfect but I tried my best.

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elementsSky

Canvas’s size revolution Here you can see the new composition of the drawing as I was not satisied with the previous version. I decided to change the canvas size 400*800 as the waterfall might work better... Why did I added the green I can’t explain, the fact this drawing is very light could be a possible explanation. I painted the green as mist, but this time it was the waterfall’s mist.

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Finished Artwork I changed the brightness, but I think the composition is still unresolved. I tried another composition idea below. You can see the process I use when starting a new drawing in Photoshop 7 and you could now possibly try to do your own cloud drawing. Tutorial by:

Aquasixio

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Sky

Chapter 5 : By Richard Tilbury

Painting a Sky Intro:

elementsSky

a reasonably neutral light blue grey ( R 153, G

using the eraser to create sharper accents and

167, B180 ) and illed in the entire canvas.

also the smudge tool to blur some sections. You can also use the eraser to gradually fade

This tutorial will attempt to outline a brief and straightforward approach to painting a simple

Step 2:

out some of the edges by setting it to around

sky with particular attention to the interaction

Next stage is to decide upon the positions

25% opacity.

between sunlight and cloud formations. It is

of the main clouds which in this example will

aimed at beginners who are keen to ind a

enter the frame from the left edge. For this I

Step 3:

technique to in which to tackle a very popular

will use a darker version of the background

With this main cloud in place it is time to add

and universal subject and one that features in

colour ( R 126, G 140, B 157 ) and rough in

the light source which will emanate from the

much digital painting

the general shape on a separate layer. It is a

bottom left corner and so on another new layer

good idea at this stage to use loose and bold

I selected a pure white and placed this layer

Step 1:

brush strokes and encourage happy accidents

under the previous one to ensure the light is

The irst step is to ill in a base colour but due

that may help suggest the forms and then

behind the cloud. With a large airbrush around

to the very changeable nature of the sub-

reine them further down the line. You can see

400 pixels I simply blocked in the light in the

ject there is no particular hue that should be

in the image that I have varied the edges to

bottom corner and faded it out slightly across

chosen here. In this case I have decided upon

add some interest and realism and this I did by

the image.

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v2 Elements : Sky

elementsSky

Step 4: With these two key components blocked in it is time to reine the main cloud by varying the tones to prevent it looking too lat. So using the eraser tool partially begin erasing areas to give it some form and also fade some of the edges as well as perhaps adding in lighter accents using a paler blue grey.

Step 5: It is now time to begin adding in some of the detail that will make up the distant clouds that will run along the base of the canvas to the right as well as add in highlights around our main cloud where it thins out and catches the sunlight. Again on another layer I start to paint in the highlights using a pure white by irst outlining the top edge of the cloud with some thinner wisps extending from the right edge. Lastly I suggested a formation of clouds in the distance by just painting in the top edges which have caught the light using a small airbrush around 3 - 5 pixels.

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elementsSky

Step 6: In order to add a little more drama and volume to the cloud I added some darker tones on a separate layer which was set to Multiply but made sure to focus these only on the far left where the sunlight is at its brightest and so increase the contrast.

Step 7: With this layer done it is just a question of reining what we have already done by either adding one or two inal layers or manipulating the ones already in place. For the purposes of this tutorial I worked on the existing ones and painted in some iner lines along the top of the cloud to give it some deinition and highlights. I also painted in some traces of detail across the middle of the cloud to give it some form as well as some small smudged clouds around it. Here is the inished article done in about an hour and a half.

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elementsSky

Conclusion: It is a good rule of thumb to paint in rough shapes and then use the Gaussian blur ilter to soften the shapes and then using a small airbrush simply add in a few sharper lines to create the forms. It is not often necessary to add an equal amount of detail across the entire painting because the brain does a very good job of illing in where the eye is only offered a suggestion of something.

Tutorial by :

Richard Tilbury www.2dartistmag.com

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v2 Elements : Sky

Skin

Chapter 9 : By Richard Tilbury

elementsSkin This tutorial will deal with the topic of painting skin. As with any subject, it is important to gather as many references as possible before starting. Skin is yet another element that varies greatly, hence the importance of research. No one person looks the same and so it is important to decide on a rough colour scheme early on. I decided as a starting point, to begin with a rough drawing I had already done on paper in one of my sketchbooks.

