ImagineFX - February 2022

FREE! EBOOK AND VIDEO TUTORIALS WORTH £9.99

15WAYS TO DESIGN WORKSHOP
BETTER SCENERY ANIMATE A
SHORT IN VR

Sketch, storyboard
and animate in Quill
ANIMATIONGETAHEADIN
Learn to sculpt and paint
vibrant character designs
with Fernando Peque

MAYA AND
THE THREE

Discover the art of
Jorge Gutierrez’s

fantasy series

ISSUE 209

ALSO INSIDE

HOW TO SIMPLIFY
YOUR CHARACTERS
ADVICE TO OVERCOME
IMPOSTER SYNDROME
PHOTOSHOP 2022 –
SHOULD YOU UPGRADE?

NETFLIX ACCESS7! 2M5A4K9IN0cG8A-5R9C0A5N-E4,8T0HcE-8M8I7T9C-HaE8LcLaS9VeSd.2TeH8E4MaACHINES & MORE

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Welcome to… Editor’s letter

EDITOR’S CHOICE Three of my top
picks this month…

32

This issue’s animation theme The Art of Maya and the Three
has become something of a Production designer Paul Sullivan shares what went
Netflix takeover. The streaming into making Netflix’s hit fantasy animation.
platform has invested heavily
in animation and it’s beginning 40
to show. With a mantra to leave
artists and creatives alone to Sketchbook – Pancho Vásquez
make the films, series and The animator and concept artist opens his sketchbook,
shorts they want, it’s easy to see and you’ll be inspired by the dynamic quality.
why Netflix is dominating this issue.
We start with Paul Sullivan’s insights into making 66
the Mesoamerica fantasy series Maya and the Three,
which is awash with colour and incredible visual
design. We also take a close look at Arcane, the
stylish animation from Riot Games and Fortiche
– the creative director and art director share their
thoughts on making the hit series. Finally, we speak
with the creative duo behind Aardman’s wintry
animation Robin Robin, head to Australia for some
winter sun with Back to the Outback, and catch up
with the team behind one of the year’s best
animated films: The Mitchells vs. the Machines.
And if you want to follow in the footsteps of
these artists, then turn to our workshops where
Netflix artists Fernando Peque and Jackie Droujko
reveal how to create characters for animation.

Editor Simplify figures for animation
[email protected]
Netflix’s Jackie Droujko reveals how to break down
figures for animation, in the first part of her series.

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Contents
SUBSCRIBE & SAVE!

Your art 18 32

10 FXPosé Beat imposter syndrome The art of Maya and the Three

News and events 44 24

18 Beat imposter syndrome Arcane art secrets Artist in Residence:
Find out how professional artists overcome Laura H Rubin
feelings of self-doubt and self-criticism. 50

22 Creature discomforts The Mitchells vs. The Machines
Bringing Back to the Outback’s cast to life.

23 A Day in the Life of…
Jerad Marantz
Why personal projects are vital to this artist.

24 Artist in Residence
We explore Laura H Rubin’s Swiss studio.

28 Spotlight on Robin Robin
How the Netflix/Aardman film was made.

Features

32 Maya and the Three
We speak to the production designer who
helped design the Netflix series’ visuals.

40 Sketchbook:
Pancho Vásquez
Discover the Chilean illustrator’s line-art.

44 In a League of its own
Arcane’s key creatives reveal how they
brought League of Legends to Netflix.

50 Making The Mitchells
vs. The Machines
Top art insights on one of 2021’s best films.

Regulars

3 Editor’s letter
6 Resources
7 Next month
8 Print subscriptions
31 Letters
58 Digital subscriptions
69 Recent editions
81 Reviews

4

725490c8-5905-480c-8879-a8ca9ed2e84a

40 66 Issue 209

Sketchbook: Pancho Vásquez Simplify characters Workshops
for animation
60 60 Sculpt & paint character art
Fernando Peque develops a demon-riding
warrior to inspire animation.

66 Simplify figures for animation
Discover how Jackie Droujko creates
appealing characters for animation work.

70 15 tips for developing
better backgrounds
Set the stage for your animation
characters, with Dia Jamandron.

76 10 tips to get started in Quill
Dan Franke shows how to create an
animation project in virtual reality.

92

Paint and sculpt your characters Fantasy art portrait

70 76 Traditional Artist

Better backgrounds Get started in Quill 88 Traditional FXPosé
Discover this month’s selection of the
finest traditional art, sent in by you!

92 Workshop: Paint a portrait
– Part 3: Oils
Illustrator Patrick J Jones puts all his
preparatory work to good use, as he
creates a striking fantasy oil painting.

98 First Impressions:
Adria Alvarado
The Peruvian artist on receiving advice
and encouragement from Boris Vallejo.

725490c8-5905-480c-8879-a8ca9ed2e84a 5

Resources

Getting hold of this issue’s resources is easy. Editorial
Just visit: ifxm.ag/animation209art Editor Ian Dean

WORKSHOP VIDEOS 9 HOOVEURRSofrftloovemiawdrenapotrcforthouamatrontr!idsiatsls [email protected]

Get ahead in animation art Art Editor Daniel Vincent
Operations Editor Cliff Hope
Watch as vis-dev artist Fernando Peque uses Adobe’s virtual reality tool Medium, along with
Blender and Photoshop, to create this month’s stunning cover. There’s more on page 60. Contributors
Ben Brady, Dom Carter, Tanya Combrinck, Jackie Droujko,
From sketch to finished oil painting Dan Franke, Dia Jamandron, Patrick J Jones, Jason Parnell-
Brookes, Fernando Peque, Laura H Rubin, Pancho Vásquez
See how illustrator Patrick J Jones makes the best use of his preparatory work to create a fantasy
portrait in oils, in the final instalment of his three-part series. Turn to page 92 for his workshop. Advertising
Media packs are available on request
ANIMATION ARTIST EBOOK Chief Revenue Officer Zack Sullivan
UK Commercial Sales Director Clare Dove
Advertising Sales Manager Mike Pyatt
[email protected], 01225 687538
Account Sales Director George Lucas
[email protected], 01225 687331

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Next month

Fantasy Illustration

Get spirited away with Johan Egerkran’s
beautiful and elegant new dragon art

Also in the issue…

From artist Master the tools Illustrate in Create art with
to author of ArtRage 5 Procreate a unique style

The fantastic Tom The acclaimed Maria Dimova Control shape
Kidd shares art and and form in your
insights from his Disney tutor Chris shares her process art with D&D’s
book, Gnemo. Harry Conway.
Petrocchi creates for painting

a striking portrait. Art Nouveau.

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2

THE PLACE TO SHARE YOUR DIGITAL ART

Kallie LeFave

LOCATION: US MEDIA: Photoshop, Procreate WEB: instagram.com/kallielef

Kallie’s love for fantasy and fandom art stems from
Don Bluth and Ghibli films. She loves creating gesture
and emotion through bold line-work, colour and light.

1

1 IN THE GRAVES 2 WITCH QUEEN 3 THE IMPOSTOR
“This piece was inspired by a Dragon Age “A piece depicting George RR Martin’s “Here I was inspired by Solas from
Inquisition character. I love nature and the Nymeria Sand, Arya Stark and her direwolf, Dragon Age Inquisition. I loved the Tarot
many hues of green it provides, and this Nymeria. I wanted to push this piece with a cards created for the game and wanted to
colour scheme felt magical.” more painterly style.” make something in a similar fashion.”

10 Want to submit your work? Visit http://ifxm.ag/getinifx

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Gennadiy Kim

LOCATION: Russia MEDIA: Photoshop, HEAVYPAINT WEB: instagram.com/gavn_art

Gennadiy is a self-taught artist who previously worked as a concept artist
in the game-dev industry. “Now I’m much more focused on exploring
personal art, specifically in portraiture. I love exploring new techniques.”

12

3

1 AIMEE 2 SOURENA 3 JOSIE
“This portrait is a result “With this portrait the “In this portrait I tried
of merging two photos. aim was to keep it low- to contrast the very soft
I painted it in a chaotic contrast with little patches of shapes and curves of Josie’s
manner with only the face high-contrast areas, focusing features with the more dirty
and hands distinctly on the reflection in the colours and fragmented,
representing the subject.” glasses and the nose.” bold brushstrokes.”

12 Want to submit your work? Visit http://ifxm.ag/getinifx

725490c8-5905-480c-8879-a8ca9ed2e84a

Kablikhina Valeriya Sergeevna

LOCATION: Russia MEDIA: Photoshop, Illustrator, Maya, 3ds Max, ZBrush, SketchUp, Blender WEB: artstation.com/fallfox

Kablikhina, aka FallFox, has been drawing since childhood and graduated
from Stroganov Moscow State University of Arts and Industry. She works in
game development and is inspired by dark fantasy and cyberpunk.

