Title: Study of Daenerys Targaryen
Size: 8.5″ x 11″
Notes: This is a study of Daenerys Targaryen I worked on from a still frame of the final scene of HBO’s Game of Thrones Season 1. In this scene rises from the funeral pier cradling three newly hatched dragons. I chose this to study this shot in order to practice my digital painting skills – particularly rendering form and texture – and because I hadn’t yet painted a dragon.
I started with a lineart sketch with the scratchboard pen, then rendered the forms with dull conte, worn oil pastel, and a touch of digital airbursh with generous blending – all in Corel Painter. Working in greyscale first helps me concentrate on getting the lighting and forms right before I introduce color. I took some small liberties with the design and adjusted the lighting slightly in order to make Daenerys and her dragon read better.
Do you get bored setting up your perspective lines when drawing a landscape or cityscape? Want to save time and get back to the fun part – drawing?!
Well, thanks to Johnny Quan, a member of DigiPaint, the Facebook critique and resource network I founded for Academy of Art University members, I learned about a fantastic tool today which was developed by FreddieArtMedia at DiGi Art QuickTools. And even better, it’s free! So, with thanks to his generosity and a nod to his awesome work, I’m sharing it here with you! Go to Digi-Art QuickTools here or here to download and then view the tutorial below. Enjoy!
City of Shadows Poster | Commissioned by Skeleton Crew | Featured in the 2013 Academy of Art University Spring Show
Notes: Poster illustration commissioned by Skeleton Crew for their City of Shadows web-series; text by Dustin Sklavos. The theme is a complex one - it’s about coping with psychological injury suffered through unavoidable attraction. Allyson is still recovering from her last relationship when an accident renders her comatose; as a result she must confront her demons or risk losing her life. The story is painted with surrealism and psychological horror with an understated film noir style. I wanted to capture all of these elements in a single, clear, image.
Title: Self Portrait
Size: 8.5″ x 14″
Notes: This piece was an exercise applying new techniques I recently learned for digital painting, in particular when applied to portraits. I thought it would be wise to try this out on a portrait of myself before applying it to a family member, friend, or client. In the end it was a wonderful opportunity to experiment with brushes I hadn’t used before and learn to create digital portraits more efficiently. I was also surprised by much of what I’ve learned from traditional oil painting worked for the digital medium – it really goes to show how interconnected the disciplines of art are!
I’ve also included the draft sketch as a before-and-after glimpse at my process. It also served as the first layer of the painting. Big thanks to my friends and fellow classmates, especially Ideation: AAU’s Production Art Community, for their excellent feedback to help kick this up a notch!
Title: My Zombie Husband
Medium: Graphite & Colored Pencil
Size: 8.5″ x 14″
Notes: This was originally a character design with a focus on rendering realistic folds from a collection of reference photos. In cases like this, I applied my understanding of fabric and folds in this to make an unnatural body with broken limbs look realistic – this character was based on four distinct poses to give the impression that the zombie had suffered several broken bones. I also took the opportunity to tell a story with this design. I then scanned the pencil drawing and digitally painted it, which adds additional elements such as the time of day and mood of the scene.
If you look for the clues, you can learn more about this particular zombie. Even though his ring finger is half-bitten off, he still wears his wedding ring. He’s missing a shoe, perhaps he was turned when he was getting ready for work one morning. Most people wonder what the role of the raven is. Is it and its flock assisting the zombies by circling above human prey? Did the flesh in its beak come from the Zombie Husband’s cheek, implying that the zombies will eventually be consumed by the ravens? One viewer wondered if the ravens were created by the remains of the US government to combat the zombie threat. But is the red glint in the raven’s eye suggesting that it too is a zombie, or is it merely a reflection of the gore around it?
This character was based on my husband (who was a fantastic sport modling those awkward poses and giving me great zombie faces). If there’s any special meaning in that, I suppose it’s that I don’t want him to ever die…and I do mean ever. : P
I’ve continued my project of touching up illustrations from my Character Design Portfolio with these two gesture drawings of Aphrodite in Bruce Timm’s style. For more detailed notes, click here and here.
I originally created this design of Aphrodite in Bruce Timm’s style as a final project for my Character Design portfolio. Tonight I went back and touch it up and tried out an alternate color pallet for her dress. Below are the two new versions, I’m not sure which I like more. The lavender makes me think of royalty and sensualness, as only the very wealthy could afford the dye to make purple in ancient times. As a plus, it also contrasts with her hair really well.
I also tried the turquoise-blue hue based on the triad rule. It brings out her eyes more and makes me think of life and her vibrancy. For more detailed notes, click here in the gallery.
Follow this link to see three videos of Matt Rhodes, Associate Art Director for the Mass Effect games, as he discusses the creation of the Asari, Krogan, and Salarian races respectively. I find his discussion of how he and his artists used model and animal references as launching points for their designs particularly interesting.
Designing Asari, Krogans, Salarians, and Batarians: Mass Effect: The Origin of Species – Features – www.GameInformer.com
Designing Turians: Mass Effect 3: Creating Garrus
What makes an alien race sexy and approachable to humans? What animal features make a race look predatory? Scientific and enlightened? How can designers differentiate members of these species? How would they look in different points across their lifespan? All of this must be considered when designing an alien character in addition to the practical elements of movement, weight, balance, and constructing armor and clothing.
Alex is available for freelance, internship, and contract positions. If you would like to work together, send an email to firstname.lastname@example.org.
Alex Bond grew up in the San Francisco Bay Area, studied Psychology at Reed College in Portland Oregon, and completed a thesis project on Internet RPGs before discovering it was a lot more fun to draw cool things for the entertainment industry herself. She returned to the Bay Area in to earn her MFA in Illustration at the Academy of Art University and pursue a career in art. Her splendid knowledge about people, creatures, and history; her mad research skills; and excellent team playing nature are assets on any project.
Alex is passionate about the potential of digital art and interactive entertainment, and is deeply interested in the growth of both mediums. She believes art in the application of games serves to immerse the audience in a character’s point of view and is constantly searching for ways to enrich these mediums. She brings a unique and diversified perspective to her career as a digital concept artist, matte painter and compositing artist combined with regular jaunts out of the studio to practice traditional plein air painting.