Welcome to this Making Of. I'm Vlad Kuprienko and I'm Ukrainian 3D artist currently working freelance creating models, sketches, animations, fantasy and sci-fi illustrations, interior visualisations and working with web design. I've been working in the commercial CG industry for 2 years, now.
Firstly, I would like to mention the process, methodology and software that I use when I work. I normally do a lot of sketches before I start creating a scene or a model. The main software that I use is Carrara and Hexagon, which are not so popular, but I believe they're a good choice for creating great pictures in a short time, if compared with 3ds Max or LightWave XSI. Hexagon has all the tools you need to create and texture your model and render it in a great environment using Carrara. It has all new features like SSS, GI and so on, but it also has ultra fast and powerful rendering. In Fig01, you can see an interface of Skylab in Carrara. One day, I decided to create a picture called "Cold Sky”, and after a few test renders I saw that Carrara couldn't give me the desired mood. Having done a lot of sketches using Painter in the past (I love this application!), I decided to give it a try...
In this Making Of, I'm going to show you how to make this kind of work using 10 colour palettes and using standard Painter brushes only. This work was made by adapting my experience from doing sketches for 3D, and applying them in Painter X using my old renders as reference material (Fig02).
Before creating this picture in Painter, I initially planned to include the surface of the sea, but then decided that a boundless would work better for the concept.
When I knew exactly that I was going to paint a sky scene, I started work on the background by filling a white sheet with a main colour, using Flat Colour Pens. You will see from Fig03 that I marked the darkest and brightest parts of the picture so that the composition began to emerge. This was the last time that I used blender brushes, until the detailing stage. Thanks to my friend, a professional artist, she advised me to use the "Just Add Water” blender brush. It was perfect for making this kind of image.
I already knew where the Sun was going to be, so it was possible for me to paint the brightest parts of the sky. With this type of picture, the contrast works well (Fig04).