Step 1 The irst stage, as always, was to make a quick copy of the drawing on a new layer using a small standard airbrush set to about 8 pixels wide and set to Multiply. This will act as our guide for the painting, which you can see in Fig.1.

Step 2 Quite often I place the predominant colour down across the entire canvas, which in this case is a light brown (R157, G103, B76), but here I wanted to keep a white backdrop, so I made a mask around the drawing and then illed in the body only (Fig.2)

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elementsSkin Step 3 This will form the base colour, over which I shall now start to paint in some general highlights and shadow areas. I usually paint these on two separate layers, but in this instance I am putting them on the same layer and leaving it at the standard Normal blending mode in order to make quicker changes (Fig.3) At this stage, we are just trying to establish the basic forms and where the light source is situated. You can see the type of brush used in the top right, along with the low setting (50%). Try to keep the light and dark areas as derivatives of the base colour. You can see the two shades I have used in the top left of the image.

Step 4 Now that the body has begun to take form, and I know roughly where the light is falling, it is time to create a new Shadow layer which will be set to Multiply. This will deine the key shadows and will be done using a soft airbrush and will help to further deine the forms. The colour used can be seen in the top left (Fig. 4).

Step 5 You will notice that, so far, the detail has been deined tonally, with various sizes of the soft airbrush. Certain areas, such as the lips and around the deltoid muscle at the top of the left arm, have used a hard round brush which creates a more clearly deined edge, as demonstrated by the two brush strokes in Fig 4.

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elementsSkin Step 6 Now that a shadow layer has been established, it is time to create one for the highlights, which will be set to Soft light as a blending mode. In Fig. 5, you can see the colour used in the top left. I have also gone back to the original lighting layer and also added in some highlights across the face and neck to improve the head area.

Step 7 There are essentially two further layers that I will use before lattening the image and making colour adjustments. One shall be reserved for detail only, namely the nipples and veins, and the other will be called ‘reinements’ which shall be another highlights layer in essence. In Fig. 6, you can see this layer isolated over the base layer. It is set to Normal blending mode and uses the same colour as the highlights layer. The purpose of the layer is to enhance what is already there by using iner strokes, as well as paint in the brightest areas. Keeping this as a separate layer just means more control when making inal adjustments to the tonal ranges.

Step 8 With this layer complete, and the small details painted in, it is just a question of making some minor colour changes, which in this case means a colour balance adjustment layer which I tweaked towards a more yellow hue. One last layer, which is set to Soft Light, is used to add some colour to the ears and lips, as well as some of the random areas, to add a little colour variation.

Step 9 One could now add some blemishes and marks, along with some subtle colour variation, to help reduce the consistency of the skin tones.

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v2 Elements : Skin

Skin

Chapter 7 : By Emrah Elmasli

elementsSkin In this tutorial, I’ll try to explain the painting process of a realistic human skin texture. I’ll use the upper torso of a male body as my subject, which is a very good surface to apply light, form and detail. It’s always good to use a reference in subjects like this - a photograph or a live model will do. I begin my painting process by creating a new A4 document in Photoshop CS2. The irst step is drawing the lines of the torso. I start by drawing the main sketch on a new layer with a simple brush (igure 01), by looking at a torso reference found in an anatomy book. To begin, it’s always useful to draw a basic sketch which indicates the main forms of the subject. By doing this, our painting will be better and correct (igure 02). After inishing my sketch and being happy with it, I change the “layer properties” to “multiply” and open up a new layer underneath it. I ill this new layer with a medium skin tone (R: 219; G: 190; B: 156), which I’m thinking of using in my painting, using the “ill” tool (igure 03).

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v2 Elements : Skin

elementsSkin

As we know, skin tones vary by the races and countries we live in. The skin that I’m going to paint belongs to a white man, with a medium-toned skin. I continue by opening a new layer between the sketch and the medium skin tone layer. I start to determine general forms with the soft brush that you will see detailed in igure 04. The colours that I use while painting the forms are the darker and warmer tones of the medium skin tone that I used before. I pay more attention to the general “stain” values, then going more into the details and trying to igure out the form of the skin, the curves of the muscles and the colour of the inal skin tone. (igure 05). For the next step I can start to apply the highlights by considering the angle of the light source. I use the yellowish and lighter tones of the skin, so that the form starts to slowly become more deined (igure 06). After being happy with the highlights and the shadows of the form, I start to paint over the lines and try to make the painting look more realistic (igure 07). The brushes I use while painting over the lines are the airbrushes that I use frequently, and the hard-edged brushes which I use to paint the sharp edges (igure 08).

