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Contents

Mike Corriero
019
Carlos Cabrera
015
Chapter 02:
Scary animal emerging from a forest
Mikko Kinnunen
010
Levente Peterffy
004
Chapter 01:
Forest Fire
Rich Tilbury
029
Levente Peterffy
024
Chapter 03:
Ship hit by torpedo
Levente Peterffy
041
Carlos Cabrera
035
Chapter 04:
Tornado moving towards farm
Andreas Rocha
062
Levente Peterffy
058
Chapter 06:
City street devastated by war
Rich Tilbury
051
Paul Davies
046
Chapter 05:
The room made the explorers feel sick with the
thoughts as to what had happened there in years gone by
Rich Tilbury
072
Mark Muniz
067
Chapter 07:
Evolution had played its part on these
creatures as their world heated up, but the
thousands of years of forced hard labor had more impact
Rich Tilbury
081
Fred Augis
077
Chapter 08:
The party entertainers real twisted identities
were very far from their bright, colorful disguises
Emrah Elmasli
092
Mike Corriero
087
Chapter 09:
The citizens of the fooded city now resided in
the tallest buildings connected by makeshift bridges.
Mikko Kinnunen
096
chapter 1
by Levente Peterffy & Mikko Kinnuen
Forest fire
page 4 www.2dartistmag.com Speed Painting V1
Chapter 01 Speed Painting
Letting it burn!
In this tutorial I will describe my methods for
painting in silhouette.
Lighting tree
After some sketching and some testing with colours, this is the result
(Fig02). I used the same brush as before, during this frst phase of the
painting. Its a rough brush, suitable for sketching. When sketching in
silhouette, its always important to paint whilst always frst considering
the light, and secondly the shapes created. For example I paint the light
around the tree, and not the tree itself, this is a fast way of painting when
both light and shape is established. Im bearing in mind that I need a dark
background, and a lighter colour on the brush Im using.
Choosing the right colour
The theme is forest fre. The frst thing here is to choose the right colour
scheme, it can depend on a lot of things. The topic is a common one, so I
know Im going to use a lot of red, yellow and orange tones, representing
the warmth and heat of the fre. After having this clear colour scheme in
mind, I started by selecting a background colour. I chose a red brown
tone. I fnd painting with silhouettes easier if I have a dark background
and paint with light colours onto it. Here, in this image, I scribbled with a
brighter colour on top of the dark background. I didnt have an exact idea
of what I wanted to paint so I just scribbled (Fig01).
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Speed Painting Chapter 01
Burning more!
At this point of the painting, the basic colours have been laid down. So in
this next phase you can just reuse those colours to paint more objects as I
have (Fig03 & 04). The use of the colour-dodge layer style in Photoshop
is pretty effective, but its very important to always use very low opacity
on it, I always have the opacity set between 5-15%. The lighter tones in
the fre were painted with the dodge mode for the brush . I also used a
default PS soft edged brush here to add some of the smoke effects, which
had a low opacity on them too. I continued to paint more on the trees,
using same colours as before. (Fig 04a)
Multiply
This step is simple. I duplicated the painted layer and changed the layer
mode to multiply, making the image a bit darker. I also adjusted the layer
opacity, to tone it down (Fig05).
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Chapter 01 Speed Painting
Lake
I felt that the bottom of the painting felt empty,
so I decided to add a small lake there. The
process of creating this lake is as follows. Draw
a marquee around the painting. Press ctrl+t
to make a free transform. Flip the image upside
down, basically grabbing the top and pulling
it down. Then squeeze together the image
horizontally so it looks like narrow broad box,
and fnish the free transform by hitting Enter.
The last thing is to erase the hard edges of
this fipped box so it melts together with the
background painting. (Fig 05a)
Last minute
consideration
I wasnt totally happy with the background
because I felt I still had some space to be
worked on, also because I wanted to create
more depth in the image. So, I decided to paint
in some more trees, I used a hard edged brush
for this. One of the default brushes in PS (Fig06)
Texturing
Its time for texturing, which is good if you have
custom made brushes just for this purpose. And
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Speed Painting Chapter 01
I have a custom made brush (Fig07a) that has
a sprinkled effect which I used to create fre
sparks (Fig07).
Final touches!
Alright. The painting is nearly fnished but I then
decided to play around by adding some more
highlights, enhancing the light even more. Lake
refection, treetops, leaves etc. (Fig08). There is
also a pretty cool trick you can use to make the
illustration look rougher. It involves a fat texture,
basically any kind used for 3D purposes. So
here its and I changed the mode too overlay
which was the last thing I did on this painting
(Fig 09 a, b & c). Over the page is the fnished
work, which Im very happy with.
Levente Peterffy
For more from this artist visit
www.leventep.com
Or contact
lp@leventep.com
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Chapter 01 Speed Painting
Forest Fire
When I start to think about doing a new speed
painting, my primary focus is to portray the
idea behind the image as well as possible. This
means that I try to tell something about the
story, mood and the emotion while minimizing
the actual painting effort. If you leave out a
lot of the rendering process and deal with the
problems of the painting on a more simplistic
level, you will learn how important it is to get
some of the basics right before going further
with the details. Doing a rough painting means
that most of it has to be well designed, or
otherwise people just wont connect with the
picture. In this article I will explain the creation
process of a image called Forest Fire.

Grayscale sketch (Fig 01)
I usually start to lay down my idea in grayscale
to make the process as intuitive and simple as
possible. In this case, I already had a given
theme I was going to do the speed painting
of. To get a jump start to the process, I was
visualising the idea in my mind much before I
even sat down in front of the computer. Just
trying to nail some of the basic themes before
starting can be advantageous and you can
avoid being threatened by the empty canvas
staring at you. I start with simple brushes and
quickly sketch down the basics of my design. Im
going for some kind of Ewok-style tree house
thing, with the fre surrounding it. Theres also
characters in there. One of them is about to fall
down from the tree and the other is desperately
trying to save him/her. I like to add small
suggestions of a story to my pieces. That also
activates the imagination of the viewer a bit.
Adding colour (Fig 02)
I start gradually adding washes of warm and
cool tones to the image. At this stage Im not
concerned about the fnal look. Im only trying
to get some basic tones in there to build the
palette from. In this image the biggest challenge
will probably be in depiction of the fre in an
interesting and convincing way. I put in some
warm oranges and cool greens, something
that would feel natural for a burning forest.
Without going to extremes at this stage, I add a
bit of highlight behind the characters to set up
the focal point in the piece. I also add a bit of
overlaid texture to the background to get some
interesting variation. I keep checking my image
as grayscale to fnd out how my values are
working.
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Speed Painting Chapter 01
Defining the forms (Fig 03)
This is the stage where I start to add opaque
colours on top of the under painting. I get rid
of some of the greens and add a bit of blue to
enhance the mood. I want this to have some
kind of night setting to contrast the bright fres.
I put most of the saturation to the midtones,
making them intense orange. The shadows are
cooler, and the brightest highlights have a bit of
yellow in them. I defne the second tree house
a bit along with the silhouettes of the trees.
I notice that the horizon is perhaps a bit too
tilted right now and that will be fxed for the fnal
stages. You can easily spot errors like this if you
fip your image horizontally every now and then.
Finishing the painting
(Fig 04)
When I have most of the basic forms and
colours in place, I add a bit of random textures
on top of the surfaces. I use a mixture of custom
brushes and overlays to make some interesting
two dimensional variation. I also defne the
ground plane a bit further by suggesting some
sort of vegetation. The most important addition
is the bright fames that really up the contrast of
the painting. I put in a few more tree branches
and defne the forest in the distance a bit. The
last thing I do is add a couple more of those
bright windows to suggest that theres some
kind of interiors within the trees. Time is up and
this speed painting is now fnished!
Mikko Kinnunen
For more from this artist visit
www.artbymikko.com
Or contact
mikko@artbymikko.com
by Carlos Cabrera & Mike Corriero
chapter 2
A Scary Animal Emerges from a Forest...
page 15 www.2dartistmag.com Speed Painting V1
Speed PaintingChapter 02
Created In:
Adobe Photoshop 7
Sketch and Base colour
I opened a new document of 2000x3000 (yup,
that big) with zoom at 50%, and frst of all tried
to fnd in this particular sketch some harmony
between the animal, background and the
spaceship above it. You can see how the clouds
and the mountains go together side by side
In the sketch. (fg 01). For the animal design I
combined a chameleon (you can see that on its
eyes) and a dinosaur. I also add some elements
in the scene such as the trees and birds to give
the animal (or creature, as you wish) a more
fxed sense of its real size. I did the sketch with
black on a white background with the brush tool
(fg.02) which Im using a lot lately. To save time
at the sketch or painting stage I usually use
keyboard shortcuts to modify the opacity of the
brush (fb.02b). The next step was to create
a new layer set to multiply on the sketch with
a base color for the whole illustration which in
this case was a dark green in order to create a
different atmosphere as if we were looking at
an alien planet (fg.03). I added some projected
shadows to display the animals volume in more
detail and darkened the forest a little to focus
the attention onto the animal and ship.
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Chapter 02 Speed Painting
Background
To create the background I ran a search on my image folders and found
a cloudy sky. Your best bet here would be to take your own photographs
and create a new folder on your hard disk saving your textures, or simply
use google to fnd them (always pay for copyrighted material but there
are some good sites that would let you download photos and textures
for free) ;). I created a new layer, pasted in the cloudy sky pictures and
then I changed the layer properties to Overlay 85% so the cloud sky
blended with the other layers. Then I just highlighted the green to create
new shades. (fg 04). Before painting the mountains I decided to give the
animal some highlights and volume. I added a dark red to the tongue
and a yellow-green for the body volume. At this stage you only have to
paint some areas leaving most of the background intact which is enough
to produce the volume effect on the illustration as you can see on the
animals jaw. (fg 05). Now we can paint the mountains. I used the same
method of adding volume as I mentioned above for the mountains. One of
the mountain faces recieves some light and the other one is in shadow but
we only need to paint the light areas here. (fg 06). I also painted some of
the forest areas with a more light green and started to add some texture
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Speed PaintingChapter 02
with the result looking more like a forest than just plain ground. (fg 07).