1 ENLIGHTENED WARRIOR 1
“This character represents
essential basic consciousness
beyond the stream of
experience. He is free from
emotions and doubts.”

2 BUTTERFLY DRAGON
“Who doesn’t like
dragons? Unfortunately, the
more dragons are drawn, the
harder it is to find a fresh
angle. Hence why I added
the wings of a butterfly.”

3 KING OF THE
WILD HUNT
“A vision of the Wild Hunt
foreshadows some kind of
catastrophe, such as war
or plague.”

2 3

4

4 MYSTERY
“This is an alternate vision of the
Ghost of Christmas Yet to Come from A
Christmas Carol. I see the future as more
mysterious than frightening.”

Want to submit your work? Visit http://ifxm.ag/getinifx 13

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Ke Yang

LOCATION: US MEDIA: Photoshop WEB: keyangdraws.wixsite.com/portfolio

Ke Yang is a visual development artist at Sony Pictures Animation. After
graduating from Sheridan University in 2017, she has been working in the
animation industry for clients such as Laika, Netflix and Baobab Studios.

1 NIGHT MARKET 1
“A sweet memory from
my childhood where I went
to a night market in Asia for
dim sum and lemon tea with
my friends.”

2 FALLEN
“I love mechanical stuff,
especially flying machines or
aeroplanes. This is a story of
a group of hardworking
engineers having a test drive,
but failing.”

3EAGLE AND CHICKEN
“This piece celebrates
memories of childhood
games. I love creating stories
from memories – it’s a great
way to discover my past and
celebrate my culture.”

4BOOKSTORE
ON WATER
“I used a limited palette to
create an elegant feeling that
helps with the focus within
the illustration.”

2

14 Want to submit your work? Visit http://ifxm.ag/getinifx

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3

4

Want to submit your work? Visit http://ifxm.ag/getinifx 15

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S Red Amparo

LOCATION: Philippines MEDIA: Photoshop, Clip Studio Paint WEB: oshredart.com

Red draws inspiration from the cute, macabre and the subtly erotic.
When she isn’t creating cover illustrations for independent authors
and musicians, she paints pretty girls to populate her portfolio.

1 ARROGANCE 1 3
“An experiment in
combining abstract elements
and character art, as well as
a Frankenstein monster of
my older artworks, mashed
together and painted over
in Photoshop.”

2 PREDATOR
“My depiction of a little
vampire, a small creature of
shadow. I prefer it when my
art is mostly monochromatic,
with a splash of red.”

2

4

3 G.O.A.T. 4 TRIBUTE TO
“An experiment in MUSHROOMS
combining portraiture with
abstract elements. The title “A tribute to Vicious Delicious
was taken from the song by by Infected Mushroom. It’s a
Polyphia that I was listening homage to the album cover
to while I painted this.” by David Ho, one of my
favourite artists.”

16 Want to submit your work? Visit http://ifxm.ag/getinifx

725490c8-5905-480c-8879-a8ca9ed2e84a

Consuelo Pecchenino

LOCATION: Italy MEDIA: Photoshop, Flame Painter WEB: conzi-tool.com

Consuelo is a concept artist who specialises in architectural and landscape
design. She loves to work in different industries like space agencies, films
and tabletop games. Nature, science and everyday life are her inspirations.

1 DRAGON PEAK 1
“I love to explore complex
compositions, and I always
try to find a good balance
between extreme
simplification and details.”

2 SPRING HILL
“I often get inspired by
my hiking trips on the
mountains, and like to
create new environment
concepts with a fantasy
touch out of them.”

2

Do you want to see your art on these pages? Then email five pieces of your work and a short explanation
about each artwork, along with a photo and a few details about yourself, to [email protected]

Want to submit your work? Visit http://ifxm.ag/getinifx 17

725490c8-5905-480c-8879-a8ca9ed2e84a

ARTIST NEWS, SOFTWARE EVENTS
AT THE CORE OF THE DIGITAL ART COMMUNITY

“Given that we work in a visual medium
where almost everyone is able to offer
feedback, it’s not always possible to shield
ourselves against input that could be hurtful
and unproductive,” says Julia Metzger.

Overcoming Self-doubt and self-criticism are loop and into more productive ways
impostor healthy parts of personal of thinking.
syndrome development, but in the creative
industries it’s common for these Alexandria Neonakis is a freelancer
Have faith Almost all creative people thoughts to become debilitating. It who was previously a senior concept
suffer self-doubt. Tanya Combrinck can get to the point where a person artist at Wonderstorm and a character
explores solutions and strategies with feels as though they don’t deserve concept artist at Naughty Dog. Her
some established artists. their success, their achievements are worst bout of impostor syndrome was
all flukes, and they’ll be exposed as set off by the start of a new job at a
the fraud they really are. prestigious company. Despite having
worked in the industry for five years
It’s hard to believe that world-class she doubted her abilities.
artists could think of themselves as
fakes. Yet many – perhaps even most “The pressure was immense, but it
– successful artists have at some point was honestly almost entirely self-
struggled with crippling self-doubt.
inflicted,” Alexandria says.
Just knowing that these feelings are “The team was super
part of being a professional artist is supportive of me and
helpful for most people, but there are helped ensure my
additional approaches you can do to success. That didn’t stop
kick your mind out of its destructive me from spiralling and thinking they
were going to realise their mistake and

18

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OH SNAP HEARTFELT
IT’S THANOS! MESSAGE

Jerad Marantz has We talk to the
worked some of the Artist news, software & eventsECLECTIC
biggest superhero films WORKSPACE
around, including The Swiss-based
developing the look of illustrator reveals her animation duo who
a certain demented
intergalatic supervillain. apartment’s door into worked with Netflix and
Page 23
Narnia, along with its Aardman to bring a

resident pigeon. We Christmas story with a

hoped it would turn difference to life, using

out to be a cuckoo… felt-based creations.

Page 24 Page 28

John Sweeney says, “I was INDUSTRY INSIGHT
fortunate enough to have a
PAINT FOR
supportive family and YOURSELF
community of friends around
John Sweeney on rediscovering
me, but that doesn’t mean I the path to fulfilment
didn’t have that itch at the
What do you do to address
back of my brain telling me I your feelings of self-doubt?
don’t deserve any of the Looking at the earliest contract
success I’ve had.” work I did in college compared
to the professional work I do
fire me any day. That anxiety lasted I remind myself I’m far now is a reminder that despite
about three months total.” more valuable than just the my feelings, I’ve made progress.
paintings that I can create
Comparing one’s own work to that To what extent is it still a
of others is one of the main triggers “When you turn your create day-to-day. That usually brings part of your life?
for feelings of inadequacy. Alexandria love and hobby into me back down when I’m in my own Self-doubt is a constant feeling,
has a way around it: remember that your primary income head about this stuff.” especially with social media and
it’s not the most important thing. stream, it puts a level of the influx of polished imagery
pressure on it that can REFRAME YOURSELF you get on a daily basis. It can
“What we bring to a team or a be hard for our brains become overwhelming to the
project is so much more than just the to sift through,” says Alexandria has this practical advice: point where I just don’t want to
art or content we’re producing,” she Alexandria Neonakis. “Put aside where your work is right generate anything. It’s in those
says. “Our ideas, how we approach now versus where you want it to be, times I try to focus on making
solving problems and how we work and list all of the other things you art for myself, ideally work that I
together with team members are all bring to your project or team. Maybe don’t plan on posting.
just as, if not more, important than the you’re very good at communicating
final paintings we produce. with game designers, or have given Are there industry factors
the team really great ideas that that make people more likely
“Knowing that now, when I’m having they’ve used to make the characters to have these thoughts?
bad art days or don’t feel my work is as or environments better. If you shift Definitely, whether it’s due to
good as someone else’s, I remind focus from what you’re not as good at toxic management, or members
myself I’m far more to what you’re very good at, it’ll help of a team or online group. Social
valuable than just reframe how you think of yourself in media creates a vicious cycle of
the paintings relation to the work you’re doing.” fearing that you’re not good
that I can enough, and also fearing that
Art director and concept artist Julia you’re missing out if you’re not
© Naughty Dog, LLC Metzger says she experienced constantly posting art and
paralysing feelings of self-doubt from generating “content”.
her teenage years onwards as she
compared her nascent skills to what What advice do you have for
someone who is struggling
she saw in online galleries. with impostor syndrome?
“At points where I hit walls in Ask yourself if there are any
my learning, it was easy to factors in your life or job that
question if I could ever might be contributing to those
feelings. I’ve taken a step back
from social media and I find my
general mood is better and my
sense of imposter syndrome has
subsided considerably.

