Fantasy Art Templates - Ready-Made Artwork To Copy, Adapt, Trace, Scan & Paint (PDFDrive)
Fantasy Art Templates - Ready-Made Artwork To Copy, Adapt, Trace, Scan & Paint (PDFDrive)
Art
Templates
Fantasy
Art
Templates
Ready-made artwork to copy,
adapt, trace, scan & paint
QUA: FATT
Warriors 16
Celestial &
Infernal 60
Gods & goddesses 62
Angels 70
Devils & demons 74
Chapter 3 Chapter 4
I N TR ODUC TION
rom Harry Potter to The Lord of the Rings, fantasy is not just for kids anymore. Illustrating
F fantastic characters in fabulous settings presents many challenges for novice and
experienced artists alike. How do you render the intangible force of magic? How can you
depict a vision from someone else’s nightmare? How do you capture a dream? This book
shows you how to overcome these challenges and make the impossible look real.
The horsewoman
Brunhilda the Valkyrie
(page 53)
INTRODUCTION 7
W IZ A R DS
WIZARDS 11
wish to choose figures with simple shapes and ravens that allows
her to fly.
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C R E A TI NG C HA R AC TE R S
7 In a dank
cellar dug
SORCERER’S
T he templates in this book are designed to save you the time of sketching your characters
from scratch, so you can simply copy them exactly using a variety of techniques – tracing,
using a grid, photocopying or scanning, for example. Once you have gained some confidence,
DEN
beneath a
desecrated
temple, the
you can also try adapting the templates. This can be as simple as changing a warrior’s
weapon to that of an assassin, or as complex as drawing a completely new character
Choose one of foulest sorceries take shape. Torches
fuelled by tallow rendered from the fat
of animals (and humans) sacrificed to
character, or use
and then transfer it to the painting surface with
transfer paper.
Using a grid
as you are working,
with the tracing sheet
them as inspiration
that can be used to Using a grid is the traditional
still secured in place
(it is difficult to realign
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He roes &
G
reat paintings, like great stories, need
great characters. It does not matter if
those characters are heroes, villains or
something in between. The goal is to create
a strong visual personality – a central
figure who draws the eye and
engages the mind. Everything
about the character needs
to reinforce the role he or she
plays in the painting. Gestures,
posture, movement and
The assassin
Darsoz (page 21)
10 HEROES & VILLAINS
W IZ A R DS
M agic changes everything. This applies as much to the person who wields the magic
as it does to the situation he or she seeks to alter. The fantasy artist needs to develop
a visual vocabulary not only to describe the magic itself, but also to show the many ways
in which magic affects a painting’s world and its characters. Sometimes this means creating
a magician who is both more and less than human; sometimes it is as subtle as the contrast
between what a character wears and what he or she can do.
1 2
DARK The sorceress Crimson’s stance CRIMSON
RAVEN Dark Raven has shows defensive ELLE
become one with strength. The way
her familiars. The she holds her magical
artist represents staff suggests that
this by dressing she is anticipating
her in a gown of a confrontation.
ravens that allows
her to fly.
Tip: The sorceress’s grey-tinged Tip: The bright red of Crimson Elle’s
skin and red eyes help to make outfit would make her a focal point
her one with the ravens. in any painting, but be ready to
tone down the colour if the mood
or background demands it.
WIZARDS 11
3 4
38
WIZARD ZUNTOR
PRINCE
TE C HNO -MAGE S
M agic demands many sacrifices from its practitioners – sacrifices that mages are not
always willing to make. This leads them to develop technologies to augment their natural
powers and avoid the negative impact that using magic can have on their life force. The
enhancements can include energy packs, amplification devices and mental shields. Mages who
use science to strengthen their magic blur the distinction between fantasy and science fiction,
which allows them to fit in a wide variety of settings – they are equally at home
in Victorian cities, on distant planets and in futuristic worlds.
5
Graviton’s power to control gravity and
GRAVITON electromagnetic forces resides in his
brain. He uses his special helmet to
hide and protect his power.
Tip: Careful
use of coloured
shading lends a
three-dimensional
quality to Graviton’s
translucent magical
force field.