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v2 Elements : Skin

elementsSkin

NOTE: Skin takes the form of the muscles and wraps it like a cloth. One of the most important things that we should pay attention to, whilst painting a realistic skin texture, is successfully applying the curves of the muscles. If we take a look at the shoulder muscles, we can see the harmony between the skin and the muscles under it (igure 09). Human skin is a relective surface, in despite of its matte appearance. If we look at the area between the bicep muscle on the upper arm and the ribs (igure 10), we can see the bouncing light effecting the bicep area. We call this “radiosity” . This relection changes depending on the colour and the density of the light. It is important to get the relections right, whilst painting a realistic skin texture. After painting over the lines (igure 11), I can start the detailing process. The best way is to examine our own skin to see what kind and amount of detail it has. Skin has details like freckles, hair and spots. Now, I’ll try to apply these details to my painting. I can start with the freckles and spots detail. One of the best ways to produce freckle details, is to create them traditionally by using a brush and watercolours. All you need to do is to spatter some watercolour paint on to white paper. After creating the spatter effect, you scan it and make it ready to use digitally.

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v2 Elements : Skin

elementsSkin

Using Photoshop, I desaturate the spatter texture and adjust the levels until it becomes pure black and white (igure 12). Then I copy this texture on my painting and apply it to the suitable places. To integrate the freckles with the skin I change the “layer properties” of the layer to “colour burn”, and to make it less dominant I decrease its opacity to 50% (igure 13). To make it look more homogeneous, I erase some of the spots. I also apply some brown coloured spots to make the skin texture richer (igure 14). The other way of make the texture look more detailed is to add some hair to it. I paint these hairs on the lower arm with a thin, hard brush one by one (igure 15).

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v2 Elements : Skin

elementsSkin

The colour of the hair I chose is a lighter tone of the skin colour ( R: 199 , G: 154 , B:116). (igure 16) . Another detail which reveals under the skin, is the veins. I add some blue-ish, grey coloured vein details on the bicep muscle with a soft and calligraphic brush, without over-doing them. To make them “pop out” more I add some highlights to them with a lighter tone of the skin colour (igure 17). After adding all these details, I’ve almost inished the painting. There are just some colour and contrast adjustments left to be made. Over all my layers I open some “Adjustment Layers” like; “brightness/ contrast”, “colour/balance” and “ hue/saturation”. You can ind these by going to the “layer” menu and clicking on the “New Adjustment Layer”. I increase the contrast and decrease the saturation a bit. Also, I adjust the colours by the help of “Colour Balance” and make them look more accurate. As a last step I will add a “noise effect” over the skin to make it look rougher. I open a new layer and ill it with a greyish tone of the skin colour (for example: R:180; G: 170; B:150). After this, I go to the “Filter” menu, click on “Noise” and select “Add Noise” effect, then make these adjustments: Amount: 400%, Distribution: Uniform (igure 18). After this, I use the “Spatter Effect” to make the “noise” look messy and unbalanced. (Filter> Brush Strokes >Spatter). Then I apply “Blur Effect” on the same layer twice. (Filter> Blur> Blur) (igure 19). Lastly, I decrease the opacity of the layer to 4%. Finally, my skin painting is complete (igure 20). This is the method I use to paint realistic skin texture. I hope you like it.

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v2 Elements : Skin

elementsSkin Emrah Elmasli More work from this artist can be found at: www.partycule.com You can contact them via: [email protected]

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v2 Elements : Skin

Winter Trees

Chapter 8 : By Chris Thunig

Intro:

elementsWinter

This tutorial will attempt to outline

Trees

a shape-based approach to painting using a snowy tree as an example. It is meant to explain a more graphic as opposed to a fully rendered modus operanti while limiting oneself to using mainly contrast and form to create an illustration.