John is art director at
Insomniac Games, and was
previously AD on The Last of
Us Part 2 at Naughty Dog.

artstation.com/johnsweeney

725490c8-5905-480c-8879-a8ca9ed2e84a 19

ImagineNation News

reach similar skill levels,” says “No matter how loud the inner they were all judging themselves
Jullia. Like many artists, she still has voices are in the worst moments, harshly. He advises getting feedback
they will pass and make way for from someone whose opinion you
these doubts even as a better times,” says Julia. value if you’re feeling unsure about a
seasoned professional piece of work. “Try to see things as
with high-profile, I was overcompensating factually as possible, and own your
prestigious clients. “It for something that wasn’t wins as you do with your failures.”
remains easy to find lacking in the first place
artworks that feel so far beyond my Impostor syndrome is so ubiquitous
basic understanding that it’s hard to solution for a lot of that it might be considered a standard
even acknowledge my own people,” says Randy. “I part of being a professional artist, so
accomplishments as they look was overcompensating for should we be calling it a ‘syndrome’ at
inadequate in comparison.” something that wasn’t all? Alexandria says she hasn’t found it
To get out of these thoughts Julia lacking in the first place.” helpful to put this label on her feelings.
finds it helpful to go back to her tools. Like Julia, Randy found that putting
“I remind myself of the vast artistic his trust in his process and knowledge “I feel like there’s a lot of baggage
tool belt I’ve acquired over the years helped, as did talking about it with tied to it,” she explains. “The internet
and to trust myself and the peers and seeing that they also have latched onto it and made it into a
fundamentals I’ve learned, even while fears. He recognised that as a group much more intimidating thing than it
all the voices in my head tell me not has any right to be. It’s just a natural
to,” she says. “I’ve also built up a stage in doing creative work for your
diverse support system of friends who career. Almost everyone I know
can help me wiggle out of the experiences it on some level. I think in
negative feedback loop.” the past few years as it became part
Julia also finds it helpful to teach of art community discourse it’s been
upcoming artists: “I can help them to treated like this horrible
grow while reassessing my own
knowledge base, which helps me gain
perspective on how far I’ve come”.

SHOULD YOU ‘FAKE IT’?

When Wizards of the Coast first
contacted illustrator and concept
artist Randy Vargas his first thought
was, “They are mistaken, this email
can’t be for me, I’m a total fraud, as
soon as I send my first piece they’ll
find out.” This led him into some
unhealthy work habits. He left the
feelings unaddressed for some time
and followed the widespread advice
to “keep faking it” but found this
ineffective. “I see it not being a

Alexandria created
these character
concepts of Ellie
and Dina for The Last
of Us Part 2.

© Wizards of the Coast “When people complimented © Naughty Dog, LLC
me for my work, I could find a
thousand reasons why I didn’t

deserve that compliment,”
reveals Randy Vargas.

20

725490c8-5905-480c-8879-a8ca9ed2e84a

Artist news, software & events

On social media, John says:
“There’s a vicious cycle of fearing
that you’re not good enough, and

simultaneously of missing out if
you’re not constantly posting art.”

insurmountable monster of a thing,© Wizards of the Coast“Seeking help, talking
when it’s really just a part of the mess to friends, trusting in
of all of this.” your process and
knowledge – those
COPING STRATEGIES were the things that
helped me the most,”
The conversation around impostor says Randy.
syndrome may have its downsides,
but it does make people feel less John’s advice: “Try to
alone and giving it a name can make it rediscover the process
easier to grapple with. Julia has found
it helpful to name the concept: of making art for
“Having the possibility to build a yourself, and from
framework around it in my mind there you’ll hopefully
opens up more strategies for coping”.
find fulfilment.”
While some level of impostor
syndrome may be inevitable, some 21
say there are features of the industry
that exacerbate things. Randy points
to the ‘rockstar culture’: “It makes
people feel that they never will reach
those heights and if they do, they
don’t belong.”

Social media is, of course, one of
the main drivers of the problem. It’s
easy to be overwhelmed by what you
see online, but things aren’t always
what they seem. “The social media
algorithms don’t always give us
an accurate impression of what
a successful career looks like,” says
Julia. “What is needed for client
work is often not the same as what’s
popular on online platforms. It’s easy
to look at numbers and think of them
as responsible for success, instead of
the many machinations happening
behind the scenes.”

725490c8-5905-480c-8879-a8ca9ed2e84a

ImagineNation News

Never have some of
Australia’s deadliest critters
looked as cute – apart from
the koala of course, which
just looks cuter than usual.

Creature discomforts

G’day mates Co-directors Clare Knight and Harry Cripps reveal why they chose
the hardest animals to animate for the latest Netflix release Back to the Outback

Proving that there are no easy jobs This was a very personal movie – “a Movie 2: The Second Part, while Harry
in animation, the team behind the love letter to Australia,” reveals Harry, is an accomplished writer.
Netflix film Back to the Outback set
themselves a tough task. The aim to adding: “Being “We’ve been allowed to break out
animate a snake – a venomous taipan Australians, you live with of our box,” says Harry. “This movie is
– and make her approachable these animals in your a metaphor for our careers, and it was
proved fraut but fun. backyard… I’ve had surprising and daunting and incredibly
spiders fall on me in the exciting for us to be able to, you know,
“Yeah, it was pretty hard because night from the roof. I got one in my step up and do this whole new thing.”
having come from Kung Fu Panda, mouth when I was writing.”
where we had a snake, I knew that The message from Clare and Harry
animating snakes was kind of a very SNAKE CHARMERS is simple: believe in yourself, trust the
complicated and hard thing to do,” value of your experiences and don’t
says Clare Knight. “I actually knew Directing is a first-time role for both shy away from hard work – even if that
Clare and Harry. Clare has edited means making deadly snakes and
who the snake animators some of the biggest animations in spiders lovable.
were – they were usually recent years, including Kung Fu Following a limited run in cinemas, you can
very dour, because Panda, Madagascar and The LEGO watch Back to the Outback on Netflix.
trying to get the
movement of a The escaping animals burn
snake is quite hard.” rubber, in a scene from
Along with Maddie, the Back to the Outback.
aforementioned taipan, the
film also features a scorpion,
spider and spiked lizard. If the
animation team wanted a tough
job then they certainly got it. And it
wasn’t long before they leapt head-
long into the process.
“So it was a challenge that we took
on because it’s very important to feel
that these animals are so interesting,
and so unusual,” adds Clare, who
co-directs Back to the Outback
with Harry Cripps.

© Netflix Animation 725490c8-5905-480c-8879-a8ca9ed2e84a

22

In partnership with

© Marvel

Batman wears a tactical suit © DC Comics/ Warner Bros. Pictures
for 2017’s Justice League,
as concepted by Jerad.

Jerad’s concept for the
rejigged Steppenwolf,

from Zack Snyder’s
Justice League.

Jerad Marantz’s concept of
Thanos in his warrior guise,

for Avengers: Endgame.

A day in the life of…

Jerad Marantz

Speaking personally Creature designer Jerad Marantz
on the benefits of creating art for personal projects

“I wake up at 8:30 and help get my I generally start my day drawing or Concept Art © DC Comics/ Warner Bros. Pictures
kids ready. On days my daughter digital painting and then by the end of Association is an
goes to preschool, I get her dressed the day will shift into 3D in ZBrush, organisation my son being so young, things aren’t
and then watch my son while my wife since it’s easier for me to create in 3D, committed to really balanced right now, but we’re
takes her to school. especially if I’m feeling a little tired. elevating and getting our way back to it by doing
raising the profile movie date nights, and making time
Around 9:30, I get into my home FAMILY MATTERS of concept artists, where we can.
studio and start working. Since I’m a their art and their
freelance artist and juggle multiple Right now, I have two young children, involvement in the Another thing that’s important to
shows, I start each day by looking at so a lot of my breaks are centred entertainment me is working on personal projects.
my deadlines and organising my around when my wife needs help with industries. Its As a concept artist, your job is to help
priorities so I know exactly what the kids. For the most part, I work annual Concept other people solve and make
needs to be done each day. I’m very straight through till dinner time at Art Awards Show everything look cool, but at the end of
honest with my clients, so they always 8pm with the family, and then doing showcases and the day it’s not your movie, it’s not
know how much time I have to devote bedtime routine and family time till recognises your show, it’s not your game. Having
to them each week. 10pm. Then, I typically go back to the behind-the-scenes your own project not only makes you
studio till 2am or 4am and then start it individuals a better storyteller and fulfils you
I utilise multiple techniques for all over the next day. With Covid and working in creatively, but bringing that
creating so the work doesn’t get stale. entertainment storytelling into your art helps you
concept art. push forward your designs and craft.”
I generally start my day drawing or conceptart
digital painting and then by the end of association.com. Jerad is a creature and
the day will shift into 3D in ZBrush character artist who’s worked
on projects like Avengers:
© DC Comics/ Warner Bros. Pictures Jerad reveals his work on Cyborg Infinity War and Endgame,
for Justice League helped Zack Syder’s Justice League, and Batman v
Superman: Dawn of Justice. See more of
redefine his creative process. Jerad’s art at artstation.com/jsmarantz.

