Tecnologia e Giochi

ImagineFX December 2019

ImagineFX is the only magazine for fantasy and sci-fi digital artists. Each issue contains an eclectic mixture of in-depth workshops from the world's best artists, plus galleries and interviews, community news and product reviews. ***Please note: From September 2012 onwards our digital version feature links to download video tutorials and Q&A workshop resource files. Issues prior to September 2012 do not feature this additional content.***

United Kingdom
Future Publishing Ltd
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13 Numeri

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1 minuti
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…

1 minuti
great reasons to subscribe

• Save 70% on an annual print & digital subscription• Exclusive text-free covers for subscribers • Never miss an issue• No-hassle delivery • Receive 13 issues a years For digital editions, see page 28 SUBSCRIBE AND SAVE BY VISITING: WWW.MYFAVOURITEMAGAZINES.CO.UK/IFX/CODE19 USE CODE DB70CRV AT THE CHECKOUT WHEN ORDERING *Terms and conditions: This offer is available to all new subscribers. Applies to annual print and digital bundle subscriptions only for ImagineFX. Voucher code DB70CRV provides a 70 per cent discount on print and digital bundle subscriptions only. The code can only be redeemed online via Prices and savings quoted are compared to buying full-priced print and digital bundles. You’ll receive 13 issues in a subscription year. You can contact us to cancel your subscription within 14 days of purchase. Payment is non-refundable after the 14-day…

1 minuti

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): 2 Find the…

4 minuti

Tomas Oleksak LOCATION: Slovakia MEDIA: Photoshop WEB: 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…

6 minuti
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…

1 minuti
howard lyon

How do you approach calculating your fees? I almost always base it around how much time I think I’ll spend, and then multiply that by an hourly rate. I determine the hourly rate by setting how much money I need to earn in a year and dividing it by 2,000. That represents 40 hours of work a week, for 50 weeks. As a simple example, if I said that I was going to target 100K a year then my hourly rate would be $50 an hour. In reality, of course, I don’t always have 40 hours a week of work from clients. Sometimes it’s more, sometimes it’s less. How important is it for the brief to be specific? I prefer to receive a looser description in the brief and then ask specific questions. I…