At this stage (fg.08) I added a layer above everything and added a light
green over the clouds to add a more atmospheric perspective to the
illustration. The animal had way too many dark colours on its neck and
that created an undesirable effect on its scale - we want it to be really
big and not just a simple worm ;). Now with the top layer plus the opacity
changes, I am able to transform the black to a more grey-green kind of
colour and therefore giving it more depth and scale.
Time to clean the clouds
I duplicated the cloud layers and placed them on top of everything erasing
the areas where the animal and the mountains reside. Then with this new
layer I changed the cloud colour (CTRL+B) to a more yellow- green to
give the sky more variation. (fg.09). Having fnished the background I then
drew the spaceship (fg.10). I decided that the spaceship needed to be
metallic so it became the only bright thing in the illustration and that way it
would become a focal point along with the animal. Obviously the darkest
color on the spaceship does not have to be the same as the mountain
shadows. Next thing was to develop some of the elements of the sketch
to help emphasize the animals scale. To help do this I painted some
birds in front of the animal, and also added some trees fying around as if
the worm had come from inside the forest. (fg.11). The last step was to
correct some of the color and details. I re-sized the spaceship and most
of the birds so the creature now looked more imposing over the rest of the
elements. I added a new layer set to overlay 20% and I painted it in yellow
over the animals neck, eye and over the mouth to highlight the parts a
little more and bring the animal forward from the background.
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Chapter 02 Speed Painting
Fig.12
I then added a new layer with extra details and
increased the volume of the neck and eye. I
also played with another light; this time a blue-
green light that improved the creatures form and
volume even more (wow, you can almost touch
it!). (Fig12)
Carlos Cabrera
For more from this artist visit
www.carloscabrera.com.ar
or contact
sayhi@carloscabrera.com.ar
page 19 www.2dartistmag.com Speed Painting V1
Speed PaintingChapter 02
Introduction
A trick to give your painting some texture in
order to get away from the fat colour laid down,
is to take a photo texture and overlay it with a
very low opacity, above the image.
Painting
Speed painting is a process, concept artist
use a lot to convey a concept very quickly,
while still retaining the necessary elements to
communicate their idea clearly. There are a
few key factors in speed paintings youll notice,
which are often evident within the term Speed
Painting. These various factors consist of mood, lighting, texture, custom brushes, photo textures,
colour, depth, atmosphere and focal point. Custom brushes and Photo Textures play a big role in
the look and feel of a speed painting, its also one of the main factors, in painting quickly, while still
retaining a good deal of detail. I began thinking about the topic A Scary Creature Emerges from
a Forest , by producing some small thumbnail sized preliminary creature sketches and a few tree
designs. These dont take very long, but in the end will help make the actual painting process go
a lot quicker. I also produced two rough compositions from which youll notice, I chose one for this
fnal painting (Fig.01). Now that I have an idea of what Im about to paint (with both the preliminary
sketches by my side and the topic description in mind), I started the painting with a textured base
layer. This base layer consists of the primary colours, I plan on using for the background which will
be altered slightly as the painting progresses. (Fig.02). The base also consist of a couple of photo
textures of various plants, leaves and a custom brush, which youll see later on as the process
continues. This custom brush will be available for download as well as a few pattern fles. (Fig.03).
After having established a quick base to work on top of the next process is to block in some
atmosphere, a horizontal line defning the ground plain using a couple other custom brushes for
grass and dirt. At this point its not all that important defning anything other than creating a space
to begin blocking in some of the main elements (Fig.04). One quick trick to give your painting some
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Chapter 02 Speed Painting
texture in order to get away from the fat colour
laid down in the beginning is to take a photo
texture and overlay it on a very low opacity
above the image. This will provide some texture
and break up the fat surfaces which supplies
a kind of quick painted brush effect. (Fig.05).
Now that Ive basically fnished the base layer
of this painting which took maybe a maximum
of ffteen minutes, Im going to take that initial
compositional thumbnail, set it at a low opacity
multiply layer above my painting and use it
as a quick guide to drop in the main forest
elements. In the process of doing this Ive used
a couple of my custom leaf brushes to block
in foliage and fll up the ground plain with my
custom grass brushes. (Fig.06). Youll notice
in this line up that Ive created an assortment
of Custom Brushes early on to help cut down
on the time of painting every leaf, every blade
of grass and surface texture in the painting.
There are 14 new brushes in total set into
groups of leaf clusters, falling leaves, ground
and dirt, and grass and weeds. These custom
brushes along with some photo textures and
custom patterns will all help speed up the
painting process while still retaining enough
variation from one leaf to the next. You can see
the custom brushes below (Fig.07). A quick
adjustment to the levels has been made to help
boost the values and defne the elements as
well as a change in the Selective Colour and
Colour Variation. Considering the background
has been blocked in for the most part Im now
dropping in one of my preliminary creature
sketches and applying a base colour to outline
the silhouette. (Fig.08). Going back to one of
the main key factors in a speed painting, this
next step is quick and simple. Using an overlay
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Speed PaintingChapter 02
needed. In order to do this Im using the stamp tool with an airbrush while
selecting areas of the photo texture and then painting it into my image.
When I have it painted into my image set to a new layer Ill lower the
opacity, play with the overlay options and erase portions to help integrate
it better into my concept. (Fig.10). The painting is practically done; the
last step is the focal point and main element of the entire concept which
is the creature. More specifcally its the creatures head and neck regions.
I want to keep a lot of the depth and atmosphere Ive produced so I dont
really want to render anything other than a small portion of the neck and
mostly direct the viewers attention toward the face. (Fig.11). Finalizing
the image - Ive basically just rendered out the main focal point, producing
the creatures skin texture with a round scattered brush and some overlay
highlights and multiply shadows. At this point its about two or three
hours into the painting and its pretty much fnished. In order to draw
more attention to the creatures head Ive decided to give the interior of
and screen layer Im just going to push back some of the elements with
a large soft airbrush while bringing in some local light colour into the
creature. Outlining portions of the anatomy, fading some of the spikes,
the rear legs and lighting the silhouette is all thats really needed at this
point. To provide some atmosphere I just produced some foating particles
using the airbrush set to a sparse scatter and spacing between the brush
tip. (Fig.09). Again another main key factor in speed painting is using
high resolution texture photos from the Internet, Im going to supply the
painting with additional colour, foliage and texture in areas where I feel it is
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Chapter 02 Speed Painting
Fig.13
its mouth a cold blue saturated tone and I also
pop out the highlights on the structure of its face
and plated body. (Fig.12). And here is the fnal
image. (Fig.13) Thats all; I hope you found the
image interesting and the quick step by step
informative. You can download the custom
brushes and patterns used in this speed painting
for your own personal use.
Mike Corriero
For more from this artist visit:
www.mikecorriero.com
or contact
mikecorriero@gmail.com
chapter 3
Ship hit by torpedo
by Levente Peterffy & Rich Tilbury
page 24 www.2dartistmag.com Speed Painting V1
Chapter 03 Speed Painting
Created In:
Photoshop CS2
Build your confdence in just an hour: Levente
Peterffy shows you how to whip up a ship hit
by a torpedo with just a few digital strokes...
Speed painting is an effective painting practice
to achieve good composition, colour and light-
interaction with shapes and forms, and with
the use of brushes - both default and custom
- you can quickly create and simulate a realistic
environment with just a few strokes. The topic
Ship Hit by Torpedo reminds me of World
War II; I dont really know why but I have always
been interested in World War II and I was
therefore quite taken with the topic set for this
challenge. There are probably a million stories
to tell about that period, which would all be very
interesting to illustrate, and in this case is a
ship being struck by a torpedo. In this tutorial,
the focus on this article is that realistic images,
or colours if you like, can be achieved with the
use of custom brushes and blending modes in
Photoshop. The software used to create this
speed painting were Photoshop CS 2 and a
Wacom Intuos 2. Lets begin...
Background Colour
I started off with a coloured background, as you
can see in Fig 01. On this background I started
to paint with custom soft-edged brushes (see
brush example in Fig 01), often with a very low
opacity of between 10-20%. I worked in this way
until I could see some shapes evolving (Fig 02).
Ship & Fog
At this stage I started to develop more of the
shapes from the previous image which were
slowly forming. Already, at this stage, one
can see that it shows the shape of a ship in
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Speed Painting Chapter 03
the foggy atmosphere. I used similar kinds of
colours to defne the shape of the ship more
and more (Fig 03). When I frst had my shapes
defned I started testing some new colours
out. I used a light blue in this case for the
sky, and also defned the horizontal sea-line.
I used a simple gradient to make the ocean.
The colours were all picked from the painting:
one light colour and one darker (Fig 04). I
cropped the image at this point, and at this
stage was able to start going into more detail.
I picked a small, hard-edged brush (see Fig
05) and started adding details on the ocean,
and some smoky clouds (Fig 06). I fipped my
painting horizontally a lot, helping to refresh
my eyes and so I could see if there were any
faws (proportions, perspective, and so on). I
continue adding details and also building on
the background, trying and testing hues of blue
for the sky (Fig 07). There is one thing I usually
try a lot, which is duplicating the painting layer,
using a photo flter on the duplicated layer and
increasing the density on the warming flter to
85, then choosing Multiply as the blending mode
for the duplicated layer on top. To fnish it off I
took down the layer opacity to a fairly low level
until I felt that the colours were just right. If you
want more control you can erase parts of the
top-layer, as I have in Fig 08. At this stage I
added some more detail to the ship. There is an
open crack on the ships hull, just as if a torpedo
tore a hole into it (hence the topic for this speed
painting) (Fig 09).