725490c8-5905-480c-8879-a8ca9ed2e84a 23

ImagineNation Artist in Residence

A wonderful example of why
I need to practise yoga for back

pain... I can’t sit normally on a
chair. At least one leg has to be

on the chair. No idea why.

Laura H Rubin

Simple aesthetics A Tim Burton fan with soap bubbles, an unused guitar
and an affectionate cat in a Narnia-like room hidden behind a wardrobe…

When I was little, my My studio is on the second floor and In front of the house there’s a
mother often moved the living area on the third and fourth crystal-clear river that meanders
with me. We never floor. The building was built in 1780 through the town, and on the other
lived anywhere longer and it still has some original elements. side there’s a narrow alley with dozens
than one or two years, Which is why, for example, the floors of small restaurants, old boutiques,
so it’s important how and where I live are a bit crooked, the walls are market stalls with fresh fruit and
and work to avoid moving. A few cracked and there is probably a vegetables and street musicians. You
weeks ago I moved for the first time pigeon living behind a wall on the feel a bit like you’re in a Studio Ghibli
in almost 10 years, to a house in a upper floor, but the area surrounding anime here (except for the pigeon
town called Thun in Switzerland. the house is incredible. behind the wall).

24

725490c8-5905-480c-8879-a8ca9ed2e84a

Artist news, software & events

I love hanging plants but didn’t have any high My headphones. I’m very interested in neuroscience in combination My work Big Eyes, inspired (among other things) by the
shelves to put this plant on. So when I found this I can’t work with design. It’s incredibly exciting to know how film of the same name by Tim Burton, in which one of the
rotten log in the woods I was like: “You have to without music. you can evoke feelings in viewers with certain protagonists (a painter) gives the characters in her paintings
meet my plants!” colours or shapes. supernaturally large eyes.

From this window one
can see the river, which
meanders through the old
town only about three
meters from the house.

I’m an Apple fan and therefore work almost
exclusively with Apple products, such as
here with an iMac. When it comes to
drawing, however, I’ll use an iPad Pro.

Alone In The Crowd – a
piece that I created in a
somewhat melancholic
phase of my life. It’s also
the cover artwork of my
book Melancholia.

My little plant corner. My partner always 25
asks if we’re not starting to have enough
plants around, but I’m like “NO!”

725490c8-5905-480c-8879-a8ca9ed2e84a

ImagineNation Artist in Residence

Apophis – probably my best-known work, because
it was the key visual of the Stroke Art Fair in Munich.

A few brushes and sculpting tools still waiting to be
placed on a new shelf.

My workspace is spread over I often work in the I start every day differently: In the evening I take a short walk with
several rooms in the house and gallery above the sometimes I get up and go straight to my better half to clear my head and
unfortunately it’s not yet fully kitchen, because I love the shower, sometimes I go to the then the creative work begins with
furnished. But no matter – my studio the smell of coffee, and studio without any detours, or analog/traditional sketches or with
is rather simply equipped with some because I eat all the sometimes I just lie down on the floor digital work on the tablet.
plants and printed works just waiting time, so the fridge is in the apartment and stare at the Laura is an award-winning digital artist
to be sent on to galleries or to their right near me. ceiling (just because it’s possible). from Switzerland. She studied film/VFX
new owners. and art at the SAE Institute in Zurich and
I usually work until after midnight, has illustrated for companies such as Ubisoft
UNPLANNED DAYS but also start administrative work and Crystal Dynamics. Discover more of her
such as answering emails, project work at laurahrubin.com.
As for my daily routine, I have various meetings or similar only around noon.
day planners, but often end up
ignoring them. This really bugs me
about myself. I always stick to my
work appointments or deadlines, but
I have absolutely no self-discipline
when it comes to daily routines.

Sometimes I just lie down
on the floor in the apartment
and stare at the ceiling…

26

725490c8-5905-480c-8879-a8ca9ed2e84a

My favourite room is behind the wardrobe by Artist news, software & events
the entrance. Although there’s one other way
into this room via normal doors, we mostly I play the guitar very
walk through the clothes in the wardrobe to well… OKAY! That was a
enter the room, so we call it Narnia. lie. I don’t know how to
play the guitar. But I fell
in love with it when I
saw it in a music store
as a teenager. My better
half is a guitarist in the
metal band Breakdown
of Sanity and uses it
from time to time.

I can’t remember
anything if I don’t write
it down or sketch it out,

so I have various
notebooks in which
I write this and that.

This is Beans, probably
the most affectionate
cat in the world. He
likes to sleep in my
clothes while I’m
working, so he always
crawls into my sweaters
while I’m wearing them.

Photography has been a hobby of 27
mine for a long time. I started it when
I was financing my studies with it.

725490c8-5905-480c-8879-a8ca9ed2e84a

ImagineNation News

“The experiments to sort of try out this new
approach using needle felt was incredibly
welcomed by every level of the production [at
Aardman],” explains Mikey Please.

All images © Aardman

An animated short that’s
intent on stealing Christmas

Star appeal Dan Ojari and Mikey Please, the duo behind Netflix and Aardman’s
festive felt animated hit, Robin Robin, explain why the journey is worthwhile…

It’s said animation is 90 per cent Mikey believes
perspiration and 10 per cent animated shorts is
inspiration. For Dan Ojari and Mikey the place where indie
Please, bringing their Christmas and mainstream
special, Robin Robin, to Netflix was animation can mingle
more work than they imagined. and experiment.

“It feel this was 99.9 per cent challenge. “We were working on how been doing this for 12 years – but the
perspiration,” jokes Dan, who to tell that story right up until we felt approach was another accidental
describes the ideas “as a brief moment delivered the film,” says Dan. success. To pitch to Aardman they

of clear insight into a nice PITCH PERFECT brought felt Christmas
setup”. That idea sees a decorations. Mikey says:
robin being raised by a Unknowingly, the pair had created the “As a medium, it felt very
family of bipolar mice and perfect pitch, so when Netflix and appropriate to Christmas
convinced to steal the Aardman heard the story they’d been stories; it’s warm, soft and
Christmas star by a magpie to prove telling for years it was instantly fuzzy [and] Aardman has a great
she can be a “good mouse”. snapped up. Now they had to make it. appetite to experiment with us.”
It’s an idea Dan and Mikey had been The pair reveal how animating with
kicking around since 2014, telling the The choice of stop-motion was a felt has similar properties to clay,
tale to their children at Christmas given – after all, Dan and Mickey have
every year. A script, picture book and
story books were created organically.
The idea and story was always there,
but how to bring it to life was the

We were working on how
to tell that story right up until
we delivered the film

28

725490c8-5905-480c-8879-a8ca9ed2e84a

Artist news, software & events

Dan Ojari hard at work detailing INDUSTRY INSIGHT
a giant Christmas pudding at
the Aardman studio. THE PERFECT
CHRISTMAS

GIFT?

Advice on getting ahead in
animation with Dan and Mikey

because the medium can be “The idea that [Robin] of,” he adds, revealing that the buck What’s the single best piece
dampened and moulded. was brought up by a stops with artists. of advice you’d give to
family of mice, and she anyone who wants to be
What was perhaps just as meets a materialistic Mikey jumps in, adding: “Netflix an animator?
experimental on Robin Robin was the magpie and they go on have a kind of mantra, which is Mikey: “I would absolutely
use of colour. Dan and Mikey hired the a mission to steal a star trusting the creators of the content, to encourage people to collaborate
illustrator Matthew Forsythe as the from a Christmas tree make the thing that they want to make and build a community.”
film’s production designer. “He treats – that came together the most, and make the best thing Dan: … “because of the nature
colour in a very interesting way,” says sort of really quickly, they can possibly make.” of animation, often you start
Dan. “He would layer on lots and lots one day,” says Dan. See more from Robin Robin and the out and it’s very internal. And
of different hues, and build up the animators at mikeyplease.co.uk/robinrobin. it’s very much your own thing.
impression of a colour, but from lots Robin Robin is showing on Netflix from Collaborating with others, and
and lots of different depths of colour 24 November. figuring out ways in which to
[and it would] look like a Lucian Freud communicate creatively gives
painting. We coined the phrase you the tools to do bigger and
‘deep colour’”. often better projects.”

