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Сборник работ наиболее известных концепт-дизайнеров долины американского креатива - Лос-Анджелеса. Изложен процесс создания иллюстраций от набросков до конечных результатов.
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Extra info for Concept Design: Works from Seven Los Angeles Entertainment Designers
Begin by defining what I know most about the object. com. 82 LOS AERODESLIZADORES SCOTT ROBERTSON: Above are even more sketches from the stack I did in prepa- palette and composition. The line drawing I worked over in ration for the rendering to the right. This group of thumbnail Photoshop included the reflection of the vehicles, to try and sketches were done with the Zebra ballpoint pen I men- get it as correct as I could. The rendering part of this piece tioned on the previous page. I had chosen a very heavy bris- was really as straightforward as it appears.
2002 If perspective is an important part of the composition 9. Night shots of Huntington pier and then a pre-made grid may be useful. This is best done using oil platforms. a grouping of oversized paths that can be moved around over To keep the painting as live and fast as possible, each image the image to the desired position. Generic path sets are cre- is usually created as one layer and added to the same file as ated in another file and copied into the paint file when the work progresses. This minimizes the need for extraneous needed to plan or confirm perspective.
I executed the sketches entirely digitally using tions of the environment I had created, started to give the the “lasso tools” within Photoshop and Corel Painter. flat 2-D vehicle a more realistic illusion of volume. The top sketch on the opposite page was done in If you look closely you can see that the lines of the top Photoshop. I approached the sketch by imagining a simple vehicle are slightly faceted as compared with those of the speed-form vehicle accompanied by a figure of some sort. In lower vehicle.