Detailing
I like adding details. Adding details is kind of
like adding more words to a story, and there are
those details that you just simply have to add
because they help the picture to make more
sense, for example breaking waves, refections
in the water, and so on. I painted a silhouette
of a bird on the left, because I felt that the sky-
area in that section was a little empty. Another
detail which I realised would help was the use
of a rusty texture - look at the ships lower part.
I wanted to create something rust-like, so I
painted with a custom-made brush which slightly
resembles rust (see brush example on previous
page) (Fig 10 -11). I continued adding more
strokes to the smoke (Fig 12).
Colour Test
These last stages of a speed painting are to
basically test the colours to see if you can
improve them and add more to the mood (Fig
13).
Final Tweaks
Adjusting the resolution and adding sharpness
are the last things that I do to my paintings. And
there we go: fnished (Fig 14).
Artist Tips & Secrets
I cant stress this enough but practice and
practice more is the key to success. Even
with cool custom brushes as assets, you still
need to train your eye to see shapes and
colours interacting with light, in order to evolve
a painting. Try not to get too dependent on
tutorials; dare to experiment a lot, even if you
dont know where to start, just scribble around.
There are a lot of forums out there with speed
painting threads, so post your work a lot and
see what feedback you get. There are people
out there willing to help you so use their advice
wisely. However, do try to think of the problem
for yourself, and try to solve it as best as you
can. If you have a hard time starting to paint,
then make studies from master paintings or of
screen-shots from movies - that should help to
get you started at least.
Levente Peterffy
For more from this artist visit:
www.leventep.com
Or contact: lp@leventep.com
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Chapter 03 Speed Painting
span of time. In the following exercise I have
tried to limit myself to a couple of hours and
have chosen to focus on the moment at which a
torpedo slams into the side of a destroyer! ...
Blocking-In
As is my usual approach to any painting, I
frstly conduct a search for as many reference
images as I can fnd on the Internet. In this
case I gathered a number of photographs
of battleships in order for my image to look
convincing. As the ship was going to be the
main focal point I wanted to make sure it
resembled its real counterpart quite closely.
As I was looking through photographs I liked
the camera angle of one of the ships and
decided to use it in my painting. The frst stage
involved roughly blocking-in the composition
in black and white, and experimenting with the
areas of light and dark (Fig 01). The reason I
chose this particular angle was because I felt
that the foreshortened size of the ship seemed
exaggerated, and as a result gave it a more
imposing quality, as well as adding a certain
dynamic. I predominantly used two brushes to
establish the tonal range, which can be seen in
Fig 02.
They are both hard-edged yet retain a painterly
quality. The top example (see Fig 02) is one of
my custom brushes, and the lower one is one
of Photoshops default hard, round airbrushes.
They both utilise opacity set to pen pressure to
enable more control and a level of transparency.
Building up the Details
With a medium grey I then began to tie the sky
and the sea together, and tidied up some of
the lines of the bow and refned some of the
structures above the deck (Fig 03). Having
made a reasonable start on the tonal ranges
it was then time to add some colour, which
was done on a separate layer set to Overlay
blending mode. In this way the light and dark
Introduction
Speed painting is a very useful way of quickly
establishing aspects of an image such as the
composition, colour scheme and lighting, and
a method of clarifying the mood of a scene,
whether it be for a flm, computer game or
simply a digital painting. Depending upon the
artist in question, the notion of a speed painting
can have different connotations. In some
peoples eyes the idea of a speed painting can
be 45 minutes or so, whilst others may consider
2 or 3 hours spent working on a piece as a short
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Speed Painting Chapter 03
fading towards the edges (Fig 06). I added this
on a separate layer so that it could be moved
and altered with ease if need be, as it was
done very quickly. To add some extra drama I
wanted to add a torpedo wake passing just in
front of the ship, just narrowly missing the hull.
This was also done on a separate layer using
the same brush, but this time with scattering
applied so as to describe the tiny air bubbles
made by the propeller. The reason this was on
areas remained, even though colour was being
added (Fig 04). I began by using a subtle
blue/green and also painted in some random
horizontal strokes to help defne the water a
little. As this painting was meant to depict a
torpedo collision it was about time we added
some action into the scene! For this I created
a custom brush, as seen in Fig 05, which is
illustrated in the bottom-right of the image.
When some scattering was applied it created an
effect similar to the top-most brush stroke, which
has the effect of appearing more broken and will
be suitable for something else later... Anyway,
I decided to have the torpedo hit towards the
back of the ship, and with my new brush I
painted in a splash with a bright white, making
sure that the centre was more opaque and
a new layer was because it needed to be set
to Overlay mode in order for it to appear darker
in the shadow of the ship (Fig 07). The way to
achieve a sense of perspective is to either paint
in a shape and then use the Edit > Transform
tools to Skew and Distort it so that it tapers off,
or alternatively one can simply use the Eraser
tool to do it manually. You may also notice that
I have painted in some evidence of a land mass
on the far left of the horizon
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Chapter 03 Speed Painting
shadow was painted in below the larger ones to
add some volume, as well as a few elements at
the bow (Fig 09). You will also notice that I have
continually added areas on the ship and then
maybe erased them later down the line. Do not
be afraid to change things and experiment as
you work - it is good practice to keep things fuid
and to try alternatives as you work as this often
yields positive results that you could not have
predicted. In Fig 10 I have added a wave along
the bottom of the ship to show that its moving, as
well as adding some more density to the torpedo
splash. In Fig 11 I have put in some detail along
the hull of the ship to break up the consistency of
the hull and to give some indication of scale by
way of some metal panel. shapes.
Finishing Off
The picture is now essentially complete and
could be left, but a few quick enhancements
can improve things. Because I left the torpedo
wake on a separate layer I can now duplicate it
easily, and after a bit or re-adjustment create a
gap down the line of air bubbles which is more
realistic. Also, using a simple brush, I added
Refining the Image
At this point I thought that the torpedo splash
was becoming somewhat lost amongst the very
bright area of sky behind it, and as a result was
subduing the impact - pardon the pun! Using
the Gradient tool I overlaid a grey/green (inset
square) from the top of the image towards the
horizon, and similarly from the bottom up to
refect the sky. Being set to Multiply mode this
also served to create a more ominous mood to
the picture and also emphasised the splash (Fig
08).
I worked back into it with a soft edged eraser in
places to bring out some cloud formations, as
well as adding some further refnements to the
ship, together with a line of fags. I generally
cleaned up the edges and put in some simple
shadows and highlights to help describe the
scale, as well as shifting everything back a
little towards the rear of the boat, because the
perspective seemed wrong as it was. The next
step was to put the guns in, which were done in
single strokes using a hard-edged brush. A little
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Speed Painting Chapter 03
a useful exercise. I may well attempt to paint
another image on the same theme, except next
time limit myself to one hour, just to see how
the result compares. The crucial lesson to bear
in mind with this type of painting is to acquaint
yourself with the subject matter beforehand
and have as clear an idea as possible about
composition and colour schemes before you
begin, as it will inevitably save you much time
during the painting process.
some random strokes around the splash to
widen the spray, as well as some swift random
marks to add more defnition to the water. I put
in some evidence of railings and a few highlights
and fnally used a large soft airbrush to lighten
the horizon and water and to paint in some
simple suggestion of clouds.
Conclusion
The fnished picture can be seen in Fig 12. I
am happy with the fnal result but as with any
speed paintings the temptation is to get carried
away with unnecessary details. I spent just over
two hours on making this image and feel it was
Rich Tilbury
For more from this artist visit:
www.3dtotal.com
Or contact
rich@3dtotal.com
Tornado moving towards farm
by Carlos Cabrera & Levente Peterffy
chapter 4
page 35 www.2dartistmag.com Speed Painting V1
Speed Painting Chapter 04
Created In:
Photoshop 7.0
Sketch:
I opened a new document of 2000 x 3000
and started the quick sketching phase with a
50% zoom over the whole document. In this
people to try this technique. You can see how
the twister and the farm house are there in the
frst view with just a couple of strokes (Fig01).
Now it is time to add some grey colours to the
sky and to the ground (Fig02).

particular step, I dont like to be held by the little
details, but rather work more on the harmony
of the illustration using quick and simple forms.
Drawing in black and white is the quickest way
that I know of for obtaining good compositional
details without wasting too much time; it almost
develops on its own and I always encourage
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Chapter 04 Speed Painting
We can start to give the farm house a little bit
more detail now. For the twister I use black
with 50% opacity; this adds a cloud/smoke
effect, and allows you to accomplish the effect
in a short space of time. After weve fnished
the grey colouring stage, we can start to add
more detail to the farm house. You can see the
chunks of wood on the houses roof are just little
brush strokes, some of which are darker than
others. This creates the effect of small, fying
pieces of wood. At this stage, its pretty obvious
that youll need to work the details in 100%
zoom, to be more comfortable. We can then add
some grass and fences to the scene, and we
are then were done with the farm house - that
easy, that quick (Fig03).
If we compare this step with Fig02, we can see
how throwing some dark colour at the farm will
focus the viewers attention exactly where we
want it: on the farm house (Fig04).