Every colour palette in Robin Robin Do you need thick skin to be
has lots of different hues all working an animator?
together. “There was something Dan: “Having experienced that
thematic and really nice about that, critique it’s very, very healthy. If
too. The film is about how our you just go straight from
differences can make us stronger. So working in a way, where you’ve
when you layer these two things on never had to present your idea
top of each other, they are richer and and have it analysed by other
deeper than they would have been on people then that can be
their own,” explains Dan. daunting. And you can take it
very personally. And it can hurt.
ARTISTIC FREEDOM But I think understanding that
the project is a new project, and
While Robin Robin is releasing on everyone should look at it, and
Netflix and is produced by Aardman, everyone should try and help it
Dan and Mikey cut their cloth in the form into its best shape is good.”
world of indie animation, winning
BAFTAs and gongs along the way. But Did that happen to Robin
streaming means all animation can Robin, because this feels like
find a place, and isn’t relegated to late quite a personal project?
nights on UK TV station Channel 4. Mikey: “The thing that we have
done on this project, and with
“It’s more accessible,” says Dan, others, is always be prepared to
reflecting on Netflix’s promotion of just destroy everything you’ve
animation. “We were given the kind of made, to rebuild it. If you have
creative freedom that I imagine 10 an idea that makes the whole
years ago would have been unheard thing better, don’t be afraid to
just knock it all down and build
it up again. That’s fundamental.
And I guess we were lucky and
being open and having the
resources to be able to do that.

Mikey Please is an animation director and
writer. He’s a long-time collaborator with
Dan Ojari, an animation director. The pair
are co-founders of Parabella Studio.

mikeyplease.co.uk and danojari.com

725490c8-5905-480c-8879-a8ca9ed2e84a 29

LEARN FROM THE EXPERTS AND
BECOME A BETTER ARTIST TODAY

Whether you’re a budding creator or a seasoned pro, ImagineFX Art School has
something to offer every artist, from improving your doodles and generating
new ideas to painting skylines, sketching animals and drawing fight scenes.

ON SALE

NOW

Ordering is easy. Go online at:
Or get it from selected supermarkets & newsagents

725490c8-5905-480c-8879-a8ca9ed2e84a

Letters

YOUR FEEDBACK & OPINIONS New works that have
grabbed our attention
Contact the editor, Ian Dean, on We loved hearing from the artists behind the latest
[email protected] or write to Final Fantasy instalment in issue 208 of ImagineFX. Yueko
ImagineFX, Future Publishing, @meltedbuns
Quay House, The Ambury, Fantasy job
Bath, BA1 1UA, England Miranda Zimmerman
I have all of the art books and so it was @faunwood
Follow us on Twitter: great to see Final Fantasy on the cover of
twitter.com/imaginefx the new ImagineFX. These games have Jehan Choo
some of the best art around, and I only @jehandraws
Find us on Facebook: wish I could paint as good as these guys.
facebook.com/imaginefx It’s my dream to one day work in the If you’ve created art that you want us to
games industry. shout about simply tag us on Twitter or
Share your artwork via #imaginefx: Kate Hopegood, via email Instagram, and use the hashtag #imaginefx
instagram.com/imaginefxmagazine
Ian replies Hi Kate, we loved putting this
No nudity? DID YOU MISS issue together and you’re right – the Final
THE PREVIOUS Fantasy art team are some of the most
I was so please last issue to see the back PACKED ISSUE? talented in the industry. Hopefully you picked
advert had finally been changed after Don’t worry – up some sage words of advice from the artists
being the same for months. However, you can get hold we spoke to, and are on your way to that
I was shocked when I opened the most of issue 208 dream job in the video games industry. Keep
recent issue of your magazine to find a at ifxm.ag/ at it, and stay in touch!
very revealing image on the back, single-ifx.
which doesn’t reflect the content in Long-time reader
the magazine.
Loved the magazine from the start
I feel that ImagineFX should be a dating back when it came with DVDs.
(reasonably) family friendly magazine I’ve been painting both traditionally
for a wide audience where you can and digital and I take care of my
happy read it with your children and the handicapped son and paint for more or
family around or in public venues. less pleasure – I create both children’s
However, I think image does not reflect illustration and horror illustrations.
this belief or the content of the rest of I look forward to the magazine coming
the magazine. in the mail every month.
Christopher Peerman, via email Thomas Arensberg, via email

Ian replies Hi Christopher, I’m sorry you Learning how to draw Ian replies Hi Thomas, thank you for
feel this way, but these adverts promote life- the (often naked) human writing it. It’s always fantastic to hear from
drawing classes and the challenges of form is a key part of art long-time readers of the magazine. While we
rendering the human figure. While we focus education, and it’s no longer have DVDs on the cover I hope you
on fantasy art we’re fundamentally a something that we’ll can still download our content.
magazine for artists, and accepting and regularly cover in
exploring the human form is a part of this ImagineFX. It’s great to hear that you paint for your
education. I hope you find the rest of the pleasure too. Art needn’t always be a profession
magazine enjoyable. but also a hobby and outlet to relax and aid
your mental health. Please keep painting and
sharing your art online.

New starter

I’m new to digital art, can you
recommend where I start?
Lucy McDonald, via email

Ian replies Hi Lucy, you can start with us!
But I’d also recommend cheap but good
software such as ArtRage and Procreate.
Huion’s tablets are great for newcomers too.

725490c8-5905-480c-8879-a8ca9ed2e84a 31

Feature

Celebrated production designer Paul Sullivan describes what it took
to bring Netflix’s inventive animated series to our screens

32

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Maya and the Three

AN ARBOREAL ADVENTURE

Paul Sullivan reveals: “When we got to the
Endless Forest I tried to imagine unique
areas of the forest that would help the
viewer feel like they’ve travelled a great
distance to see something like this…”

All Maya and the Three images © Netflix

here really is no love it. And then if we put skulls all THE HERO’S JOURNEY
toning it back,” over each of the temples, he’d love
laughs production that. And then when you get in even Maya’s adventure is Wizard of Oz
designer Paul closer, and you see the details, they’re meets Lord of the Rings.
Sullivan as he skulls on top of skulls inside of the
remembers trying to details, and so it’s like you can never Dragons evenings – Jorge is known to
wrestle the complex shape design and go too far with it. The more creative constantly doodle and iterate ideas.
colour of Maya and the Three into you get with adding those skulls – like
something that would work for an look, the doorway is shaped like a Having collaborated with the
audience. Such exuberant detail is skull! – like he loves that stuff.” director on The Book of Life, the pair
what writer and director Jorge knew how each other worked. Because
Gutiérrez brings to an animation, and The challenge was on, but it was a Jorge and his wife Sandra Equihua
it’s Paul’s role to make it work and task that began far earlier when the created most of the character designs
leave nothing behind. hot Netflix series was still an idea together, it was down to Paul to flesh
“He loves skulls,” says Paul to give scribbled out in drunken Dungeons & out the world. And yes, that meant
some background. The jungle lands of
Jorge’s Mesoamerican fantasy are He loves skulls. If we made
covered in skulls. It’s what gives this the layout of the city shaped
area of his world an identity, and the like a skull, he’d love it
more the better. “If we made the layout
of the city shaped like a skull, he’d

725490c8-5905-480c-8879-a8ca9ed2e84a 33

Feature

lots of skulls. Paul began by SPOT THE It was fun to see [Jorge] kind of getting visual style is rooted in symbolism,
creating concept paintings for each DIFFERENCE inspired by the imagery, and he was shape and colour. Everything is on
screen for a reason. This level of design
world the characters will travel Paul designed Maya’s working it all out in his head as we meant Paul had to get to the route of
through. As sketches were completed Chiappa leopard with were doing it.” Jorge’s vision, retain all of the detail
Jorge’s love of skulls in but make it read on screen.