Step 1:

Before actually starting up the computer I produced a quick ink sketch on aquarelle paper to lay down some interesting shapes, ind

a decent composition and deine the general direction I plan on going into. Besides the fact that I am able to stay looser when exploring an idea traditionally before leshing it out in Photoshop I ind that the paper structure and ink shapes will give the image a subtle naturalistic quality that is otherwise dificult to reproduce digitally. When sketching, even at this early stage, it may be worth to hint at perspective and volume by blocking out some of the inner shapes with a few strokes instead of solely relying on the outlines as this will initially give a clearer idea of where the drawing is headed. (Fig.01)

Step 2:

After scanning the sketch I irst of all applied an overall Brightness/Contrast layer to darken the image enough to allow me to add

both, darker and lighter values when rendering the volume of the tree later on. I then roughly illed the shape of the tree with a base colour in a multiply-layer using a medium sized chalk brush. Though the brush itself generates a solid “coat” of colour the outline of it makes the smudges look more natural than a normal round brush would, resembling somewhat of marker sketch. (Fig.02)

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v2 Elements : Winter Trees

elementsWinter

Step 3:

Trees

Since the subject matter is characterized by a rather limited colour spectrum and sharp, contrasty lines in a usually diffuse light

situation I am using what I call a shape-based approach in creating this image rather than setting a deinite light source and going straight for a realistic light source-based rendering. In doing so I try to deine light and dark areas that form shapes by contrasting each other. In achieving this the snow patches in this picture play an important part and I start laying out them in broad, rough strokes with a smaller charcoal-shaped brush. (Fig.03)

Step 4:

By darkening the base layer of the tree slightly more I increase the contrast between snow and organic structures further and start

blocking out details of the trunk, rocks, and grassy bits to begin generating volume as well as giving more shape to leaves, roots and branches. Adding just a subtle touch of colour on in places will be enough to prevent the image from looking too monotone. (Fig.04) .

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v2 Elements : Winter Trees

elementsWinter

Trees

Step 5: Next, the cleaning up of the yet untreated areas could begin. In doing so I found it important to angle the sharp outlines of shapes of, for instance, the snow patches in interesting ways to generate appealing compositions and as such illing white space by relatively simple means. This ensured that none of the less important areas would become overworked and the focus stayed irmly on the tree. (Fig.05)

Step 6:

As the detailing continued by leshing out the texture of the bark I also took the opportunity to add small gimmicks such as icicles and

tiny tracks to break up larger shapes and lines into smaller ones and invoke a touch of lively playfulness. A slight gradient as a background not only helped to juxtapose the contrast of the snow patches on top of the tree further but also gave a subtle hint at a damp sky. (Fig.06)

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v2 Elements : Winter Trees

elementsWinter Step 7:

against each other and virtually leading the

Tutorial by :

With the tree painted up and the largest part

focal point from the base of the gnarly trunk

Chris Thunig

of the clean-up work completed I decided

over to the right towards the fence. The

http://www.thunig.com

to add some patchiness to the gradient to

comparably young, slender and fragile plant

somewhat

clasping the batons to the right also serves the

diminish

purpose of juxtaposing opposites. (Fig.07)

Trees

the CG feel. A few more

Conclusion:

roots peeking

Breaking up large shapes into smaller ones

out from under

while using tonal contrasting to separate

the snow on the

them can be a relatively quick and easy

left helped the tree’s

way to create interesting compositions

perceived

while maintaining some form of readability

stability. I

by detailing mainly the areas of interest

then balanced

and keeping the surrounding forms simple

the composition

and sharp, yet appealing in their layout and

on the right

angularity.

by adding a few grass leaves in the foreground and a fence behind the tree while the subtle disk of the moon simply serves as another means of contrasting shapes

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v2 Elements : Winter Trees

elementsWinter

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Trees

v2 Elements : Winter Trees

Trees

Chapter 9 : By Richard Tilbury

elementsTrees

Intro The following tutorial will attempt at outlining an approach to painting trees and hopefully summarise techniques that can be applied to the subject as a whole. Off course the capabilities of creating custom brushes in Photoshop is very useful with regard to painting different types of trees and will need to vary accordingly but overall the principals explained will remain universal.

