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Though we are a country full of festivals all around the year, but this special festivity time of year when not only you change your calendar but also the gifts, family dinners, celebrations and new year resolutions all make it a special time in everyone’s life. Nithin Rao Kumblekar decided to capture this memorable time for the cover of Creative Gaga. Here, he explains his thought process and step by step tutorial.

For any painting, to begin with, sketching is not only the most basic but the most important thing. The whole painting depends on it and can be considered as the backbone of any painting.

 

Here, I have focused on the subject from the top angle with slight fisheye effect. I did some scribbles first and then fine tune the outlines to make the subject clearer for the next stage. For sketching, I use Adobe Photoshop with Wacom Cintiq monitor and several different brushes which give the real feel of sketching with the pencil.

Festivity

I normally use “Hard Round Pressure Size” brush by enabling brush pressure as well as thickness buttons in the top brush control panel. This will serve the purpose of getting the pencil sketch effect. This feature is also useful while colouring.

Festivity

I have kept the main source of light from top hence the play of light and shadows are pretty simple in this illustration. Also, the characters expressions play very well depending on how we choose to place the light source.

Festivity
Festivity

Here, I wanted to get the festivity feel in the entire colour tone. So I chose to get the orange and yellow tone which gives a warm feeling in the environment. The final colour tone can also be achieved even at the last stage by adding just a flat colour layer on top of all layers and then by trying different mode options in the layer pallet. But here, I chose to set the colour tone layer by layer. I did not use any colour filters, as I mostly knew which tone the final illustration should have.

The character colouring steps are shown here:

 

To avoid any spill of colours at this stage, start by creating the characters and the props in different layers. And If you want to colour a specific part without disturbing the nearby object then you need to create each and everything in different layers and then group it under the character or the object name.

 

For example, in this illustration, I’ve created layers for the skin and clothes within the characters. And for the background, there are many layers for all the objects and that is where you may get confused.

When you have multiple layers then the convenient way to work on the desired layer is to hold the control/command key and then click on the part of the illustration that you want to select. The correct layer will be selected and then for colouring, again hold the control/command key and click on the selected layer under the layer panel, this will highlight/select the layer with selection marquee and you can begin the colouring. There won’t be any spill of the colour outside this selection.

After all the characters and objects are coloured it is time for the background light fixes. In these images, you can see the difference as I’ve added slight glow as well as little shadows to make the characters stand out. And finally after completing everything sometimes you might want to change the size of some objects or change few colours. Since we had everything in layers it is easier to do these minor adjustments even at the final stage. I had increased the size of the boy by about 15%. And we have reached the final illustration.

Festivity

I almost forgot to mention one important thing that to always save the file and keep duplicating it. As sometimes, the file might get corrupted due to some system error or something else. But If you have duplicate files then you don’t have to begin the illustration from scratch. So saving is a good habit but duplicating the files is even better. Good Luck!

Published in Issue 35

Festival & Calendar Design! The season of the festival has started and everyone is preparing to have a unique one this time with less cash and more fun. We interview many creatives who create promotional or calendar design each year. As most of the thing around us had shifted to digital, even calendar design and the promotion has shifted. But Yorick Pintos, a strategic consultant at studio Kohl suggests that best option would be to a mix of both, the traditional and digital media. Digital Illustrator Nithin Rao Kumblekar also shared his love for the printed calendars and emphasis on the effectiveness of it. With many unique inspirations, advice and project showcase this issue is a must-have if you are interested in print design & want to understand the future of the same.

 

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It’s not enough to create a character. What makes a difference is the way you portray it. Illustrator Neeraj Menon works on one of his creations to render it a disposition that presents it in a new light. He explains the process.

Render
Render

Step 01

Started out with a basic sketch. Used a fairly large canvas, usually A4 at 300 dpi, in case you would want to print it out later. It also gave enough room to zoom in and add detail.

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Render

Step 02

Rendered the basic details on the face. Modified the drawing on the left arm slightly. Used only grayscale on the majority of this painting. Realised this was the best way to ensure values and separations remained correct. Blocked in the shape of the goggles and added in the orange lenses. This would be one of the only actual colours used in the entire piece. Used a basic calligraphic brush for most of this painting.

Render

Step 03

Blocked out the basic shape of his flowing coat. This would help form his silhouette. Also blocked out basic folds and lines at this step. Cloth is usually tough to render and it helps a lot to have ready reference at hand. It’s best to shoot your own reference if possible.

Render

Step 04

Added in highlights and detail on his coat, such as bullet holes and tears/rips. Also, to help in the design of his armour, opened up alchemy, a free drawing software. Saved the design and imported into a Photoshop file. The free-flowing shapes in alchemy helped come up with a unique design which could be used as a base for the armour design.

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Render
Render

Step 05

Started fleshing out the armour here. Added shapes and light. Also, added some screws all over it. Used a simple custom brush. Also, at this stage, added a layer of flat purple in pin light mode to give the greys a bit of colour. It helped bring out a sterile sci-fi look.

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Step 06

Modified the armour further and added more light and shade.

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Step 07

Added a hexagonal pattern on the armour to suggest high tech. Used a brush for this to control the size of the pattern. Used the texture setting on the brush and paint it in.

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Step 07a

Added some fiery/glowing edges to the bullet holes on his jacket and small wisps of smoke from them.

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Render

Step 08

Added in bullet impacts on his armour. Added some stitching on his armor which was a simple modification to the calligraphic brush and added some decals overall on his armour.

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Step 09

Moved back to the face again. Finished rendering the hair and added some cuts/wounds on his face. Used custom brushes for some of these, which were mostly scanned splatter effects. Such brushes can also be downloaded online.

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Step 10

Added in details on the goggles. Used a pattern to suggest texture/material on the frame.

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Step 11

Rendered the right hand and then moved on to the gun. Looked for references that would help.

Render

Step 12

Added light shade on the gun and added some screws and glowing bits to suggest it came from the same family as the goggles and armour.

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Render

Step 13

Used some photo reference to get the swordhand right. Added some rim lighting around the edges and tightened up some details futher. Removed the shell casings from the gun. Added a pattern in the background and some sparks with a red gradient in the foreground for an added visual boost. Also added a noise filter in overlay mode on the image for added texture.

Render

Step 14

Arrived at the final image.

Published in Issue 15

In this issue, we invited leading Gaming professionals to share their inspirations along with their suggestions to improve the Gaming Art in India. Featuring some of the big names of Gaming Art like Vinay Vikram Singh, Sandeep Menon and Neeraj Menon along with Internationally renowned Russian studio, ‘Grafit Studio‘ and many more talented creatives. So, go ahead

 

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Creative Gaga - Issue 48