Jorge would write to Paul’s ideas, the mind, replacing the CULTURAL CELEBRATION It also meant a lot of research to
pair padding out Maya’s world in spots. The animal’s face “understand the rules before you break
tandem: art leading story and story was created to look Maya and the Three has been a the rules”, as this is a fantasy take on
developing art. angular, much like an past and present cultures. Paul says he
Aztec sculpture. personal project. For Jorge and Sandra did a lot of research to understand
Jorge’s vision. “I didn’t want to go into
“For me this was pretty new, and I it’s about showing their culture and this project with some of my
unconscious biases of what the
felt honoured,” shares Paul. “Some of heritage on screen. For Paul it was his differences of Aztec and Mayan
culture would be. I wanted to make
the ideas I was making, I would like to love of cultural anthropology. “It was sure that I researched as much as
possible,” he explains. “I wanted to
think, come from a shorthand of just a really great excuse to do a deep make sure that I was being culturally
sensitive and historically accurate.”
working with Jorge for so many years. dive into learning about the culture,

different civilisations, and the history

I wanted to make sure that of those different civilisations.”
I was being culturally sensitive The series is inspired by Jorge and

Sandra’s Mexican heritage, but also
picks up on Aztec, Inca and Caribbean
and historically accurate cultures, and presents these in a

wondrous fantasy setting. Jorge’s

DEVELOPING TECA

Paul Sullivan presents a whistle-stop
design tour of the city that never sleeps

URBAN EXPANSION PLANS DAY AND NIGHT

The Kingdom of Teca appears throughout the series but due to story developments it As production was in
full swing the team
needs to change over time. “This one was a huge puzzle to figure out,” says Paul. needed to storyboard
the scenes and colour
treatments for the city.
Paul says: “I did lighting
setups for different
times of day scenarios
that we’d use as some
early lighting reference
for the tangent team.”

34

725490c8-5905-480c-8879-a8ca9ed2e84a

MICTLAN TEMPLE

While designed with
historic references in
mind the team were

clear Maya and the
Three is a fantasy.

ISLAND LIFE

“In the look book we
had established that
this would be a tropical
Caribbean island with
“S” curves motivating
most of the shapes on
the island.”

CALCULATING THE GEOMETRY OF THE CITY

The team hired 3D artist Ryan Holdridge to help model some quick geometry of what Paul had already

painted. “We worked out the city together through a series of paintovers and sketches.”

725490c8-5905-480c-8879-a8ca9ed2e84a 35

Feature

CAREER ADVICE THE DEVINE GATE

Paul Sullivan shares what he looks “This epic animated event feels lush
for when hiring new artists
with beautiful thoughtful design and a
What do you look for in a portfolio?
“I don’t look for a specific aesthetic, huge attention to detail,” says Paul.
but I love someone who’s good with
painting and design. Environmental It meant understanding how, for I wish I was like
design is always something that example, Aztec’s would build their other artists where
people kind of push off in school, but it ends up cities on top of swamp land and water: I could just dive
becoming the majority of the type of work that “A Mesoamerican Venice,” adds Paul. in and make cool,
we do in the animation industry.” There would be lava rock inside the fun decisions
stone, and buildings were mortared
Should art be finished or sketches? with limestone. These details from haphazard in design or more
“I like to see the final paintings, the details. I like influenced the believable locations organised layouts; some are crisp and
to see people thinking about the details of each Paul created. He “wanted to be clean while others are aged. “You can
of the elements. It’s always good to see if intentional” with the details, “I make those finite decisions easier and
someone understands that space, if they can wanted it to look more authentic.” quicker, and more intentional” with
design a space, if they can paint the space.” research. It’s taken over his process, he
Paul would recommend all concept says: “I wish I was like other artists
Should portfolios cover one subject? artists do their research as it makes the where I could just dive in and make
I love versatile artists, and so I’ll look for some of worlds being created more real. He cool, fun decisions. But to me, it seems
that less so than then [just] characters, especially explains how spaces in the series range less researched and more arbitrary.”
working with Jorge, because Jorge and Sandra
have a specific look that we don’t just hire artists EPIC WORLD DESIGN SCALE UP
to supplement that and not drive it. They’re
fewer roles available on films for character The director Jorge Gutiérrez wanted Yet Maya and the Three is pure fantasy:
designers, which doesn’t mean artists shouldn’t the world of Maya and the Three to be “vast “Jorge had to actually step in at some
do that, it’s just that [they should] understand if point and just say, ‘Hey, don’t worry
you want to expand your chances to work on and epic in scale,” says Paul Sullivan. about it. We’re making a fantasy’.” It
stuff, showing the versatility within environment meant the series had to be epic. In a
design and painting is probably the way to go.” chat with Jorge he refers to the series as
“Wizard of Oz meets Lord of the
So know the studio and show you can adapt? Rings” and this challenged Paul to
“If the job is mostly environments and all your deliver that scale on the small screen.
portfolio has is characters, that’s going to be a
difficult decision for the person hiring. But if you “We want to make this thing epic
have a lot of environment design, and it’s not and feel huge,” explains Paul. “So like,
necessarily the style that they’re looking for, as
long as you show proficiency it’ll be an easier
decision. There’s no way that you’re going to
know what the style is, but if you can alternate
between different sorts of visual styles then it’ll
sell the idea that you can jump on our show and
adapt to our style.”

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Maya and the Three

LANDSCAPES ARE CHARACTERS DIVINE DESIGN

Environments such as the Devine Gate When stone creature meets a
unique environment concept…
were designed in the same process as
As well as the environments of Maya and the
the series’ cast of characters. Three, Paul Sullivan also helped design some of
the creatures of the world. The two combined for
the Divine Gate, “because he was kind of an
environment,” says Paul, “so how would he be
the environment and then work with becoming
the character that he is, that they go up against.
That was really fun.”

The collaboration between Paul and Jorge
would ultimately be on the series’ larger, epic
characters, but created from a specific aesthetic
dictated by the director. The shapes come from a
“library of shapes in his head that he likes to use
for different reasons,” reflects Paul. “So Jorge
can go in with your design and just be like ‘this is
the exact shape that it needs to be’ because he
just knows what that is.”

really, the intention of some of those MAYA HERO DESIGNS
early images that I did was just to sell
that idea that it was just an epic, huge Director Jorge Gutiérrez “threw the
kind of place.”
kitchen sink” at his character designs.
Paul points to the kingdom of Teco
as an example of the epic feel, and one
of the most challenging locations to
design. Aztec culture inspired this city.
Built on a swamp and surrounded by
chinampas (small, rectangular
gardens), it recalls the maths and
technology used by the Aztecs to
create these vast geometric spaces.

“It was a very difficult thing to
design because of the scale of it, and
also because it shows up in six of nine
chapters,” says Paul. The challenge was
to create a location that would change
over time and be affected by the

725490c8-5905-480c-8879-a8ca9ed2e84a 37

Feature

THE THREE ARE FIT T0 FIGHT

This battle with Lord Mictlan was

one of the first paintings created by

Paul Sullivan, and was based on old

Dungeons & Dragons book covers.

battles taking place, but the team idea will influence the way that we put NATURAL TOUCH iconography to a location to reflect
was design and writing in the details at the very end.” the people who live there.
chronologically, so they’d not yet The concept for Luna
fleshed out what the future looks like. Working with Jorge and Sandra also Island was inspired by EAGLE VISION
“So it was complicated,” he recalls, offered a solid foundation. The pair Nature – “where the
explaining how a diorama was made rarely alter their character designs architecture was One unique solution to creating the
to help plot the location’s changes. once created, so this means all Paul’s leaning into sea slug world of Maya and the Three came
locations had to be designed around patterns, and colours from the use of 3D. While Paul paints
For Paul, a solution to the series’ these ideas. “It’s pretty easy to work when we see the in Photoshop, he worked with 3D
world design was to “condense with that,” says Paul, who tells us how buildings up close.” artist Ryan Holdridge to quickly
[everything] down into its lowest the character designs would inspire model the worlds he designed. After
form, and compare that with the the locations, leading him to add LUNA PLAZA placing cameras he was able to “scout
other things that we’re gonna see more eagle motifs or panther ahead” and see what the characters
in the show. And then just build “I was always see, “so when Maya is in her bedroom,
on top of that”. chasing the pushed what does it look like when we look
atmospheric depth out of the window?”
It meant in the early stages creating of field often seen
loose paintings that took no more in Edgar Payne It meant the City of the Eagle in
than a day, and he’d have the whole paintings,” says Paul the Kingdom of Teca changed
world of Maya and the Three sketched of this Luna Plaza dramatically from a flat sprawling
out. “It was really great to just get them concept art. design to a raised location because as
all on paper and just make some quick the camera moved around the one-
decisions and see how they compare
to one another, and then make our
decisions from there,” says Paul.