Step 1: The irst step is to draw in a rough shape that represents the trunk and branches of the tree. I made an initial plain white background and then using the polygonal lasso tool simply traced in the shape of the tree and then illed it with a dark brown colour similar to (ig 01).

Step 2: Then using one of Photoshop’s standard dual brushes called dry brush which appears in the default palette and using a mid green (R42 G65 B11) start blocking in some of the main areas of foliage as seen in (ig 02). Try varying the size of the brush until you get the scale right.

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v2 Elements : Trees

elementsTrees

Continue adding the leaves until you are happy with the look and have illed out the shape of the tree (ig 03).

Step 3: Then in order to add some volume and shadows I duplicated this layer and erased the upper most portions so that the sun appears to be shaded from the lower boughs and in contrast highlighting the highest branches (ig 04). Then on another new layer I painted in some lighter green highlights across the top sections of the foliage to also help create the volume. In (ig 05) I blacked out the background so you could more easily see these areas. You will also notice how I have included highlights on the branches to reinforce the sensation of light.

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v2 Elements : Trees

elementsTrees

Step 4: The next stage is to add some further highlights on the same or a new layer as well as some extra branches that appear in front of the foliage. It is important to remember that the branches and foliage spread out in every direction as well as towards the viewer and so branches disappear behind leaf groupings and also overlap them at points (ig 06). You can see the extra highlights when you compare the picture to the previous image. These represent the leaves that have really caught the light and often appear very pale due to their relective quality.

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v2 Elements : Trees

elementsTrees

Step 5: All that is left to do now is latten down the layers of the tree and then using the colour dodge and colour burn tools enhance some of the qualities of the light across the branches and foliage. I also decided to add in the sky painting from last months Element’s tutorial and tweaked this using the Colour Balance and Hue/Saturation values to give it a sunnier and warmer quality. You can see the inal result in.

Tutorial by :

Richard Tilbury

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v2 Elements : Trees

Water

Chapter 10 : By Richard Tilbury

elementsWater Painting Water During this tutorial I will try to outline one way to go about painting water that is representative of a calm sea. Now this is a subject that varies greatly and is dependant on so many factors that it is almost impossible to lay down strict rules and guidelines. Water by nature is highly luid and transformable and therefore does not have a particular form to it. It is both transparent and at the same time very relective and so is always at the mercy of its environment and surroundings in the way it is perceived by the human eye. It is also affected by light, weather conditions and gravity and so can appear in an ininite number of ways. A waterfall or fast lowing rapids look white and opaque compared to a still pool for example and the colour of the ocean always relects the sky above it. Therefore the way we go about painting water is always reliant upon a number of issues and aspects in our scene and all of these must be considered before we begin. As I have already mentioned this particular tutorial concerns a relatively calm sea and so the only real issue to be mindful of is the sky. If we were to include land masses or trees for example then these elements would undoubtedly have a bearing on our painting.

Step 1: So the irst thing to do is block in our horizon line and colour of the sea. I have decided to start with a dull grey blue but this can easily be changed later on. On the background layer ill in the whole picture with a white and then using the rectangular marquee tool create a selection area at the base of the image and then go to Select – Feather and enter about 10 pixels and ill in with a blue colour as seen in Fig 1. With this done select the entire image and go to Filter – Blur – Gaussian Blur and enter around 6.7. This will suficiently soften our horizon line and

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v2 Elements : Water

elementsWater lessen the transition between the sky and sea. This of course is not always how we perceive the horizon – sometimes it is very crisp but for the purposes of the tutorial we shall create a bit of atmospheric perspective.

Step 2: With the two colours blocked in the next thing to do is start to create the relections across the surface which will deine the motion of the water. I decided to make a reasonably calm sea without too much turbulence but enough to create a pattern. For this I started with a standard soft round airbrush and under the Brushes tab added a sample tip as a dual brush with settings similar to Fig 2. I then created random strokes across the blue on a separate layer using a variety of brush diameters and using a pure white. I then set the layer opacity to 50%. The inal result can be seen in the upper right.

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v2 Elements : Water

elementsWater Step 3: The next stage involves creating a new layer and doing exactly the same thing except creating marks in different areas (Fig 3). Set the blending mode of this layer to pin light and turn the opacity down to around 70% - you can see the two layers combined in the upper right.

