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3DTotal's Futuristic Soldiers Chapter 1

By Svetlin Velinov
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Date Added: 23rd January 2013
Software used:
Photoshop
1655_tid_ebook_free_sample_futuristic_soldiers.jpg

Hi, all. I'm very glad that 3DTotal gave me the opportunity to develop this idea and show the different stages behind creating a futuristic marine. I hope this tutorial will be useful to everyone and will give helpful advice and knowledge to those who still want to learn and advance in the field of concept art. The purpose of such work is mostly supporting the film and game industries. It makes the work of the concept artist very important because you need the right vision, and to create an original product, as this is what makes it successful. The final result is the fruit of the work of many people, but the artist always has an important role and is crucial for the project.

The theme of this tutorial is a futuristic marine. This made me think of a scene with a soldier who is being ambushed by flesh-eating worms. Let's get started!

Sketch

A serious production requires a lot of preparation work before the real creation process starts. Lots of different possible thumbnails are outlined. Positions are sketched; diverse visions and designs are tested. In this case we don't have the necessary time for this step, nor is it the tutorial's purpose.

My first task is to make the concept for the composition clear. We can use a Hard brush to build the silhouettes and to compose its elements (Fig.01). The masks are chaotic and expressive, as in the beginning I'm not searching for a distinctive shape or volume. When I was a child I enjoyed staring at the textures of flooring and the objects around me. Looking at the structure and the patterns of the stones, the wood and any other surrounding things is a nice way to develop one's imagination. You start seeing interesting shapes and volumes; faces and figures; people and animals. This is why my first task is to chaotically sketch masks and lines until you see a definite shape that could be the frame and structure of the image. Achieving a good end result might be pure coincidence but the satisfaction from using such a process is huge, and the development of a character in this way is fun (Fig.02).

1655_tid_fig_1.jpg
Fig.01
1655_tid_fig_2.jpg
Fig.02


Main Color and Light

This is the stage where the basis of the color is lain down and the light is built up. It is a quite rough version of the final vision of the character. After having built up and structured some composition in grayscale, we define the colour range for the illustration on a new layer (Fig.03). For this we can use a picture, an old drawing or a texture. We place the selected image above the sketch and from the drop down menu select Blending Property Color. Later we can add or remove colors by using selection or moving certain parts to other places, or you can just fill in with the brush. This is the stage where the contrast and the intensity of the colors are set, as well as the light source.

1655_tid_fig_3.jpg
Fig.03



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