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Speed Painting Chapter 04
Now we just need to add some light and shade
to complete the drama of our scene. It isnt
really that complicated; if you picture it in your
mind it will come out naturally. One thing I
added in the foreground was some extra detail
(the fence), as I felt there was an empty space
there to be flled. You just need to have fun
and play with your illustration! There are a lot
of rules of composition, but I think the best
one is the eye, imagination, and mind of each
artist. Its better to be creative and have fun
working on your illustration, than working over a
preestablished grid (Fig05).
Now we need to make the twister something
scary, and to do this we add a layer on top of
everything and start adding some dust and
clouds around the body and base of that mean
twister - look how big it is! This particular part is
pretty fun, and I bet you will spend quite some
time on it (Fig06).
After weve fnished our twister, we need to go
to the next stage of the illustration, and to be
honest, this is the step I personally enjoyed the
most. By painting wood and dust fying around
the house in a mortal ballet, with just a few small
strokes we can easily create the path of horror
of this twister, and the fallen debris that it leaves
behind (Fig07).
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Speed Painting Chapter 04

Finally, the Colour.
Now we create a new layer and place it above
all the others. Press Ctrl + Shift + E on your
keyboard to merge all the layers in just one
single layer, and then rename this layer colour.
After this, we press Ctrl + U, and the HUE
window should come up. We need to check the
Colorize checkbox (it will be un-checked), and
then Hue: 54, Saturation: 25, and Lightness:
0 (zero) (Fig08). With these values we will get
a nice brown colour that we can use for this
illustration. We are almost there now! This frst
grey-painting technique is used many times to
clear our mind from the colour of the subject,
and to cut straight to the chase. On the other
hand its good practice to upgrade our render
skills, and so its very useful either way.
We now create another layer, above all the
existing ones, and paint onto our piece the farm,
the foor and all the colours that we can now see
added in Fig09. We switch the layer to Overlay
and leave everything at 100%. By doing this we
change the foor tint, farm tint, and fnally have
given our illustration a new variety of colour and
contrast. Lastly, we just need to have some fun
applying the last touches, and thats all!

Carlos Cabrera
For more from this artist visit:
www.carloscabrera.com.ar
Or contact:
carloscabrera@gmail.com
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Speed Painting Chapter 04
you can gradually paint and read the image as
you go, which is a lot easier than using colours
of extreme value. Light blues and saturated
greens were used to paint the feld and sky, as
you see in Fig02.
Whilst I was painting Fig02 I tried to block out
the shapes and composition at the same time.
I felt a diagonal composition would suffce for
creating the dynamic and destructive power of
the tornado, and so thats what I went for (Fig03
- 05). What you can see in Fig03 - 05 is simply
a follow-up on Fig02 where I have added more
dynamic details to the tornado and to the green
grassed feld.
Created In:
Photoshop
Tearing things apart
The theme for this tutorial is Tornado Moving
Towards Farm. OK, so before we begin
painting, lets think about the theme. The frst
thing I thought about was the typical shape
of tornados, and the type of colour schemes
that they usually have. Another thing, which
is recommended, is to research the subject;
references, photographs, movies, and so on
- anything that lets you become more familiar
with your subject. First of all, I aim to pick out
a background colour which will ft as a base for
the sky and tornado (Fig01 - 02). I then start to
block out the sky and feld with a lighter tone.
Painting Carefully But
Precisely
When you are painting in new objects, try to
paint using low opacity of the colours. That way
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Chapter 04 Speed Painting
When you paint sky, a soft-edged brush is
recommended. The shape of this brush can
look like anything basically - its totally up to
you when you make one, but just remember to
have soft edges. To give the tornado a more
destructive feeling I introduced some new
colours to it, using browns, oranges and reds to
create the dust clouds surrounding the tornado.
Here, as before, I used low opacity on the brush
strokes. An image crop was also done to put
more focus on the tornado.
Re-using to Create New
Fig06 - 08 illustrate the process moving forward.
Since the basic colours and shapes of the
image were already settled in the initial phase,
the rest has just been a continuation of the very
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Speed Painting Chapter 04
Curves (the most precise way if you really want
to be picky), and Colour Balance (I rarely use
this; I just try it out when I feel like experimenting
with colours). The best way of learning these
tools is to go into Photoshop and simply
experiment and learn how they work and what
same colours and shapes. I introduced a new
object in Fig08, as you can see. The colours for
the house/farm were picked from the sky. The
shapes of the wood were created with the lasso
tool which I duplicated a couple of times.
The Finish
Not a lot new was done in Fig09-10; I
was basically just trying out some colour
adjustments. There are several ways to work
with colour adjustments. The easiest way for me
is by using the Variations function in Photoshop,
and this was basically how I created the bluish
tones in these fnal images. Other ways of
adjusting colours are using Hue/Saturation (a
good way to enhance the colours you already
have, but not so good for introducing new ones),
they do. Books, online tutorials, videos - the
choice is yours. Try to get dependent on these
resources though, as its more important that
you try things out for yourself.
Levente Peterffy
For more from this artist visit:
www.leventep.com
Or contact:
lp@leventep.com
The room made the explorers feel sick with
the thoughts as to what had happened there in
years gone by
by Paul Davies & Rich Tilbury
chapter 5
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Speed Painting Chapter 05
Introduction
UK based artist, Paul Davies, takes us on an
honest journey through the Speed Painting titled
The room made the explorers feel sick with
the thoughts as to what had happened there in
years gone by! ...
Speed painting can be used to accomplish many
tasks. It can be a way of quickly comparing a
series of designs based on the same theme,
or it can be used as an exercise to improve
an artists skills. The purpose of many speed
paintings is to quickly portray a desired mood
and atmosphere by focusing on lighting and
composition without worrying too much about
detail. This can be a diffcult task for beginners;
you need to have a good understanding of
values, colour and composition to be able to
work quickly, so the key is to practice. The more
you do, the better youll get. When beginning
any illustration, whether its a speed painting
or a portfolio piece, its important to have a
reasonably good idea of what you are painting
in your minds eye before you begin. In this
case, after reading the brief, I spent ten minutes
looking through stock photographs of ruined
churches and temples until I had a good idea
of what I wanted to do. In the next few steps Ill
take you through my process of creating a quick
sketch painting concentrating on mood and
atmosphere.
Step 1
I start by laying down a range of basic shapes
using dark and light shades to quickly establish
my colour palette and some basic values. At this
point Im not too concerned about design, Im just concentrating on the general mood and feel of the
piece. I try to work as quickly as possible here, using a round custom brush to block in a large area
of dark grey and give myself an idea of where the main light source should be coming from. I enjoy
working with a lot of custom brushes, and one of the things I like to do at this early stage is use the
Photoshops Smudge tool with one of my scattered brushes. This gives a blending effect similar
to what can be achieved in Corel Painter and enables me to blend colours quickly and easily until
Im happy with where my colour palette is going. Once Ive established my basic values, I choose
a much smaller brush and start picking out small, linear highlights. These will suggest architectural
details and give the impression that we are looking at a man-made structure rather than a natural
rock face. Using the Eyedropper tool I grab colours from around the image and keep things very
loose and sketchy, again not focusing on design but on the mood and feel. Already we can start to
see some indication of the space and scale of the piece. At the top we have a glimpse of the sky
broken up by a dark, grey structure. In the mid ground we have a darker area which will be the focal
point of the illustration, and at the bottom we have the darkest area where the explorers will be.
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Chapter 05 Speed Painting
Step 2
The next thing I want to do is to start establishing what type of
environment our explorers are going to be in. I start by blocking in a large
archway which will serve as the focal point of the image. Using a small
round brush, I then clean up the sky area and add a few more linear
highlights to the surrounding areas. The piece of architecture jutting out at
the top of the structure acts as a mini focal point and also helps to remind
us that we are looking at a building rather than a natural formation. Finally,
I use another custom brush to add some areas of hanging vegetation to
the mid-ground. Another thing I like to do is to use layers to quickly add
texture to my work. I create a new layer and set it to Overlay with 50%
opacity. I then use a few of my custom brushes to instantly build up rough
areas of dark and light which give the impression of dirt and grime. Later
on, these areas of texture will help me fnd a rough design to suggest
architectural detail. Im trying to keep things loose throughout the painting
so I dont lose focus on the mood and feel, which is what I want this speed
painting to be about.
Step 3
The next step is to block in our explorers and to fesh out
the focal point of the image, which in this case is the large
archway dominating the mid-ground. Using a small round
brush I add a hanging corpse and start to pick out areas of
light and shade, adding a strong highlight to the right hand
side of the arch and some more leafy areas around the
sides. I also add some rough lines to keep my perspective
consistent from left to right and also to suggest some detail
at the base of the arch. Once again Im still not being too
specifc about design, Im just using highlights to suggest
areas of varying depth around the structure. I continue by
adding some more defnition to the area behind the arch
and the background structure. Once this is done I choose
a large round brush and block in the explorers on a new
layer. By using varied pressure, my brush automatically
creates interesting shapes that I can work with later when
I add more defnition to them. I use a very dark shade as
the characters are in the extreme foreground and are the
nearest thing to us. I then add a thin layer of mist between
them and the arch, adding some extra atmospheric depth
and helping to bring the characters forward.
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Speed Painting Chapter 05
Step 4
This step is mainly
about refning the
characters and adding
a few extra highlights
to the background. I
start by adding hats
to the two explorers
furthest away from us;
this helps to make the
closest explorer seem
more individual and
vulnerable. His pose
also suggests that he
is the least brave of
the three. Often, small
touches like that can
help tell a story within
an illustration and
make the characters
more believable.
Working very loosely,
I then block in
highlights to suggest
the type of clothing
theyre wearing and
add a backpack to one
of the explorers. I use
warmer colours for
their clothing and skin
to help separate them
from the background.
Finally, I add some
edge highlights.