Step 4: In this exercise I am going to have a setting sun in the centre of the image just above the horizon line and so will need stronger relections at this point. So again on a new layer using the same process as before add in some extra highlights below the position that the sun will occupy as seen in Fig 4. You will notice that my marks are quite rough but do not be worried about that at this stage as we are far from inished. When you are happy with the layer set the blending mode to linear dodge and leave it at full opacity – again the small inset shows culmination of layers so far.

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v2 Elements : Water

elementsWater Step 5: Make a copy of this layer and then add a gaussian blur similar to the amount seen in Fig 5. and keep this layer set to linear dodge.

Step 6:

So far I have only used one

brush to paint the highlights but to give the water a shimmering quality I will need to use a different brush – in this case a standard chalk brush. This will break up the edges of the light relecting on the surface and help create the impression of a sun low on the horizon. Concentrate the brush marks near the horizon where perspective reduces the visibility of the waves as seen in Fig 6. You will also notice that I have added in a simple sky to help contextualize the water and show how the two are co-dependant.

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v2 Elements : Water

elementsWater

Step 7: Using the chalk brush I have

to do is select a dull pink with an RGB value

water in the mid distance from a low sun and

added some marks across the water but

of 146,134,136 and ill a new layer entirely.

help the sense of perspective. You can see in

concentrating around the central section of the

Then set the layer mode to lighten and erase

Fig 8. On the left of the line where the layer has

image on two separate layers similar to the

areas near the base of the image and across

been added compared to the right side which

way I made the initial highlights. I then blurred

the clouds (Fig 8). This will produce the subtle

is as it was.

both layers slightly to soften the effect and the

impression that more light is bouncing of the

result can be seen in Fig 7.

Step 8: There is no need to really add too much more detail on the water now. We have reached a stage where we have enough information to interpret the brush marks but not laboured over them too much. The overall image remains very blue and suggests an almost early afternoon light but as the sun is low in the sky it seems as though an overlay would help imply an evening light. First thing

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v2 Elements : Water

elementsWater

Step 9: We are now going to add a warmer overlay across our sky and the lighter areas of the water. We can limit the areas we apply the colour by going to Select – Colour Range and using the eyedropper to select the highlights. Once done feather the selection by no more than 2 pixels and again on a new layer ill in with an orange yellow and set the blending mode to Colour at around 25% opacity. In ig 9. you can see again the before and after effects of this and how the yellow has been limited to the lighter areas.

Step 10: Last of all we are going to add one more overlay to the water only so that the sun is the brightest area in the picture. Choose a pale orange and ill in an area across the whole of the water and then set the blending mode to multiply at around 20% opacity. In Fig 10 you can see how this looks before we change the blending and how it looks afterwards. On this layer I have erased some of the colour across the sky so there are some cooler blue tones remaining in order to avoid too much uniformity.

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v2 Elements : Water

elementsWater

That about concludes this tutorial and as always reinements could be made but hopefully it will prove useful to many people wishing to paint seascapes. The inal image can be seen above.

Tutorial by :

Richard Tilbury

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v2 Elements : Water

Waterfall

Chapter 11 : By Don Seegmiller

elementsWaterfall Painting Rocks & Stone There are many different types of waterfalls. They range in from small trickles of water to immense and thundering rivers of water. They can be calming or terrifying. Each type would call for a somewhat different treatment as you worked. In this brief demonstration, I will show how I would go about painting a rather small waterfall. In this demo, I have used done the majority of the painting in Corel Painter and used Adobe Photoshop for a few inal touches. The general procedure would be the same regardless of what application you would use.

Figure 1: You irst need to begin with something to paint the waterfall on. In this case, I have used a rather strange rock formation that I painted earlier. That in itself could be the subject for another tutorial but for now, this is the rock we are going to paint a waterfall on.

Figure 2: As the water pours over the rocks, it leaves moisture wherever it spills and you wan to get this effect. The simplest way to accomplish this is to add another layer, change its composite method to either multiply or gel and paint a darker layer. You can see in the image the initial values on the bottom of the rock and how they become more reined as I work them into the higher areas of the rock. I ind that I will almost always lower the opacity of the layer and apply a slight blur. The amount of opacity and blur is strictly an individual choice. I leave this on a separate layer for the time being incase I want to make some changes as I paint the water.