6
JOHN
SECO
TECHNO-MAGES 13
7 8
ZAVORTAN LEELA
LAYN
WARR IOR S
E very nation needs its defenders. The weapons and armour vary according to the country,
their foes and the nature of the battle, but all warriors are tough, seasoned professionals,
who will do whatever is needed to survive the fight and accomplish the mission. The best
carry themselves with assurance and remain composed in the face of life-threatening danger.
Their decisiveness in combat can be used to create exciting compositions. However, it is not
the only way to portray the qualities that make them effective fighters and leaders.
10 11
MARZONO ALBERT
LANDLOCK
12
ALILA Alila Fayza’s magical, rune-
FAYZA chased sword gives her a
different kind of edge. Its
sorcerous power is shown
by its magical glow, which
is reflected in her corselet.
13
SEIGORO
KAZUKI
Strapping a sword to
his back keeps it out
of the way, but it also
takes longer – and more
space – to draw from
Restricting the metal components of its scabbard than one
armour to the areas that are easiest carried at the waist.
for an enemy to strike gives a foot
soldier a greater range of motion
and improves his endurance.
20 HEROES & VILLAINS
T hieves and assassins are professional lawbreakers, occupying a shadow world where
none of the normal rules applies. They conform to no single model. Age, gender and body
type are less important than cunning and skill. Their motives can be even harder to define.
Many are simply criminals, robbing homes and murdering for hire, but some, like Robin Hood,
break the law in pursuit of a higher good. It is hard not to have a sneaking admiration for
characters who live by their wits – and get away with it.
15 16
REDDIN Reddin Bayram’s CLAIRRE
BAYRAM athletic frame ASHEN
suggests that he
is a dangerous
man in a fight,
with or without
his handy knife. Clairre Ashen’s bright
clothing and flashy jewellery
reflect assurance and more
than a little vanity. Her
pride may be warranted,
since she is the one holding
the jewelled egg.
17
NICOLAS This sharpshooter
HYDE assassin takes aim
at a target almost
directly beneath
his feet. The leaf-
like patches and
18
woodland colours
of his clothing would DARSOZ
make him hard to
spot in a forest
or a single tree.
Darsoz uses a pair of red-enamelled kris
(daggers) coated in poison to make his kills.
Thick gloves and reinforced clothing protect
him from the poison’s effects.
Tip: A character’s camouflage should be a near Tip: The black costume, headband
match to his or her surroundings, but not an and high, face-concealing collar
exact one. The viewer needs to glimpse the suggest both ninjas and evil intent,
assassin to understand the threat he presents. with or without the drawn blades.
22 HEROES & VILLAINS
A high-angle view of
the assassin walking,
ready to strike.
ADVE N TU R E R S
O ne of the great attractions of fantasy is its ability to transport you to other places and
times. In a sense, it makes adventurers of us all, which may be why our favourite legends
are those involving heroic quests. Giants and monsters go with the territory, as do fabulous
treasures. Everything is bigger and bolder than life, from the characters to their opponents,
and the colours used to paint them both. The irony is that many of our most fantastic legends
may have a historic basis in fact.
20 21
SEQUINA TYR
THORSEN
22
SINBAD
Sinbad’s seven
voyages may be
based on the exploits
of a Chinese admiral
of the Ming Dynasty,
but the real-life
admiral never faced
the monstrous
creatures of the
legendary version.
23
ODYSSEUS
SC HOL A R S & C L E R IC S
I t takes all kinds to make a fantasy world. Armies need doctors and pharmacists to heal
the sick and injured. They need clerics to minister to soldiers’ spiritual needs. Rulers, nobles
and their generals look to alchemists and scholars to devise new weapons and strategies to
defeat their foes. Alchemists also come in handy for changing base metal into gold to fund
campaigns and quests. At the same time, these characters nurture ambitions of their own,
and may wind up as the heroes – or villains – of the piece.
24 25
SHAY Alchemist, scholar and GINA
IEIRA mage, Gina Rosenwood ROSENWOOD
is a triple threat. She
could be a powerful ally
or opponent, or a hero
in her own right.