Step 5
By now we are almost
fnished, all of the
detailing should be
complete, and we
are ready to make
any fnal colour
adjustments. Firstly,
I adjust the levels to
make the highlights slightly warmer, then I use the Colour Dodge tool to brighten up and add focus to a few of the key areas around the arch and the
explorers. So there we have it. Our fnished speed painting now portrays a moody, atmospheric scene as our explorers venture into the unknown...
Paul Davies
For more from this artist visit:
http://www.pdportraits.co.uk
Or contact:
paul@pdportraits.co.uk
page 51 www.2dartistmag.com Speed Painting V1
Speed Painting Chapter 05
Introduction
For this tutorial I initially imagined an image
of an abandoned laboratory wherein some
rather gruesome experiments had once taken
place. As the title suggested years since the
given events took place I decided to give the
explorer a fare so as to imply there was no
longer any power supply feeding the building. I
also liked the idea that the fare would provide
very strong shadows and a theatrical light that
would help add drama and give the scene an
intense unnerving quality. I chose to paint the
image at a moment just after the fare had been
ignited, with our explorer seeing for the frst
time the fgure of a giant humanoid partially
dismembered and strung up above some sort
of tank. Around him would be a suggestion of
some macabre machinery and tubes that were
used to experiment on him and preserve his
body .
Blocking In
The frst thing I did was to quickly sketch
the explorer and corpse and establish the
spectators viewpoint. I wanted the eye level
to be quite low so that the scene looked
more imposing, with the focal point of the
picture ominously looming overhead (Fig01).
I concentrated on the two characters as they
were the key components and essentially the
most diffcult aspects to draw. I added some
suggestion of pipework and shading around
them but would mainly leave this area to the
painting phase. After scanning the drawing
and importing it into Photoshop I made a new
layer and started to block in the light and dark
areas in greyscale. The two brushes I used for this initial layer are shown in Fig02; one is a custom
brush I made, which I often use to provide a textural quality for metals and stone, and the other is
a standard hard round brush which is perfect for denoting edges and details, such as the pipework.
The explorer is meant to be holding out a fare in his right hand and so the main highlights appear on
the tank directly in front of him (Fig03). I have now got a diagonal line of light running from the pipe
in the bottom left up to the top right where I have blocked in an arch. I shall eventually offset this with
the fare which will run opposite to this, but for now its time to refne the level of detail and tidy up
some of the edges.
In Fig04 you can see that I have painted in some pipework and cylinders on the left and along the
ceiling. I have also clarifed the arch and put in some shading across the explorers clothing and
tank. I used the standard hard round brush to add this detail, but as this is supposed to be a speed
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Chapter 05 Speed Painting
painting it is time to leave the detail and put
in some colour. I do this on a separate layer
which I set to Overlay and stick predominantly
to semi-dark red. In Fig05 you can see that this
now provides the main light from the fare with
the brightest highlight being on the tank. Overlay
is a useful blending mode as it maintains the
tonal relationships but allows a colour range to
be introduced. You can see when I set this layer
to Normal mode how the colour works and how
roughly I have blocked it in (Fig06).
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Speed Painting Chapter 05
Finishing the Detail
To speed things up I am now going to fatten
the PSD and add the fnal details on a single
layer. As I was working on the image there
was something that just didnt feel right and
I could not decide where the problem lay. In
the end, I tried increasing the canvas size and
making the room much higher to accentuate the
perspective. I dont normally do this so far into
a painting, but as this was about speed I didnt
consider the composition quite as carefully
to begin with but it only added on about ten
minutes or so to fll in around the image and
it solved the quandary. In Fig07 you can see
where I have extended the canvas. It is a little
wider but much higher now. I have intensifed
the light from the fare on the right side of the
explorer and added a ceiling vent from which
the tubes emerge. You will also notice that
the shadows are more pronounced and the
pipework has more clarity, but more importantly
I have feshed out the corpse (pardon the pun)
and given him some volume.
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Chapter 05 Speed Painting
Final Adjustments
This is all the detail that I am going to add as I
have spent about two hours on the painting, so
far. The next thing to do is to add an adjustment
layer by clicking on Layer > New Adjustment
Layer > Colour Balance (Fig08). This will enable
me to alter the overall colour of the scene but
be able to edit it at a later date if need be. In this
case I have added a warmer hue by increasing
the sliders towards red and yellow to refect
the fare (Fig09). This has helped the image
but there should be a greater intensity of red
light emanating from the source of the fare, so
to combat this I am going to add another layer
which I will call Flare glow. This is going to
comprise of a red Soft Airbrushed area around
50% opacity painted around the centre of the
picture and then set to Overlay mode (Fig10).
This does in fact destroy much of the subtle
colour variations but is necessary to intensify the
fare, as we will see. We are almost there but
barring one vital component: the fare!
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Speed Painting Chapter 05
This will again be done on a new layer using a standard Hard Round
Airbrush and a Layer Style which can be found under the Layer menu. I
painted in some strokes in pure white and then used the Smudge tool. I
applied an Outer Glow layer style using the settings seen in Fig11. I added
just one last layer at 20% opacity and using the Gradient tool added in
some subtle shadows along the left edge (Fig12). My PSD fle now looked
like Fig13 with four new layers above my main layer. This all sounds like
a lot of extra tweaks but it only took around 5-10 minutes to add all of
these as most of them simply involved altering parameters and the hand-
painted ones were straight forward.
Conclusion
The painting took around two and a quarter hours to do and was great
fun. It is always tempting to add more detail and spend too much time on
specifc areas of an image during this kind of exercise, and I would like to
try and get to the fnal stages within an hour ideally, but with a bit more
practice I prefer the range of hues visible on the corpse in Fig08 and the
fact that you can see the full extent of his injuries, but in a way, having the
fare obscuring the abdomen does leave more to the imagination as there
is a suggestion of a cavity in the fnal version. I may well go on to do a
more detailed version, but perhaps moving the explorer over somewhat to
fully show the gruesome nature of the subject!
Rich Tilbury
For more from this artist visit:
www.3dtotal.com
Or contact:
ibex80@hotmail.com
City street devastated by war
by Levente Peterffy & andreas locha
chapter 6
page 58 www.2dartistmag.com Speed Painting V1
Chapter 06 Speed Painting
Created In:
Photoshop
To start with, lets think about at the topic:
Destroyed City. The topic gives us a clue about
the type of colour scales to use. If you feel you
still cant grasp what colours to start with, try
studying war movies and looking at imagery
from World War 2. I feel they always have
very saturated colours and a lot of dark tones.
You almost never see extreme values of reds
or yellows. Of course, this is a general way of
looking at it and there are examples where a
great variety of colours are used, but lets stick
to the dark and rainy overcast moods that we
usually see in movies...
Study the example (Fig01) and see if you
recognise the colours that I used to start the
painting with.

You will notice from Fig01 that I have picked
dark saturated colours, using a soft edged brush
that has already given some vague hints of
smoke clouds. In Fig02 I blocked out the base of
the buildings. The very same colours from Fig01
were used in Fig02 to paint the buildings.
This tutorial is about focusing on certain areas,
and so I will concentrate on working on the
centre of the building and will not spend too
much time on the building to the right. From
my experience, when you gain more and more
experience with painting, you will notice that it
is very ineffective to paint everything in great
detail. The fnal image, especially for speed
paintings, only needs to have the most important
details. In this example, the details lie in the
destroyed central building, and even there the
details are not spread throughout the whole
building - where the light is stronger you can see
details more clearly. You will also notice that
in dark or contrasting shadows there can be a
great amount of detail, depending on the light.
The top of the building in Fig03 contains details
in its small textures. At the base of the building,
the details are larger. The main reason for
making them larger was because of the need to
covey the shapes of debris. I only painted the
top of the debris.
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Speed Painting Chapter 06
Since painting debris requires more of a texture
than structure, we can use a custom brush to
paint the textured details. A good and easy way
is to use the dual brush setting in the brush
settings and combine a hard-edged brush with
a brush that has a sprinkled texture. Also try
experimenting with the scattering setting while
you are in brush settings. Above is an example
of such a brush.

To paint windows and doors, all you need to do
is to follow the structure lines and paint these
objects parallel to them. Paint in low opacity and
use the same type of colours you have already.
I enhanced the light to bring out the centre
building even more. Some new colours were
introduced on the building on the right, however
you will notice that these arent extremes
(Fig04).
I then decided to tear out a part of the building
on the right, in order to create more chaos
(Fig05).
Some silhouettes were created in back to add more buildings - this is a city after all (Fig06).
Colour adjustments in this examples were very minor, and after this step I was basically done. An
unsharpen mask can also be used if you want to make the image crisper.
And there we go: Destroyed City (Fig07).
Levente Peterffy
For more from this artist visit
www.leventep.com
or contact
lp@leventep.com
page 62 www.2dartistmag.com Speed Painting V1
Chapter 06 Speed Painting
Created In:
Painter and Photoshop CS3
When I frst heard about speed painting,
I thought that it would simply be a quickly
executed painting, but speed painting is so
much more than that! As soon as I grasped
the concept behind it, I understood its value
as practice for putting down the essential
ingredients of a painting in the least amount
of time, for example line, value, colour,
composition, light, theme, mood and so on.
Concentrating on the essential infuses the
painting with character. Digital speed painting
benefts from some really helpful tools that
software has to offer, like custom brush creation,
painting at different magnifcations, ease in
picking colours, layers and their associated
blending modes, and (rather importantly)
keyboard short-cuts for almost every command.
Everything meets in a creation process where
the mind goes beyond the tools and focuses
only on content.
For this tutorial, the Destroyed City brief
was a theme quite to my liking, because Ive
always had a fascination for ruined buildings
- theres just something about them not being
represented in their natural state and having
been deconstructed to something abstract...