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v2 Elements : Waterfall

elementsWaterfall Figure 3: This igure shows the wet layer after it has been worked a bit more and blended. I also decide that there is not quite enough contrast or colour in the rocks themselves. To correct this problem, I duplicate the rock layer, change its composite method to gel, and turn the opacity down until I get just the right change in contrast and colour saturation. I go ahead and combine the two rock layers into one.

Figure 4: Using a chalk brush, I indicate the initial fall of the water stream on a new layer. I use colours that are picked out of the sky to retain an overall colour harmony. I am not concerned about detail at this point but just the overall look.

Figure 5: I continue to reine the water paths a bit getting some smaller streams pouring over the rocks. I try and not paint too thickly so that the underlying colours of the rocks still show through.

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v2 Elements : Waterfall

elementsWaterfall Figure 6:

Figure 7:

Using the same brush, I begin to develop the

I work down the surface of the rocks adding

look of the “sheets” of water as they spill over

additional white into my colours as the water

the rocks. I refer to good reference materials

bubbles and splashes. I try and make the

to make sure the effect is natural. Remember,

water take a path in the rocks that will feel like

all of this is taking place on the “water” layer.

a natural low in the cracks and crevices.

Working in layers does make correcting mistakes so much easier.

Figure 8: The water is not only white but changes colour as it lows in and out of the shadow. You can see at the red arrow points where I have changed the colour of the water to a blue that I picked out of the sky colours. If you do not make your water change colour as it lows in and out of the shadows, the whole image will look lat and will not help give the illusion of lowing water.

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v2 Elements : Waterfall

elementsWaterfall Figure 9:

Figure 11:

I add an additional layer and using the

When painting objects like waterfalls, it is almost impossible to tell the scale of the object without

variable splatter airbrush, I paint in some

something in the picture to give the viewer a sense of the size. In this case, on a new layer, I

big splashes where the water hits the rocks.

added the lock of birds. Now, you the viewer know that the waterfall is not very large and not just

Almost always, I will need to go back in with

a trickle but maybe just 12-15 feet in height on the irst tier. I do arrange the birds pretty carefully

the eraser and gently erase here and there to

after painting them in.

keep the effect from becoming overpowering.

Figure 10: Using the digital airbrush, I add the misty and foggy effect on a new layer on top of the splashy layer.

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v2 Elements : Waterfall

elementsWaterfall Figure 12:

I switch to Photoshop at this point to add a rainbow. Once again, on a new layer I create a circular marquee and ill it with a

circular gradient. The gradient is custom build to utilize transparency. I reversed the order of the colours to add more strangeness to the scene. The colours are harsh, too saturated, and the placement is bad but since we are on a new layer, this is easily ixed.

Figure 13: Using the Gaussian blur tool in Photoshop, I soften the rainbow. There is no correct amount and you will need to experiment to get just the right amount for your individual image.

Figure 14: I scale the size of the waterfall down and position it where I want it. I lower the opacity to about 40% and also change the blending mode to colour. This gives me a very nice and subtle rainbow like you might expect to see with a waterfall.

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v2 Elements : Waterfall

elementsWaterfall For the inal touch I carefully erase some of the lower part of the rainbow. The image is now inished.

Tutorial by :

Don Seegmiller

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v2 Elements : Waterfall

Introduction: Michel Roger’s famous ‘Joan of Arc’ tutorial re-written for Maya by Taylor Kingston, Cinema 4D by Giuseppe Guglielmucci & Nikki Bartucci, Lightwave by Vojislav Milanovich and Softimage by Luciano Iurino and 3DCreative Magazine.com. If there has been one single tutorial that has educated and inspired more budding 3d artists than anything else, this complete step by step project by Michel’s must be it. The community is in debt to him.