He explains: “Any complex painting
or even idea is strengthened by
building on a strong foundation. And
if we can figure out what the
foundation is first, and we can just
build on top of those ideas, that same

Any complex painting […]
is strengthened by building
on a strong foundation

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Maya and the Three

ANIMATION ADVICE:

JORGE GUTIÉRREZ
AND SANDRA EQUIHUA

Maya and the Three’s director and character
designer share their tips for industry success

WIZARD CHARACTER DESIGN Do you have any advice they should look as beautiful as
for designing characters possible, just standing. So when
The Oz-like cast of characters are designed for animation? they move, it’s a bonus.”
Sandra Equihua: “When you’re
around various facets of Mesoamerican designing the character, you Sandra: “A lot of the time
have to think about their some people tend to design
culture and mythology. backstory. You have to see what the character and they look
they represent. Not only visually, beautiful when they’re in an
HAIR CUT TIME but how did they grow? Where action pose. But what does it
do they come from? What are look like when it’s just standing
“I followed the lead of they thinking? Ask would they there by itself? When you see
the Zatz design by wear that? the character, you should be able
keeping the same to at least understand it. Like
eye shapes and his Jorge Gutiérrez: We try to do where it’s coming from, who it is,
that with every character you know?”
earrings. Originally I because as character designers
gave him a long white we go, ‘Well, what’s the story? How did that approach work
Why do they look the way they for your lead, Maya?
bushy mane, but we look?’ So for example, Rico, and Sandra: She’s asymmetrical. Her
had to shorten it Chimi and Picchu, the three, it’s a hair is long on one side, while
little bit of a love letter to the part of her skirt is higher than the
when we went to the Wizard of Oz; it’s the Scarecrow, other. It’s an imbalance, a signal
final show model.” the Tin Man and the Lion. And to where she wants to go in her
each of them have very unique life. She doesn’t know, you
specific things about who they know? She should go in the Photographs by Rafael Hernandez
are as characters. direction of where her heart is
taking her or she should follow
Do you have a set idea of how to the steps as to what her mother
design a character? and father want, which is to be
Jorge: “We always say they the next ruler; is she going to be
should tell you who they are. And a warrior or a diplomat?

ATTENTION level location it lacked a readable sense
TO DETAIL – the viewer would lose a sense of
space and distance to and from key
Backgrounds were locations. Paul tells us: “So we ended
designed to have up stair-stepping them up like the
sculptural elements eagle wings of the city, which implied
that were historically they were flying, and we made one
accurate. “Even if it’s side red and one side blue. So when the
just a tiny thing, you still camera was turning really quickly, we
see all of that love and could orientate the viewer to say,
care that the team put ‘Okay, this is at least the left side and
into all the designs,” the right side’.”
says Paul.
Undoubtedly Paul recommends all
concept artists learn and use 3D as well
as 2D painting software. “I’m sold on
it, I love it,” he tells us. “I don’t think it
is necessary for everything. But I think
with something like this, it’s so epic
and there’s so much complexity to
figure out, it just really serves as a great
tool. So it’s another tool in my tool kit
to use to pull out when necessary.”

725490c8-5905-480c-8879-a8ca9ed2e84a 39

Pancho VásquezFromthbiastitllliunsgtraatdorra’sgsoknettcohpelsaayriengbuanrstoinvegrwsizitehdsgcaamleeanodf pdirnagm-paong, Artist
SELF-
CRITICISM PROFILE
“Every mistake that I
discover in my drawings is Pancho Vásquez
a triumph that motivates
me to keep improving.” LOCATION: Chile

Francisco, also known as
Pancho, specialises in
conceptual art, 2D
animation and illustration.
He’s worked on
commercials, comics, TV series and
films for more than eight years.
Pancho is currently part of the art
team for an American production
company, which is focused on the
development of video games.
fvr.artstation.com

MAD MAX

“I loved this film, so I
wanted to use its
characters in a

composition by the
Hungarian painter

Gyula Benczúr.”

SOCIAL CHAOS Every mistake that
I discover […] motivates
“This drawing came out for me to keep improving
a revolution that I never

imagined I would witness in
my country. There is no

choice but to hope that all
this disorder will be for
the better.”

40

725490c8-5905-480c-8879-a8ca9ed2e84a

Sketchbook Pancho Vásquez

THE 41
DRAGON

“This is a proposal that was
discarded by the art director.

However, I felt it had a lot
of potential, so I decided

to polish it. It ended
up being one of my
favourite drawings.”

725490c8-5905-480c-8879-a8ca9ed2e84a

CARBURADORES

“When I worked on the film
Nahuel and the Magic Book
I met a lot of talented people
who inspired me. Therefore, I
didn’t want to say goodbye

without immortalising a
normal day at the office.”

TABLE TENNIS

“After receiving a brief
introduction to ping-pong, this
was the image that came to my

mind, so I wanted to draw it
before I forgot it.”

MOVIL CASTLE PERSPECTIVE

“I’m not a big fan of “Since perspective is one of
Miyazaki’s stories, yet I find the things that attracts me the
the art of his films is one of most, I always try to exaggerate

the most amazing things the angles to create a
I’ve ever seen.” dynamic feeling in
the frame.”

Do you want to share your sketches with your fellow ImagineFX readers? Send us an email with a
selection of your art, captions for each piece and a photo and bio of yourself to [email protected]

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Sketchbook Pancho Vásquez

GOD OF WAR

“I think the art of this game is majestic.
I couldn’t help but create something
based on its universe.”

I always try to
exaggerate the angles

to create a dynamic
feeling in the frame

725490c8-5905-480c-8879-a8ca9ed2e84a 43

Feature

MAKING PILTOVER

Christian says: “Everyone that
worked on Arcane was someone
that is, in my opinion, a world-class
crafts person in their field.”

IN A

The leading creatives behind the
smash hit series Arcane reveal
how they scored big in bringing

OF ITS OWNLeagueofLegends to Netflix

efining a style can be a from the outset that the ranging from Japanese animation, like
challenge for any artist art style of this animation Ghibli, comic book art such as Mike
but when it involves would define its success. Mignola, and Riot’s own splash arts.
translating one of the “We all wanted to achieve All that mixed with inspiration from
world’s most-played the same visual style,” says live-action cinema.”
games into an animated Julien, “of mixing 2D and 3D with a
series, the job becomes painterly aspect.” The series’ art style is striking in its
He explains how getting heroine boldness, detail, subtleness and use of
that little bit harder. Jinx just right would set the tone. colour. Characters bend elastically
Julien Georgel, the art director on “That was the starting point behind
the idea and mood of Arcane. That We wanted to achieve the
Arcane, Netflix’s hit series that’s based visual style was based on inspirations visual style of mixing 2D and
on Riot Games’ massively popular 3D with a painterly aspect
League of Legends, says it was clear

All artwork © Riot Games FIGHT STYLE while simultaneously appearing rigid
and stoic. There’s a desire to enhance
The animation style anatomy and present the drama of a
scene in movement and colour.
is an evolution of Riot
It’s what creative director at Riot
Games’ blend of Games Christian Linke
says is at the heart of Riot’s
western design and philosophy: to blend
anime and western
anime influence. animation into a

44

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POSTER ART

Bringing fan-favourite League

of Legends characters to

Netflix took time because the

Riot artists are very close to

the designs they’ve created.

725490c8-5905-480c-8879-a8ca9ed2e84a 45

Feature

new middle ground. This was STREET DESIGN
taken on by French animation studio
Fortiche, which had a reputation for Christian tells us
creating wild children’s animations Arcane was a
and hyper-real CG, but again Arcane grassroots project, with
needed to sit in the middle. one goal: “Let’s chase
that dream of creating
“So it took a long time to find our the animated series.”
style,” says Christian. He was adamant
from the beginning Arcane wouldn’t TECH EXPLORERS
simply be an action-focused children’s
cartoon. This was about exploring the The world of Arcane
characters and drama of the League of is one where fantasy
Legends world. “Everyone advises
against it. They said just do action, just and science collide,
do fighting. But that was the opposite “someone can make
of what we wanted. We want our
characters to actually be real people.” an energy source
to power a city in
Julien adds: “[We had] a mutual their basement,”
desire to tell a deep, serious and
dramatic story. We need believable says Christian.
characters with impactful emotions
within a rich, fascinating and Arcane is not just about letting the “It needs to feel like a real city with
immersive universe. […] In Arcane, we rendering engines flex some muscle history and an architectural style
meet our characters through another and put glorious 3D animation on inspired by several periods:
medium: cinema. We get the chance screen. This series shows the artistry of Renaissance, Victorian, Art Nouveau,
to see them from every angle and in the animators involved. To build a Art Deco,” says the art director. “That
different on-screen sizes. To make world for the animation took some way, we used a lot of photo references
them believable, they need to be a creative thinking. The world of mixed and modified to achieve this
little more subtle and realistic while Runeterra is presented in illustrations kind of fantasy-steampunk universe
remaining stylised and fantasy-like.” and short cinematics, “so they need to we have in Arcane.”
be easily identifiable,” says Julien.
STYLE AND SUBSTANCE Creating the look of Arcane is a
The city of Piltover needed to be considered task. Nothing is on screen
The result is an adult tone that blends more immersive and fully formed, so without cause to be there. Christian
3D animation with 2D effects and Julien reveals the artists added more tells us great fantasy art is built on
stylisation. The world and the scenery realism here, while remaining true to realistic foundations. He says: “What
looks like it’s been painted on to the the painterly, exaggerated stylisation. fantasy is really, is it’s taking a million
screen. “Technology’s always gonna different inspirations that are worldly
age poorly,” says Christian, “but I look HIDDEN SECRETS and combining them in ways that we
at these paintings, these backgrounds, haven’t seen before.”
that they painted at Fortiche and “We worked closely with
they’re art pieces, timeless art pieces. Riot on how to bring MAGIC NUMBER
To me this is true fine art.”
different references from For designing the societies of Piltover
I look at these paintings, their game in a way to bring and Zaun, and making an animation
these backgrounds […] and the story to life while trying on the scale of Arcane, Christian says
they’re timeless art pieces to avoid forced fan service,” you need to have a philosophy behind
your design. There needs to be a plan
explains Julien Georgel. and an approach to the world design
that doesn’t buckle.