To get the juices fowing, I did a quick image
search on the Internet from where I collected
some photos and put them all into one
document. I kept it open next to the painting
most of the time so that I was able to quickly
draw inspiration from it.
I started out in Painter by creating a new 1000
x 600 pixel document and flling it with a brown
wash colour. I then took a Thick Acrylic Round
brush and quickly laid down some brush strokes
to defne the bigger masses that would compose
the painting (Fig01).
The great thing about Painters thick brushes
is that their relief helps to add an interesting
underlying texture with a lot of character, since
it follows the brush strokes direction. I was
actually inspired by the artist Erik Tiemens who
does this extremely well in his conceptual art.
I had to apply these initial strokes with
some confdence, since I really didnt know
where I was going. Speed painting is often a
subconsciousness-led process where you dont
always have the time to be rational.
I then flled the canvas with a 30% opacity
magenta (from the Effects menu), to somewhat
unify the colours. Taking the magical glow brush
(found under the F-X brushes) I added a strong
light source to the painting (Fig02).
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Please be advised to use dark not too
saturated colours when painting with this brush
in order to achieve rich saturated effects. I then
took an Oil Pastel and a Blender brush and
started defning the actual scene (Fig03). Its
interesting to see how Painter keeps the relief
information below, as if I had gessoed the
canvas previously.
I then brought the painting into Photoshop to
add more detail. (Why not use Painter all the
way? Well, for me, Photoshop is much more
intuitive when it comes to detail, adjustments
and custom brushes.) First of all, I doubled
the paintings resolution, and then opened
a new document and painted a section of a
facade (Fig04). I brought this new object into
my painting as a new layer which I copied
and transformed several times to build up
my destroyed city - which is quite a paradox!
Keeping these copies as layers, I erased
portions and painted some quick brush strokes
over them to add some variation.
In the fnal stages, I added some dead trees,
which I had seen in some reference photos.
Their branches broke up the rectangular look
of the built environment (Fig05). Then fnally, to
add a bit of character and give the composition
a human scale, I added a small fgure
silhouetted by strong refections from the sun.
In the end, I applied the Smart Sharpen Filter,
which is something I always do to bring out all
the detail of the brushwork (Fig06).
Andreas Rocha
For more from this artist visit:
www.andreasrocha.com
Or contact:
rocha.andreas@gmail.com
Evolution had played its part on these
creatures as their world heated up, but the
thousands of years of forced hard labor had
had more impact
by Mark Muniz & Rich Tilbury
chapter 7
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I believe that a speed painting should convey
the essence of an idea. This months topic
was to create a creature that has undergone
evolutionary changes due to the worlds
increased temperature, as well as forced
labour. The idea of evolution is fascinating
and endless. We have seen that evolution can
be due to physical and social environmental
changes. I did some background research and
found that, in arid climates, creatures would
develop denser and coarser skin as well as
evidence to suggest that larger nasal cavities
would help humidify air. Longer limbs would also
help by giving more surface area to aid in the
effciency of perspiration. As to the forced labour
environment that would affect the creature,
I used the premise of underground gem
mining. Underground could be a slightly cooler
environment than the surfaces temperature,
but it would still require adaptations to occur in
order for the creature to perform a specifc duty
by hand only. I felt that forced labour would
also leave the creature with a sombre, almost
oppressed expression.
I started with a series of thumbnail drawings
(Fig01). These quick sketches had the primary
characteristics that I had in mind:
a) long and powerful front limbs for digging;
b) large eyes for improved visibility
underground;
c) large scoop like fused hands;
d) a posture suited for the job, eventually
making the rear legs almost useless;
e) thick, hairless, callused skin;
f) large nostrils to humidify air
I scanned the thumbnails into Photoshop at
300dpi. I then erased all of them, leaving only
the ffth pose that I had created (clockwise from
top left) (Fig02). I used the Lasso tool to re-size
and shift the position of the head and hand. This
layer was set to Multiply mode. I then created a
new layer below it and started blocking in some
basic greyscale values (Fig03).
The next step was to do some texture overlays
of rock and rough skin (Fig04). I specifcally
used the skin texture of a hairless mole rat; I
felt it was the perfect ft for the creature I had
in mind. One layer was designated for the rock
texture and another was created for the skin
texture. I created the two separate overlay
layers for their independent editing options. On
the rock texture layer I erased the solid shape
of my creature. I then used the Magic Wand
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tool to select the erased area. I switched to my
skin texture layer, inversed my Magic Wand
selection (Ctrl + Shift + I), and deleted all of the
texture that I didnt want outside of my creatures
contour. Both layers were created above my
greyscale layers. Note: remember to hit (Ctrl +
D) to deselect once youve done editing.
At this point I adjusted the opacity of the texture
overlay layers to my desired liking, and then
merged them with my greyscale layer. On my
newly merged layer I decided to make some hue
and saturation adjustments (Fig05). To do this I
went to Image > Adjustments > Hue/Saturation.
When I got to that Hue/Saturation options, I was
given lots of room to make colour selections and
adjustments. I chose to go with warm tones that
lent themselves more to the theme of the topic.
I created a new layer above all of the others
and began the process of over painting. The
frst evidence of this can be seen in (Fig06). My
intent was to mimic some of the textures that
existed in the earlier overlay layers, as well as
to establish a hint of a light source. I wanted
to render the form more by hand, rather than
distorting an existing texture.
I then moved on to work on the head and face
(Fig07); I felt that the face should really refect
the emotional and physical changes that would
have taken place throughout this particular
evolutionary period. I wanted the face to be
able to tell a story simply on its own. I tried to
emphasise the large nostrils to help humidify the
air, the large eyes to gather what little light there
would be, and the rough skin formed from the
dry and harsh environment.
Next, I started detailing the skin of the body and
rendering the scoop-like hand (Fig08 - 09). I
started adding some details to the background:
small embedded gems and rock textures
(Fig10). Finally, I merged the top colour and
the bottom overlay layers. I did a little colour
dodging and burning, cropped the image, and
added my signature (Fig11).
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Note: I used a small airbrush and a custom
rock brush that I created to do the entire
painting, and the fnal document size came in at
1200 X 600 pixels. A fair amount of time went
into research for information for this piece, in
order that I met the criteria of this topic. Once
I had the textures and physical characteristics
established in my mind, it allowed me to paint
the whole piece in about two and half hours.
Having a good base of ideas will help speed
up any creation process. Keep them simple
and consistent. This concept was fun and
challenging and I hope that I managed to do it
some justice. Thanks for reading this tutorial -
now go set your stop-watch and start painting!
Mark Muniz
For more from this artist contact:
kramzinum@yahoo.com
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Introduction
This month sees the exercise primarily
orientated around creature design. The
description conjures up an image of an animal
which has been exploited by another race or
species and used as a pack horse. For this
painting I started as usual with a quick sketch
to establish the overall shape and look of the
animal. I imagined something that was once
similar to a human and which walked upright
on two legs. Due to its strength it was adopted
by another humanoid race (surprise) and used
to carry large, weighted packs of supplies
and building materials on its back in order to
navigate the mountainous and rocky planet. Due
to the strenuous effort involved in transporting
ever increasing weight, it gradually forced the
creature onto its hands to help support itself,
and thus in time the shoulders and upper body
became exaggerated to cope with the lifestyle.
The feet also developed large, fattened toes
similar to hooves to help it balance and spread
the weight, as well as providing a larger surface
area to prevent it from slipping on steep, rocky
ground (Fig01). You can see that the design has
characteristics of a gorilla, but with more human-
like legs. The eyes are set deeper in the head
and I have made the nasal cavity bigger to allow
more air intake as it carries heavy loads.
Blocking In
This sketch was enough to get started, so
after having scanned it into the computer and
importing it into Photoshop I began work on it. I
set this layer to Multiply and then created a new
layer underneath on which to start the painting.
This meant I could use the drawing as a guide
whilst adding colour. As the title implied a hot
environment, I naturally went for a warm colour
scheme. I chose yellows and pinks for the sky
and warm browns for the shadow areas (Fig02).
To add some interest I added a wall on the
left hand side which would contrast with the
mountains I will add later in the background.
The next stage involves blocking the creature in
and deepening the shadows. I used a custom
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brush to create the background, which can
be seen in Fig03, but the creature itself was
painted using a standard Hard Round brush.
You will notice that I have used a few different
colours which will help break up the skin
tones eventually and add some much needed
randomness - which always appears more
natural. On the same layer I now used a warm
brown/red hue and darkened the foreground.
Using the Lasso tool I then created a quick
mountain shape in the background and blocked
in some shadow areas and blended them with
the foreground (Fig04). Using the custom brush
and a lighter pink colour, I then roughed in
some highlights and cloud formations, quickly
establishing the light source in the upper-left
area above the wall.
Adding New Layers
So far everything has been painted on one
layer, but as this exercise was intended as a
tutorial I added new layers to help separate the
stages and allow quick changes to be made to
the image. The next step is to increase the tonal
range in the image by adding a cooler grey/blue
colour overlay (R126, G148, B169) across the
creature, set to Multiply at 50% opacity to keep
him within the shadow of the wall (Fig05). You
will also notice that I have added some evidence
of stones and rocks across the ground and
darkened the base of the wall (set to Soft Light).
If you look at the Layers palette (inset), you will
notice that I have also included some shading
across certain parts of the creature on this layer.
At this stage, I fattened the fle and then added
a new layer set to Screen in order to increase
the intensity of light. Using a pale yellow, as
seen in Fig06, I brushed in some lighter areas
and clouds across the sky and had some light
flter over the wall, making this upper-left corner
the brightest section. One more touch added on
this layer was the molten rock and lava which
can be seen in the middle distance across the
ground on the right. On the base layer I put in
some eyes quickly as a test, and added some
warm highlights across the arms and right leg.
