By Tom Kidd
Go the place no artist has ever long past before.
Bizarre terrains, enchanted forests, futuristic metropolises, ornate palaces—these are the locations the place experience dwells. during this enjoyable and fiercely unique publication from celebrated myth artist Tom Kidd, you'll the right way to set the scene for epic stories of event. realize the place Kidd reveals his most sensible rules, the equipment in the back of his excellent colour feel, and the way he turns all of it into beautiful skies, glittering towns, impressive rock formations, stormy seas, terrific forests and different daring, breathtaking vistas.
• discover ways to draw and paint tremendous settings in a manner that makes them completely believable
• Get imagination-sparking ways for dreaming up those unusual new geographical regions, seeing the area round you with clean eyes and discovering prepared suggestion within the such a lot traditional of places
• thirteen step by step demonstrations exhibit how principles are constructed into dynamic colour oil and watercolor renderings, with a few dialogue of electronic techniques
This ebook is your price ticket to locations of absolute ask yourself and weird attractiveness. Thrill your audience by way of transporting them to locales so massive and unreal, it's going to take their breath away.
Read or Download OtherWorlds: How to Imagine, Paint and Create Epic Scenes of Fantasy PDF
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Additional info for OtherWorlds: How to Imagine, Paint and Create Epic Scenes of Fantasy
Sample text
The red shift is caused by the blue in the light being fi ltered out into the atmosphere and not because of atmospheric particles. This is caused by the Rayleigh scatter, which is how the atmosphere scatters cooler light (blues) and allows warmer light (reds and yellows) to shoot more directly through. It’s also what turns a sunset orange and tends to make the sky blue. Adding mist or smoke in the air is a nice way to create layers to separate the subjects and establish a sense of depth in your fantasy paintings.
In short, every element in a painting depends on all the other elements to work. Unless you’re painting abstractly, your painting is some sort of narrative. It may not be an intricately plotted novel, but it certainly has the potential to spark the viewer’s imagination. As an illustrator you’ll want to communicate your ideas well. Knowing how to use contrasting elements, such as atmospheric perspective, will be an important tool in accomplishing this. The task here is to paint a giant authoritarian tank.
By using tonal masses effectively, you can make a cowering mouse more important than a towering, fire-spitting demon. When you mix successful compositional massing with a strong use of warms and cools, your fantasy paintings will only benefit. SOFT TONAL M ASSES OPPOSITE PAGE The middle tone of the castle covers the right third of this painting as a block. It’s cut in half by the strong dark mass of charging horses carried through with the dark drawbridge. Although there’s a great deal of action and detail present, the majority of the composition maintains a quiet feeling because of the midtonal masses.