Wednesday
Apr012015

April Hero Challenge: Kevin Mellon

 

 

As a storyboard and comic artist, I often do a lot of fight and action scenes, having to distill a lot of motion into a single still image. For this challenge I’d love to see what kinds of things you guys come up with and how you convey the idea of motion in a single image.

Kevin Mellon

 

How do you participate in the Hero Challenge? Just follow these steps: 


Click to enlarge.


Download this, rise to the challenge, and draw in SketchBook! 

 Sign up for DeviantArt, if you're not already a member! All the fun is happening there.

Join the official Autodesk SketchBook group

Download the prompt and draw your image (left) . This month the challenge is to conveying motion in a still image. 

Draw your original artwork on the canvas using Autodesk SketchBook.

Add your entry to the DeviantArt Autodesk SketchBook group!

 

 

At the end of April, Kevin will pick the pieces that met the challenge the best, and give feedback on why they hit the mark. We'll feature that art right here for everyone to see!

Download SketchBook  and get started, or check out the post over on DeviantArt.

About the artist:

Kevin Mellon is a graduate of the Kubert School and an accomplished comic and storyboard artist. Drawing professionally since 2007, he’s worked on published titles including ‘Gearhead' and ‘LoveSTRUCK' with Dennis Hopeless, ‘Heart' with Blair Butler, and 'American Muscle' with Steve Niles. His own comic book is called ‘Suicide Sisters’, featuring the story of two sisters chasing down the devil to regain their souls. By day, Kevin is a storyboard artist on the hit tv series Archer. You can learn more about storyboarding for Archer in this interview, and check out his comics here.

Monday
Mar302015

Art Education: Interview with Victor Osaka

Victor Osaka is a multitalented designer living in Los Angeles. He is also an adjunct professor of interior architecture, photographer, industrial designer, mechanical designer, apparel designer, and 3D CGI artist. His most recent teaching assignment was at Santa Monica College.


Who are you & what do you do?

My name is Victor Osaka and I am an artist living in Los Angeles, California. First and foremost, I am an educator. That is my love and my passion. I have been a college adjunct professor of architectural illustration, a former industrial designer, a 3D CGI artist, and I have a degree in fashion design from the Fashion Institute of Design and Merchandizing (FIDM) in Los Angeles. Currently, I create courses for both lynda.com and digital-tutors.com and I am a photographer/partner at TrueLightDigital.com 

How did you get your artistic start?


From an early age, I loved to play with pencils and crayons—I still love the smell of crayons. I’m sure my parents had to repaint the walls a number of times! In grade school, I was placed in a gifted students class where we were exposed to art on a daily basis and creative experimentation was encouraged. In high school, I loved technical drawing and excelled in mechanical drafting. Of course, this was way back before computers.

Eventually, I became an industrial designer, discovered and fell in love with 3D computer graphics, and used the computer as a product development tool. During that time, I was the founder and president of the3D Art Forum International, the largest computer users group of its day with members worldwide. 3D graphics and animation became my world and I closed my industrial design company to work full time as a 3D artist. I’ve worked on all kinds of projects: theatrical releases, forensic 3D animation, in-house videos, and just about everything else. What I like most about computer based art is that the possibilities are virtually unlimited and that is so very exciting.

What are your tutorials about?


Yes, my courses at lynda.com. I really enjoy creating these. It’s amazing how much work goes into conceiving, developing, scripting, and refining them. At Lynda I work with a talented video production team with a director, producer, crew, and technical support. It is a very exciting process.

My first course is SketchBook Pro for the iPad. This course covers the full use of the program, from basic to advanced techniques. Students learn the interface, the settings for tools and brushes, how to manipulate layers, and tons of techniques and tips for the digital artist. I also discuss ergonomics and how to prevent repetitive motion injuries while using the iPad. I also guide students in how to choose a proper stylus and a case that’s appropriate for creating art. 

In my course, I am recorded live working with the iPad. Students can see me work from my POV (point of view) not just from a screen capture, therefore they can actually see how I hold my stylus, where I tap an option or setting, and my body position as I paint. I take students step-by-step, through two complete projects. Not too fast or too slow. At a pace I think they’ll appreciate. The first project emphasizes specific techniques and methods such as making the best use of tools and brushes and implementing a non-destructive methodology into the work flow. The second project places emphasis on multi-layer techniques to refine the work by adding textures, shadows, and highlights.

My other course is called Learning to Draw in One-Point Perspective with SketchBook Pro 7. For some artists, perspective remains a mystery. And I totally understand that. I’ve taught many college students how to draw in perspective and I take those lessons and condense them into this course. In this course, we have the incredible perspective tools of SketchBook pro 7 to work with. 

Through examples, I explain perspective theory and my method of using photographic templates to practice perspective, which is easy to do with SBP7. I demonstrate how to develop proper perspective guidelines, composition, color and shading techniques, and how to add shadow and lighting effect layers.

Much like in the iPad course, I take students step-by-step from beginning to finished drawing through a single-point perspective project. The feedback has been really awesome. As of today, my courses has been viewed over 9,300 times. 

Who should watch your tutorials?


Why, every digital artist of course! Truly, I do feel that my courses offer something for everyone. My iPad course for example, while designed for the beginner includes many advanced techniques that anyone can use. And I give practical instruction as well. Like how body position affects your ability to draw on a tablet or iPad. You may be surprised how many of us suffer from wrist, neck, and back pain as a direct result of our posture while drawing! Ouch!

