ImagineFX

welcome to… no.1 for digital artists imaginefx

There’s a cornucopia of advice and insight within the pages of this issue. There are two fantastic portrait workshops, both unique and insightful in their own ways. There’s also a workshop dedicated to showing you what Magic: The Gathering look for in portfolios. Most important, though, is our feature on the do’s and don’ts of commissioning on page 22 .Every artist has to navigate this tricky path at some point and it can be hard to emotionally detach from your work. I appreciated the candour of the artists who featured in this story. Over six pages we guide you through contracts, earnings, plus what and when and how to charge. It’s important to talk openly about the business side of art. I hope that it helps you understand the value your…

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resources

COVER WORKSHOP Bring vibrant colours to your portraits Watch Daniel Bolling Walsh make use of Photoshop’s layer modes and custom brushes as he paints this captivating portrait piece for our cover. Turn to page 66 for his workshop. WORKSHOPS Paint card art that instantly captures the viewer’s attention Illustrator Noah Bradley explains the principles of creating artwork for games like Magic: The Gathering, and stresses the importance of good reference. His workshop is on page 74. Make full use of contrast Timothy Von Rueden explains why contrast is crucial. Follow his workshop on page 110 60 REFERENCE PHOTOS Fantasy reference photos Use Noah Bradley’s reference photos to ensure your art’s grounded in reality. GET YOUR RESOURCES You're three steps away from this issue's resources files… 1 Go to the website Type this into your browser’s address bar (not the search bar): https://ifxm.ag/portrait180art- 2 Find the…

no.1 for digital artists imaginefx

Editorial Editor Claire Howlett claire.howlett@futurenet.com Art Editor Daniel Vincent Operations Editor Cliff Hope Contributors Ahmed Aldoori, Noah Bradley, Dominic Carter, Gary Evans, Emily Hare, Richard Hill, Kerrie Hughes, Kymba LeCrone, Tom May, Jenn Ravenna, Timothy Von Rueden, Sara Tepes, Daniel Bolling Walsh, Garrick Webster Advertising Media packs are available on request Chief Revenue Officer Zack Sullivan UK Commercial Sales Director Clare Dove Advertising Sales Manager Mike Pyatt michael.pyatt@futurenet.com, 01225 687538 Account Sales Director George Lucas george.lucas@futurenet.com, 01225 687331 International Licensing ImagineFX is available for licensing. Contact the Licensing team to discuss partnership opportunities. Head of Print Licensing Rachel Shaw licensing@futurenet.com Subscriptions – turn to page 4! Email enquiries contact@myfavouritemagazines.co.uk UK orderline & enquiries 0344 848 2852 Overseas order line and enquiries +44 344 848 2852 Online orders www.myfavouritemagazines.co.uk Group Marketing Director Magazines & Memberships Sharon Todd Circulation Head of Newstrade Tim Mathers Production Head of Production Mark Constance Production Project Manager Clare Scott Advertising Production Manager Joanne Crosby Digital…

fxposé

Tomas Oleksak LOCATION: Slovakia MEDIA: Photoshop WEB: www.tomasoleksak.com Tomas is a freelance concept artist and illustrator who’s worked on several indie games, as well as creating character designs for an animated film. 1 SCARLET SPIDER “When I was a little kid I didn’t know a lot about Scarlet Spider, but I always liked his costume. Later on, when I discovered his story, I fell in love with this character.” 2 CAPRICORN “Artwork for a project exploring the signs of the zodiac. I imagined Capricorn as a huge, swamp-dwelling beast, and tried to give the piece an eerie feel.” 3 GHOST RIDER “A tribute to Marvel’s anti-hero, and one of my favourite comic characters. I chose a portrait composition because I wanted to create interesting flames and render more details on the skull.” 4 PUSTINA “A personal piece that shows two heroes travelling…

the do’s and don’ts of taking commissions

Working on a commission for a client can be a tricky matter. However talented you are artistically, a client is also a person, with all the flaws and foibles we humans share. So you need to tread carefully. The first dilemma is how much to charge. That’s not always easy, even for a seasoned professional like US-based illustrator Annie Stegg. “Calculating fees is always very difficult,” she says. “If a client has a complicated vision, such as multiple characters or detailed environment, the price will increase” “While I do go by industry standards, I tend to adjust my fee based on how long I think it will take me to complete an image. If there are high-cost materials, that’s also factored in. It’s about striking a balance.” Others take a similar approach. French illustrator…