Shay Ieira’s
serene expression
helps to identify
her as a healer
and cleric for the
forces of good.
26
RODAN
NIERO
Tip: Harsh
The red and black of this lighting and
cleric’s costume and his snarl, hotly glowing
as much as the blade at the weapons set
end of his wand, encourage the an angry mood.
viewer to see this character as
one of the bad guys.
27
ZHANG
RONG FU
This doctor of traditional
medicine is also a powerful
mage who can summon the
forest dragon by painting
its secret name in water
on a scroll.
V illainy seldom carries the day in fantasy stories, but visually the bad guys
win hands down. They are the flashiest dressers and carry the coolest
weapons, and they do not have to worry about matching their ensembles. If they see
something they like, they take it and use it for as long as it amuses them. Answering
to no authority, they appeal to the rebel in all of us. The life of an outlaw may be
short, brutal and fraught with danger, but like a pirate ship under full sail, it also
represents ultimate freedom.
29
The gashes on Sixzo’s arm and
face, his torn shirt and the
SIXZO
28 rents in his clothing as much as
the weapon in his hands show
OWANKANE that he is in the middle of a
hard and bloody fight.
Owankane is
a brutal bandit
who favours a
heavy sword to
hack and slash.
31
SIR HENRY
MORGAN
30
JOANNA
BA RBA R IANS
B arbarians are outsiders who live beyond the fringes of civilization. Their languages are
strange and harsh to the ears of settled cultures. The ancient Greeks coined the word
barbaros to refer to unlettered foreigners whose languages sounded like stammering or
the ‘baa-baa’ noise made by sheep. However, the hardships of tribal life can nurture great
strength. In their time, Philip of Macedon, Kublai Khan and Childeric the Frank were all
dismissed as barbarians, and yet they founded some of the greatest dynasties in history.
32 33
JAR In some primitive societies, ARUN
TORAM women fight as the equals of NAKHA
men. Being left-handed makes
this swordswoman an even more
dangerous opponent.
This battle-scarred
veteran is an elder
in his tribe. He
may not be in the
prime of his youth,
but he remains
fit and cunning.
35
WAGHEST
RAYGOR
34
LA QIERAK
Waghest Raygor is a
barbarian general from
a snowy, mountainous land.
La Qierak’s savage nature is reflected The bright dragon-scale armour
in the skull used to protect her right he wears is a sign of his rank.
shoulder and the animal bones and
teeth that decorate her armour.
A good knowledge of
foreshortening is needed
to depict a fighter using a
broadsword realistically.
The body twists with each
slash and block.
E LV ES
E lves bridge the divide between mortals and magical creatures. Although they closely
resemble humans, they are set apart by their beauty and, of course, their
pointed ears. They live exceptionally long lives, wield magic as their birthright
and cherish a passion for obscure points of honour that gives them an
unusual perspective on people and events. This nonhuman outlook can
be taken to extremes by the dark elves.
37 38
DURION The dark elf Durion Alagos
CALANON
ALAGOS displays a characteristic elfin
concern for fine craftsmanship.
The leather on his right thigh
is designed to protect
his armour from
being damaged
by his own sword.
39
Eldan Beridhren is a forest elf ELDAN
depicted on the same plane as the BERIDHREN
viewer. His gear is simple, but his
knife-hilt sabre demonstrates
the superb workmanship
for which elves
are famous.
40
NESSA
MORWEN
F AIR IE S
F airies come in all shapes and sizes. They share an affinity for the natural world, but can
become attached to material creations as well. They live in the moment, which gives them
a reputation for fickleness and, sometimes, spite. They are more imbued with magic than elves,
and more subject to magic’s rules. Most hide a secret that would allow others to control them;
it could be their name or a simple binding spell. They are also sensitive to expressions of
gratitude. Foolish as it is to insult a fairy, thanking them may lead to worse.
42 43
CLARICE Clarice Curlfall is an autumn fairy, The cut and fashionable colours ROSIE
CURLFALL dressed in the fruits and multicoloured of key master and lock keeper MYLAN
tatters of the season. Rosie Mylan’s costume, as much
as her mechanical wings, reveal
that she is an indoor sprite.