At this point I had been working on the image
for about an hour and a quarter and could have
called it a day so to speak, but wanted to make
a few more tweaks, yet...
Final Touches
The creature is almost complete, but in order to
make the skin more resistant to the increasing
heat I decided to add some sign that it was
evolving scales, similar to a reptile or lizard. For
this I made a quick custom brush using four
ellipses, as seen in Fig07 - 08. You can see
from Fig08 that the Spacing slider has been
moved about half way to create a tiling pattern.
To align the brush with the various parts of the
body, change the angle by rotating the arrow
highlighted in red. You can see how these
revised settings appear in the brushes palette
in Fig07. Now its simply a case of painting in
some areas around the highlights on a separate
layer. I did this using an off-white and then set
the blending mode to Overlay, which means
they will not affect the base skin colour too
much. You can see the fnal version in Fig09.
I painted in some extra highlights across the
shoulders and arm, as the new scaly skin would
be more refective. I also changed the shape of
the nostril to closer resemble a camels, which
can close up in the event of a sandstorm.
Conclusion
Without doubt the most diffcult (and most
interesting) aspect of this particular topic was
trying to conceive a design that looked at once
fantastic, but also physically correct. Not being
a zoologist, I cannot say how successful I have
been, but it was good fun to invent a new life
form. As with most of these exercises, they
do inspire me to consider the subject matter
in more depth and in this case design another
variation. The whole piece took about one and
three quarter hours, barring a few minor tweaks.
As speed painting is essentially about the
structuring of an image, i.e. the colour scheme,
lighting, form, shape and composition and so on,
I believe it is not necessary to create complex
customised brushes. In this case however, my
main brush already existed and certainly helped
add atmosphere to the background scenery,
but I would not normally spend time making one
especially. Unless you have a set of customised
brushes already, the standard set should prove
ample enough to achieving the desired aim with
this type of painting.
Rich Tilbury
For more from this artist contact:
ibex80@hotmail.com
The party entertainers real twisted identities
were very far from their bright, colorful disguises
Chapter 8
by Fred Augis & Rich Tilbury
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To evoke this subject I chose to settle my work
in the middle of a Baroque scene, where we
discover guests who are fascinated by the
dexterity of the juggling acts carried out by an
entertainer. In spite of the good mood evoked
by this aristocrat clown, he acts on a tormented
heart which carries the blood of his victims on
his hands...
Picture 01 Using Photoshop, the frst
stage in the construction of this speed painting
was to establish the composition of the scene;
to pose the masses of each element in order
to obtain their silhouettes and to beneft from
them in order to deposit smaller subjects at
the bottom. To detach the elements from one
another, I contrasted many levels of grey, in
particular for the main subject.
Picture 02 I then had to integrate
the light from the candles, as this was to be my
principal source of light. I was therefore able
to pose volumes for each silhouette. Whilst
placing the three characters in the lower part of
the lit scene, very close to the source of light, I
was obliged to hide certain zones of their body,
adding mystery to their characters.
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Picture 03 I continued this work by
detailing the characters - always in black and
white - until achieving a satisfactory quality. I
concentrated on the masked man and added
elements such as the cigarette smoke in the
foreground. I then started to add colour to my
composition...

Picture 04 I selected a sepia colour
which I applied to the whole of the painting in
order to evoke an environment reminiscent
of the past. I then gilded the masks in gold to
slightly detach them from the other elements.
I then integrated the most conspicuous colour:
red the blood that the three men around the
subject have on their hands. I benefted from
posing a halo of light around each of the burning
lights.
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Picture 05 - 06 For the fnal
phase I contrasted certain zones using the
Overlay flter, by concentrating the light on top
of the image and adding some textures at the
same time. Using the Smudge tool, I sought to
apply movement to the three tormented men.
To fnish off, I refned the proportions using the
Fluidity tool.
Fred Augis
For more from this artist contact:
fredaugis@hotmail.com
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Introduction
For this months exercise I decided to situate my
scene in a traditional theatre setting and imagine
it was set at some point during the Victorian era.
I chose to use somewhat traditional costumes
as a result, such as a court jester and man
wearing a variation of a Napoleonic hat, which
I believe is known as a Tricorne. Anyway, the
idea was that it gave the picture a historical feel
and hopefully established it in at some point in
the past. The idea behind the image is that a
man is seated on a stage and is about to take
part in some form of illusion or trickery, but what is in fact going to happen
is that he is about to have his throat cut!
Blocking In
As is usual for me during these speed painting exercises, I start on paper
with a quick sketch as I fnd it easier to draw on paper than I do using
a Wacom. Fig01 shows my initial starting point, which shows a portly
gentleman sitting with his head tilted back and a masked entertainer
behind him. I like to begin with some form of template even if it does not
fully describe the fnal composition. Once the drawing was scanned into
the computer I started by laying down a brown/grey background and set
the drawing to Multiply above this layer so I could see the line work over
the blocking in. I chose a warm grey because the scene is set in a theatre
under bright light and will help add warm undertones to the fnal image. I
then added a new layer on top of this, on which I will begin establishing
the highlights and shadows. Fig02 shows the drawing above the tonal
layer which was done in black and white, with the brown background
showing through underneath.
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Adding Colour.
The next stage involves adding colour, which I will do on a separate
layer to begin with. It is not necessary to keep adding new layers each
time you add more detail, but when you have to break the process
down into a step-by-step tutorial it is very useful! The frst colour layer
is set to Overlay, which means that it can be painted over the tonal
layer but still adhere to the black and white values. This is a technique
I have begun using lately but sometimes only as a starting point. It
does have a tendency to subdue colour somewhat even though it is an
effective approach, and I often fatten the image after experimenting
with a colour scheme and then paint entirely on one layer to refne
things. Fig03 shows the early stages of a colour layer being added,
which was done in two ways in this case. The green arm of the left
entertainer was done on an Overlay layer, and you can see how the
green has remained faithful to the tones underneath when compared
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to the previous illustration. The jester character on the right has been
painted on a separate layer set to Normal mode, and so the colour is
opaque by comparison. I fnd it helpful to always experiment and mix
things up a bit as you never know what you may learn from exploring
different avenues. The tonal range has established the light source in
the top left and with the colour layers added I now have a clearer idea
about how the painting is going. It is now a question of tidying up what
we have so far and then putting in the fnal details. Fig04 shows the
picture at a further stage with some additional colour and modulation,
particularly across the seated man and jester. Perhaps more importantly
the razor which helps to unlock the sinister aspect behind the image has
been hinted at in the lower left.
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Finishing the Picture
The picture is coming together now but there are a still a few problems
with the overall feel of the image. The characters are satisfyingly
colourful and contrast nicely with the hapless victim, and the red curtains
add a theatrical and symbolic streak of red in the background. However,
one thing that looks wrong is the light, which does not seem very intense
seeing that the scene is set under a bright spotlight. To counter this I
add a new layer set to Soft Light, and add a gradient blending from a
pale orange through to transparent, from the top down. In Fig05 you
can see, compared to the last stage, how this adds a warmer value to
the colour scheme, particularly the red curtain which now looks far more
vibrant. To mirror the brighter light, the foor also needs some highlights
cast across the wooden boards, so I put in some refections. Perhaps,
more importantly, I add a glint of light across the razor to emphasise the
sharp blade and to make it stand out against the dark background. The
last thing to do is make the fnal refnements and changes that will help
improve the image.
Fig06 shows the fnal picture with all the
cumulative tweaks, which includes a Curves
adjustment layer. This helped add just a
bit more intensity to the spotlight, which I
felt was still a little weak. I toned down the
foor highlights to hide the chair and also to
emphasise the characters, as well as warming
up the backdrop with a grey/brown showing
some evidence of stage scaffolding. One small
aspect I added was a blindfold, which I felt made
the man feel even more vulnerable and unaware
of his impending doom!
Conclusion
The image is complete and, as usual, has been
an interesting challenge. I could have made the
faces of the two entertainers look more twisted
and evil perhaps, but I actually quite liked the
fact that their intent is hidden. I thought in the
end that the blindfold and razor injected the
picture with an unnerving aspect which did not
necessarily need to be portrayed by the faces
themselves. I may however do another version
with more stylised and darker characters, in
the future. I decided that the jester should be
holding a shallow bowl in a rather ambiguous
manner to help keep the viewer guessing.
Maybe I could have blindfolded the guy with the
razor? ...
Richard Tilbury
For more from this artist contact:
ibex80@hotmail.com
chapter 9
The citizens of the flooded city now resided in the
tallest buildings connected by makeshift bridges.
by Mike Corriero , Emrah Elmasli & Mikko Kinnunen
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Introduction
Touching on a subject that involves some
architecture for a speed painting can either
be extremely simple or extremely diffcult;
it all depends on how you handle it. If the
architecture is meant to be abstract its likely you
may more easily get away with a lot of technical
details. If you choose to produce a more modern
or less complex style of architecture you can
make it easier on yourself with creating a few
quick custom brushes.
As a frst step you can see I have just set up my
canvas with the horizon line, a couple of simple
perspective lines and a base for the water and
sky. To the right is a reference image that,
although wont set the basis for my designs,
will just help keep me on track when working
quicker than usual. Then I have just set up a
small colour palette to sample some hues from,
instead of going back and forth to the Colour
Picker window (Fig01).
Under the brush presets you can adjust a lot of
the settings to get endless effects. This is just
a simple brush I use a lot, called an Airbrush
Pen Opacity Flow brush; with the brush shape
fattened and the scatter option applied it will
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Quickly laying in the large main elements in
the foreground, Im using a custom brush from
a set of construction boxed brushes I made
for this very purpose. A quick and easy way to
produce a speed painting involving architectural
designs such as buildings is by laying down
a perspective grid and using custom brushes.