These 120 plus page, Downloadable PDF’s are designed for ease of use to help beginners and intermediate level of artist alike in the creation of a female character. The tutorial takes you through the process of modelling, texturing and mapping to inally adding bones.

for more products in our range visit http://www.3dtotal.com/shop

Image by Michel Roger

Chapter 1: Modeling of the Body - Body Chapter 2: Modeling of the Head - Head, Ear & Assembly Chapter 3: Modeling of the Accessories - The Sword & Armour Legs Chapter 4: Modeling of the Accessories - Armour Bust, Hair & Glove Chapter 5: Modeling of the Accessories - Accessories & UVW Mapping Chapter 6: UVW Mapping - Sword, Clothing, Armour & Body Chapter 7: Texturing & Hair - Eyes, Skin & Hair Chapter 8: Bones & Skinning - Bases, Hierarchy & Skinning

Downloadable Tutorial EBook

Introduction: The original character of the Swordmaster was created by Seong-wha Jeong and we had 3DTotal’s in-house 3d artist Richard Tilbury, re-create the character in 3dsmax as well as create the textures in Photoshop, in our new precise, step-by-step tutorial for highly polished, low polygon game character with detailed texturing for real-time rendering. We have also converted the tutorials into Cinema 4D, Maya, Lightwave and Softimage platforms. Even if you are not a user of one of them, the principles should be easily followed in nearly all other 3D applications. The Swordmaster tutorials is spread over 8 Chapters which outline, in detail, the process for creating the Swordmaster below are the details.

image by Seong-wha Jeong

Chapter 1: Modelling the Head Chapter 2: Modelling the Torso Chapter 3: Modelling the Arms & Legs Chapter 4: Modelling the Clothing & Hair Chapter 5: Modelling the Armour Chapter 6: Mapping & Unwrapping Chapter 7: Texturing the Skin & Body Chapter 8: Texturing the Armour & Clothing

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: volume 1 Introduction: The ‘Digital Art Masters: volume 1’ book, is a collection of work from artists which have featured in the gallery of 3DTotal. Spread over 192 pages, the book features some of the finest digital 2D and 3D artwork that you can see today, from artist as Natascha Roeoesli, Philip Straub, Rob Chang, Jesse Sandifer, PiSONG, Meny Hilsenrad and Ryan Lim and many more. More than just any other gallery book, each artist has written a breakdown overview, each with supporting imagery of how they made there piece of work.

The first book in the “Digital Art Masters” series, contains work by the following artists: André Holzmeister, Andrey Yamkovoy, Balazs Kiss, Cetin Tuker, Daniele Montella, d’Ettorre Olivier-Thomas, Donald Phan, Drazenka Kimpel, Egil Paulsen, Eric Wilkerson, Fabricio Micheli, Francisco Ferriz, Fred Bastide, Fredrik Alfredsson, Haure Sebastien, Jesse Sandifer, Jorge Adorni, Juan J. González, Juliano Castro, Khalid Abdulla Al-Muharraqi, Landis Fields, Laurent Gaumer, Laurent Ménabé, Li Suli, Linda Tso, Marcel Baumann, Marco Siegel, Mariska Vos, Meny, Hilsenrad, Natascha Roeoesli, Nicolas Richelet, Niels Sinke, Norbert Fuchs, Olli Sorjonen, Omar Sarmiento, Patrick Beaulieu, Philip Straub, PiSONG, Richard Tilbury, Rob Adams, Robert Chang, Romain Côte, Ronnie Olsthoorn, Rudolf Herczog, Ryan Lim, Siku and Thierry Canon

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Introduction:

A Collection of the inest independent animated movies and commercial trailers. The DVD includes work from a whole number or different sources, such as students, independents animators and commercial studios. We want people to be able to view this wealth of elite animation in one convenient high resolution package whilst generating much exposure for these talented artists at the same time.

- Running Time: 3hrs 8 mins - 27 Shorts movies - 6 Clips & Trailers - Region Free, NTSC & PAL versions - Shorts & trailers from artist and studio like: Blur Studios Brian Taylor Marco Spitoni Patrick Beaulieu & Alex Mateo

- Running Time: 3hrs 8 mins - 27 Shorts movies - 3 Trailiers - Region Free, NTSC & PAL versions - Shorts & trailers from studios such as: Blur Studios Keytoon Animations Studios Redrover Studios & Platige Image - Loads of extra including images and storyboards

for more products in our range visit http://www.3dtotal.com/shop