What’s your favorite thing to draw?


My personal folio includes a great variety of subjects and styles. Everything from digital paintings in the style of the old masters to algorithmic and fractal art. My favorites however would have to be either industrial design or fashion design. I particularly love the product development sketches as it shows the progression of an idea. Fashion sketches show emotion and movement. 

What’s your advice for aspiring artists?


Well, software cost is no longer the barrier it used to be. For the price of a few lattes, you can buy Sketchbook Pro. You have to start somewhere to develop your personal style, so download the software to your desktop machine, grab your smartphone or tablet and draw, paint, and manipulate imagery. Learn your program inside out. Because if you don’t master your technology, it’ll only get in the way of your artistic vision.

 

Check out Victor's SketchBook Pro tutorials on Lynda.com.

Monday
Mar232015

Get paid for using SketchBook

 

 

Do you love using SketchBook, and like to brag about it? What if you could get paid for it?

We figured you'd like that - so we’re introducing the Autodesk affiliate program.

The way it works is pretty simple. You refer people to our site, people download and purchase a membership, and you get a commission on the sale: 
 
- 25% commission on annual membership
- 100% commission on monthly membership
 
As an example, if someone you refer signs up for an annual SketchBook membership, you will earn a one-time payment equal to 25% of the selling price of one term of an annual membership. Similarly, should one of your referrals purchase a monthly membership to SketchBook, you will receive a one-time payment equal to 100% of the selling price of one term of monthly membership. 
 
Ready to sign up? Fill out the Autodesk Publisher Application right here, and get to bragging about SketchBook!

 

Monday
Mar162015

Video games & art

Paul Vera Broadbent is a SketchBook Pro artist & veteran of the video game industry with over 40 releases to his name.  Check out his work over on his Tumblr or follow him on Twitter. 

Even when I was young I knew I wanted to create work digitally. I played video games from the early 80’s, and the artwork in these games is what initially inspired me.

Around 1987, my father brought an Apple Mac SE home from work and showed me the built in art package Paul Vera-Broadbent called Super Paint. Using a mouse seemed quite natural to me and I started to create artwork. A few years later I got an Amiga. That's when I really began to create pixel art. I was drawing animated game sprites, backgrounds and designing my own games. Friends of my family knew a game developer and the in-house artist helped me in the early stages of my development, pushing me in the right direction. This mentorship gave me confidence that I was doing the right things and could eventually do this professionally even though I was only 15.

At this point I didn't see myself doing anything else as a career.

During my first year of 6th form when I was 17, our school required two weeks of work experience. My career counselors tried contacting some local games companies but with no success. I ended up being a teacher's assistant for basketball. In the first lesson, I explained to the teacher why I was there. He replied, “You should have talked to me because my brother-in-law owns a games company!”"Robotina" sketch by Paul Vera Broadbent. Check out his awesome use of the 'Perspective Guides' in SketchBook, available to Pro members

I was in the right place at the right time. He gave me their number, I called them up explaining my position and they asked me to come in for a week. I was excited to show them my work but I had no idea what they would think. I started to show the MD and eventually the whole office was looking through my work and they seemed very impressed. I worked there for a week and then they asked me to stay for another.

During that second week they asked me to keep in touch and they would have a job for me after I left school. They also asked that I return during the school holidays to gain experience. When I returned during the holidays they called me into another meeting - but this time they offered me a job! They asked if I would leave school and start as soon as possible. I couldn't believe it. I returned to school, arranged everything with the teachers to leave, finished my school work on the Friday before and started the next Monday as a professional artist. I released my first game when I was 18.

Paul adds lighting effects.

When I've worked in large companies there is always so much to do from hiring, working with junior artists, design meetings and creating artwork. The days are always different especially if you have more than one project on at the time. I've had the most enjoyment when I worked with smaller teams because you feel closer to the project. Many years ago I worked on the first 2 ‘Music’ (MTV Music Generator in the US) projects on PS1 which was amazing. It was something new and we won all kinds of awards and I met some amazing people. Working on really small teams is great too, but you soon learn that no artwork is produced unless you do it! 

The most suprising thing about working in video games is that you don`t get to play games all day! But seriously for me the best part of making games is the development. I always thought releasing games would be the best part but its the creation and teamwork is what I find the most rewarding.

 If you are starting out, I would suggest to create work as much as you can and try different styles. I try not to be precious about anything I do because if you can't take criticism you`ve got no chance of improving or working with other artists. I`ll be the first person to say if I`ve done something that doesn`t work.

It can be difficult to find a break in the industry but you can`t give up. The best thing is to be prepared, have a good portfolio and if you can, some kind of demo. There are all sorts of tutorials these days, so make use of them. When I was starting out, you learnt on the job and built your skills from game to game. Sometimes its good to specialize in one area but for me I think you have a better chance of finding work if you can adapt your skills to any project.

The final finished piece. 

Monday
Mar092015

How to draw a face tutorial by Loish

The SketchBook team was really lucky to be able to ask the amazing Loish to create a tutorial for us in SketchBook Pro.

full tutorial on DeviantArt


Can you find some inspiration for your Hero Challenge character? Download SketchBook today and participate!