Ive set the Brush Presets so that the spacing
of my brush is far enough apart to produce a
kind of pattern effect. Just click one spot on the
canvas then hold shift and click where you want
your brush stroke to head. Youll get a perfectly
straight line, and with the spaced brush it will
give you an interesting design effect (Fig04a).
The brush list is a quickly created group of
boxed brushes. They were not all used but its
nice to have them handy so that when you begin
painting you have most elements and shapes
already set up . The presets have been kept
off because with all of these brush shapes I am
playing around a lot with the angles, the spacing
and the sizes to produce my buildings and
bridges (Fig04b).
On a new layer some small buildings and
minimal detail are added to the far background;
notice as the buildings are pushed back further
the value has become lighter and details are
serve as water ripples. You can also apply
Colour Dynamics and play around with the
brightness and contrast and the two colour
boxes, so youll get a nice mixture of values
and colour shifts without switching your settings
(Fig02).
Only a few minutes in and Ive laid down a quick
base for the water, light for the sky and some
clouds. This will be worked on top of and always
kept as the background layer with the simplest
of details and the main base. As I laid the water
lines down I made sure just to keep a couple of
layers and size variation in perspective and in
line with my grid (Fig03a).
The colour palette can be seen in Fig03b.
Producing a colour palette like this is sometimes
much more affective than randomly choosing
colours off of the Colour Picker window. All I did
was take a photo that had a nice colour scheme
that I wanted to apply to my painting, added a
quick smart blur and the pinch flter.
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lessened. Im keeping each plane of buildings
on their own layer for when I produce the
refective effects in the water (Fig05).
Ive started to beef up some of the details on
the buildings, mainly in the background frst of
all, as I start to produce refections and water
ripples. A very quick and easy way to produce
a refection is to simply copy the layer and fip it
vertically, then just lower the opacity, darken the
colours and overlay a few water ripples. Usually
keeping the base lighter around the object
where it connects and meets the water will help
distinguish the refection from its origin (Fig 06).
Here you can see how Ive copy-fipped the
buildings after their details; the bridges and
windows were added and then set the refective
layer to a lower opacity. Checking out the
painting at 100 percent resolution you would
see how choppy and simple the water effect
is, as shown in Fig02. Increasing the size and
lining the base of the buildings with a more
scattered version will help provide a splashed
look (Fig07).
At this point I have fipped the painting to check
the composition and decided it would be more
interesting to cut down the second foremost
building so that we can see the base swallowed
up by the fooding waters (Fig08).

Here I have just utilised one of my custom
brushes to lay in some foreground bridges.
All throughout the painting process Ive been
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keeping most of this monochromatic and will
apply a touch of additional colour towards the
next few fnal stages (Fig09).
Once most of the painting has been completed
Im just going to do a quick level adjustment. It
doesnt always work, but using the Auto Levels
option can quickly adjust the values and might
produce an affective change. In this case I
like what it has done and will keep most of the
changes it made (Fig10).
Coming down to the fnal stage here, what
youre seeing is just some colour applied on a
new layer set to Colour, then using my colour
palette Ive just painted some warm lighting in
the background and pumped up the saturation
in a few key areas. The entire painting was
widened on the edges so as not to lose some
elements when I decided to give a tilt to the
composition, adding a bit more dynamic to the
perspective (Fig11).

Final Touches
Final steps taken to bring this speed painting
to a fnal image included the addition of some
important details for scale. Ive added railings
and stairs to the bridges, touched up some
of the rooftop textures and lighting, added a
few fgures in the foreground, some satellites
for communication, as well as a billboard.
Last minute adjustments to the values and
saturation are made specifcally to the sun,
and this painting of a fooded, high, sky-rise
city connected by makeshift bridges, in what
has become a near future disaster scene, is
complete (Fig12).
Mike Corriero
For more from this artist visit:
www.mikecorriero.com
Or contact:
mikecorriero@gmail.com
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Step 1
As the frst step, I open up a new canvas in
Photoshop CS3 and select the Gradient Tool (G)
to create a sky colour gradient to achieve a feel
for the painting. Starting to paint on a full canvas
is better then painting on an empty canvas. I
preferred a purple and grey combination for this
painting, but it would be nice as blue and pink, as
well. Its your choice really (Fig01).
Step 2
Then I start blocking the colours in with a bold
brush. I paint in the silhouettes of the buildings
very roughly. I add some tall buildings to the far
distance to achieve a nice depth of feld feel, as
well. I never zoom in at the frst step. I always
paint at 25% or 50% percent. I also need to get
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the composition right in this step. Its not easy to
fx it later on (Fig02).
Step 3
I start to add some colours to increase the
saturation and I also apply the main light
source from the left hand side. This is a speed
painting so the time is important. The aim is
to get satisfactory results in a short amount of
time. So, my brush strokes are very fast. I was
planning to fnish the painting in an hour, but I
decided to put some more details on it (Fig03).
Step 4
Now the rest is just adding the details and
adjusting the colours. I need some contrast
and colour richness in my painting, so I create
some adjustment layers like Curves and Colour
Balance to adjust the brightness, contrast and
colours (Ctrl + M; Ctrl + B). Then I paint in some
dramatic clouds. A mixture of purple, orange
and yellow would be good for this. I used some
custom brushes that I created whilst painting
them. The rest of the painting needs a lot of
detail, so I just paint in a lot of minor details on
the building. Any brush of your choice would do
(Fig04a & b).
Final
As the fnal step, I zoom in and add little lights
and details of the food verses the city. To make
the lights glow, I create a new layer and change
the layer properties to Colour Dodge. Then I
select a dark orange-ish colour and paint them
in with a default brush.
Thats it: 90 minutes work in total.
Emrah Elmasli
For more from this artist visit:
www.partycule.com
Or contact:
emrah@partycule.com
page 96 www.2dartistmag.com Speed Painting V1
Chapter 09 Speed Painting
Introduction
In this Speed Painting tutorial Im going to
explain a little about the use of 3D tools in
the process of designing an image. Most of
the best 2D artists Ive met do not like to use
3D that much. Many wont even touch these
applications for whatever reasons. I was one of
those guys, until I was forced to move into the
3D world when I got my frst, proper job in the
games industry. Im going to show a process
that is almost invisible in the actual fnished
image, yet helped me a lot when nailing down
the composition of this speed painting.
Quick Composition
In a matter of minutes (or seconds, depending) I
create a quick sketch which includes most of the
relevant compositional information regarding my
painting. I start off with a long, cubic shape on
the left, which will eventually become my major
makeshift bridge, as suggested by the title. Im
not worrying at all about screwing things up at
this point. Its always better to work intuitively
in the beginning, unless youre working under
the very specifc constraints of a professional
assignment (Fig01).
The Dreadful 3D Part
Having envisioned the basic premise of the
composition in my mind, I start putting together
a scene of very simple box geometry in 3ds
Max. Im not going into specifcs of any 3D
application here, as there are better tutorials for
that. I basically just create a fat ground plane,
a few repeated box shapes, and a camera
setup with a wide-angle lens which suits my
needs the best. Then I put in two light sources
from opposing directions, with the sun being
the stronger one. The other would be the fll
page 97 www.2dartistmag.com Speed Painting V1
Speed Painting Chapter 09
the image as a .tif fle, and open it in Painter
Essentials 2. Its a free app. that came with my
Wacom tablet. Basically, any version of Painter
has this great brush engine which is good for
blending. I start using the Palette Knife brushes
to soften my rather straightfoward and edgy
Photoshop colouring. There isnt really one
way to do this; you could achieve the same
result without any 3D, by using more traditional
perspective drawing, and you might do the
blending with some custom smudge brushes in
Photoshop. I just like to shuffe my software a bit
and use everything I can to the full extent. Its
all about getting your creative vision across, and
you shouldnt let the sometimes clumsy digital
tools hold you down!
light from the sky. I dont use any heavy global
illumination-type settings which would make the
image take a while to render. I hit the render
button and make sure I have enough resolution
so that I wont get too much pixelation (aliasing)
around the edges (Fig02).
Blocking in the Colours
After my 3D layout is fnished, I start glazing
colours on top of it in Photoshop. I use a mixture
of opaque and transparent layers whilst trying
to fnd the kind of colours Im intending to use
in this piece. My approach is very experimental,
and Im not afraid to use tools like the Selective
Colour adjustment layer to fnd the right tones.
This time Im going for a very stylised red and
blue palette. I proceed with the colouring,
always thinking in warms and cools (Fig03).
Wrapping it Up
This is the most defning stage in terms of
the fnal style of the image. I go for this rather
graphic and painterly style, with strong shadows
and a lot of saturation. I save a version of
Mikko Kinnunen
For more from this artist visit:
www.artbymikko.com
Or contact:
mikko@artbymikko.com
Introduction:
The elements series is a 70 page guide to 2D
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techniques which can be viewed side by side.
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Volume 1:
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Chapter 2: Painting Fabric
Chapter 3: Painting Fire & Smoke
Chapter 4: Painting Flesh Wounds
Chapter 5: Painting Fur & Hair
Digital Painting Downloadable Tutorial Series
Volume 2:
Chapter 1: Painting Rock & Stone
Chapter 2: Painting Sky
Chapter 3: Painting Skin
Chapter 4: Painting Trees
Chapter 5: Painting Water
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Philip Straub
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These 120 plus page, Downloadable PDFs are
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Chapter 7: Texturing & Hair
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Chapter 8: Bones & Skinning
- Bases, Hierarchy & Skinning
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