As many of you already know I started my art career as an illustrator working in science fiction and fantasy. This was back in the mid eighties and before computers were tools for artists. Computer games looked like pong and pacman not like a blockbuster movie.
I still work in games and in Science Fiction and Fantasy and recently had the opportunity to contribute to a book called SciFi Art Now. John Freeman is the editor and has a blog where he is interviewing some of the artists for the book. My interview is here with a link to a download of this step by step demo in .pdf format.
My piece in the book was made digitally using my own photo reference and 3d models and combined and painted in photoshop. For this piece I painted right on the plate (photo) although this isn't always how I work digitally it is an effective tool to quickly sketchup ideas and bring them to completion. The following is the step by step process I used to make Marooned.
I started with a photo I took on a painting trip to the Sierras in Eastern California. The sandstone looked melted and gave me the idea for a crashed spaceship. I got down on the ground to shoot the small sandstone rocks from a worms eye view.
1. I separated the foreground from the sky into two layers. Using a hard brush, selecting local colors and the eraser tool I began to make the framework of the spaceship.
2. I created a third layer for my figures around a fire and established some color to get the general feel of how it will fit in the scene.
3. Next I painted some walls with portholes to make the ship seem familiar, again using the local colors in the photo to keep the sense of light.
7. I build and light the planetoids in 3ds Max and then import the images on to their own layer in Photoshop. At this point I collapse all of the layers except the figures and fire and then manipulate the colors and values to harmonize the scene. I want everything to be covered in dust to give the sense of the passage of time, unifying the color does this and I choose a color that will compliment the tones in the fire.
8. To finish the painting, I collapse the whole image and adjust the color for the figures and add more detail around them. I work all over the image fixing and adjusting where I think things need it.