For Arcane these were three
elements created by Riot Games’ artist
Evan Monteiro. These were a Victorian

46

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Arcane

BRIDGE BASE

There’s definitely going to be an
art book once Riot Games can
find a partner. “Otherwise,
I think it would be an offence to
the world of animation if there
wasn’t one,” says Christian.

LAST DROP ADVICE TO GET
INTO ANIMATION
You never see League of Legends
What does Christian Linke of Riot
characters talk or act closely, so Games look for in a new artist?

creating an emotional drama “I think perhaps the most important
thing to me is actually self-awareness,
proved a challenge. which people think is a strange answer,”
begins Christian Linke, who explains this
OFFICE DESIGN is about knowing what you’re good at
and taking that to a higher level.
“Our goal was to bring all viewers together For the creative director it’s about trust. “So often
it’s better to be the most self-aware person of your
into a powerful story, while remaining own skills, and not always assume that you just have
to make it work and deliver it no matter what.”
faithful to what Riot created, to the fans’ This, he says, allows him to understand where an
artist may need help, and a person who is confident
expectations and yet not hesitating to and aware enough to ask for help can be relied upon.
“That at least lets me trust your judgement,” reflects
surprise or shock them a little,” says Julien. Christian. “I think self-awareness is something that I
probably value more than anything, because even if
influence; geometric shapes needed to think what’s really important is that someone doesn’t get there on the first attempt – the
be in every scene or background; and you develop a philosophy behind why first design, the first little animation – if we both see
there needed to always be a you’re designing. You need to what’s not working, we’ll find the answer. We have
technological aspect or sci-fi influence understand who your audience is, enough talent involved around us to get there. But if
to the design. what they’ve seen, and how to look at you don’t see it, and I see it, that’s tricky.”
things through that perspective.” Don’t be afraid to question what’s being asked of
“And so if you’re missing one of you either, adds Christian. He values artists that don’t
these three things, if you’re missing the For Julien, achieving the look of shy away from critiquing decisions. Rather than
sci-fi element, for example, it just Arcane practically meant examining waste time on something you know won’t work just
looks like a period thing. If it’s missing how light and colour is used in the because you’ve been asked to do something.
the Victorian aspect then it just looks animation. Lighting, colour, framing “I would say, don’t feel like you ever need to look
too futuristic,” says Christian. “So I and composition is applied to like you have this professional thing figured out; just
ask the question. Don’t feel like you’ll be vulnerable
when you feel like you need more information,
because we never have the perfect explanation.”

725490c8-5905-480c-8879-a8ca9ed2e84a 47

Feature

LOOKING GOOD

The visual style grabs
the headlines but it’s
designed to enable the
characters to sell the

emotion of a scene.

CROSSING OVER

Art director Julien
Georgel says the
challenge was to create
a show for fans and
non-fans alike.

ALLY DESIGN

Julien says Fortiche has

added easter eggs in

backgrounds or props

for fans to spot.

The goal is to bring the viewer into a
convincing context and to tell an intense

story with colourful characters

ensure the characters fit their moments and elements so we can TONED DOWN
environment. “To achieve that, we make what’s important stand out. It’s
either try to maintain a natural or all about contrast and rhythm.” To make Riot Games’
realistic mood that feels true and
immersive, or be a lot more cinematic FAN APPEAL characters fit Fortiche
and dramatic,” says the director,
explaining how contrasting and The elephant in the room was always reworked them with
expressionistic colour is used to sell how fans would respond to the series.
the emotion of a scene. But Riot Games and Fortiche needn’t greater subtlety, while
have worried: it was number one on
He adds: “The goal being finding Netflix. More interesting is Christian’s remaining fantastical.
the right balance between those, to desire to appease the artists that work
bring the viewer into a convincing on the game, whose designs have been
context and to tell an intense story reworked for a different medium.
with colourful characters. Everything
is about this balance between things “Riot has so many amazing artists
that could seem opposites. We play and so many smart creatives,” begins
with rhythm in order to achieve a Christian. “And I think if there’s
good dynamic with neutral-enough anyone that we were scared of
disappointing it was those people that

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Arcane

FOLLOWING THE THREE RULES OF ARCANE

The art direction for Netflix’s animated series takes its cue from a triad of key design elements

Shaping up the
experience

Every environment must have
geometric design and shape
language. Creative director
Christian Linke says this is the
base for every scene in the
animated series.

Hi-tech gadgets A clash of the
and gizmos old vs the new

A technological element is also There’s a Victorian aesthetic to
required, “to create that sense the series – this is another
of exploration of possibilities,” must-have for every scene and
says Christian. Again, it clashes design. It’s the clash of the old
with other elements and and the new that lends Arcane
defines the style. a unique style.

INSTANT APPEAL

Julien says: “League of
Legends’ success is in
part based on the
champions and their
various skins. Riot
achieved that in
creating super
appealing and diverse
character designs that
work at first sight.”

HELLGATE DESIGN had a personal connection to these in the show. As episodes progress the
characters. So yeah, that was scary.” team becomes more confident in the
The world of Arcane style and how they blend the anime
needed to feel realistic, While the game’s art team weren’t and western influences. A use of VFX
with identifiable involved, the animation studio would or an emotional swash of colour, a
architectural design seek feedback. Explains Christian: bend of an arm or blink of an eye and
while also feeling “They always had positive feedback. So camera pan. “It’s cohesive enough to
fantastic and strange. that really helped give us confidence.” not get distracted by it, but if you pay
close attention there’s a lot of little
HEXTECH LAB Getting the characters right was key things where the whole thing kind of
because these were the starting point evolved,” alludes Christain.
Backgrounds in Arcane are for everything in the animated series.
designed to feature three The steampunk notes of design in the As a renowned perfectionist, do
characters’ designs is extrapolated into these small issues play on his mind?
aspects of the series’ world the world of Arcane and influences the “Yeah, it drives me absolutely f**king
to remain consistent. environments, props and scenery. nuts,” he exclaims, before
From this comes a Da Vinci-meets- acknowledging this is an aspect of art
technological tomorrowland that feels everyone has to accept, “because over
connected and consistent. the years you grow as a creative, your
eye grows, it changes.”
ARTIST’S EYE
With such attention to detail, there’s
That’s not to say everything went little doubt Arcane season two is going
smoothly. Arcane grew over years of to be a spectacular watch.
work, and Christian says you can see it

725490c8-5905-480c-8879-a8ca9ed2e84a 49

All artwork © Netflix THE MITCHELLS
VS. THE
MACHINES
Production designer Lindsey Olivares,

director Mike Rianda, co-director Jeff Rowe, producers
Phil Lord and Chris Miller and others share their insights

into making one of 2021’s best animated movies…

Lindsey Olivares (production designer)
“Our production designer, Lindsey
Olivares, came up with these
amazing early drawings for the
movie, and we thought, ‘Wow,
what if the movie looked exactly
like your drawings?’ So we decided

to go for that.” Director Mike Rianda

Hanna Cho (storyboard artist)
“We pay a lot of attention to the
details of the characters. They feel
complex emotions and have flaws
and wants that are in opposition to
each other. We hope to have more
emotional depth than your average

animated movie.” Co-director Jeff Rowe

50

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