44
AYSEL
GWYNITH
45
Tip: Curves suggest emotional The tooth fairy Zenita uses a firefly
lantern to light her way to children’s
ZENITA
and physical softness, but this
fairy’s pointed hem, shoes pillows. Her body, clothes and wings
and bottom wings also evoke are composed mostly of gentle curves.
a tooth’s pointed roots.
40 HEROES & VILLAINS
Fascinated by all
forest creatures,
Elfina levitates,
cradled by the air.
DWA RVE S
D warves, like elves, display both human and superhuman characteristics, but overall
they seem more grounded than other supernatural races. With a magical
connection to the riches of the earth, dwarves make prodigious miners and
extraordinary smiths. They are renowned for their unlikely strength, large
appetites and quick tempers. They feel only disdain for the exaggerated
courtliness and Byzantine power plays that elves cherish – a disdain
that often leads to war.
47
Tip: Dwarves’ heads, hands and
SOGETH feet are larger in proportion to
HOETZEL their bodies than other mortal
and magical people.
48
KARREN
KRUSE
49
Crouching warily, her HEIDI
sword and shield at the FARGOLD
ready, the woman warrior
Heidi Fargold gazes at
something below her
current position.
50
BAMDAR
SILVERSLAYER
S OR C E R E R S
he word ‘sorcery’ comes from sors, the Latin word for fate. Sorcerers are those who try to
T manipulate fate to their own ends. However, fate is nothing more nor less than the natural
path of the universe. Altering its course is hard, prompting some sorcerers to employ extreme
and horrific measures to achieve their ends – blood sacrifices, ritual murder, the invocation
of demons and the binding of dead souls. On the other hand, sometimes the natural order of
things is out of balance or just plain wrong. To correct it, you need a specialist, but choose
carefully. The price for choosing wrongly could be more than your life.
51 52
OILEL The kindly expression GARZAKULL
ORIN and graceful movements
of the ice sorceress
Oilel Orin reflect
the helpfulness
of her magic.
53
AGNI
MUKHA
54
BABA
YAGA
Kneeling before a
greater power, Nora
may be trying to
protect herself or
shape a last-ditch
magical defence
between her hands.
Jogging forwards,
Nora uses her
wand as a shield.
48 HEROES & VILLAINS
GIAN TS
M agical giants are not just the opposite of dwarves in terms of size. Unlike dwarves, they
seldom display any goodwill to human beings or human-friendly magical races. They tend
to see humans as food or beneath their contempt, which makes it inevitable that some hero
will need to cut them down to size. Achieving this end with standard, human-sized weapons
demands great resourcefulness. However, when a hero succeeds, it proves the old saying:
‘The bigger they are, the harder they fall.’
56 57
Opinion varies on whether the
YETI Yeti (or Abominable Snowman,
KUMBHAKARNA
as he is sometimes called)
exists, but travellers and
adventurers in the Himalayas
continue to report sightings.
Kumbhakarna
belongs to the
Rakshasas, a race
of supernatural
giants common in
Hindu mythology.
58
Tip: The rectangle
HYMIR Hymir Grull is a sea giant formed by Hymir’s
GRULL who makes his weapons broad shoulders
from the bones of sea and solidly planted
monsters and the masts feet, coupled with
of wrecked ships. the blocky shape
of his head, help
to convey a sense
of great weight
and mass.
PR I NC E S & PR I NC E SSE S
W e have all been raised on fairy tales featuring beautiful princesses and brave princes
who must overcome a myriad extraordinary obstacles to achieve their happily-ever-
afters. The trials faced by these fairy-tale royals allow us to identify with them. We use their
power and status to measure our own achievements. Finally – and most importantly for the
artist – royal characters can and should be dressed in the finest fabrics, furs and jewels.
In the visual arts, a touch of the gorgeous is never amiss, and more is always more.
60
PRINCESS Princess Elena strides towards
the viewer carrying a jewelled
ELENA sceptre. The silvery sheen of
her gown and its subtle but
intricate ornamentation
convey wealth and taste.
Prince Rayner
Silverstar’s pose
is one of forward
momentum at the
start of battle, but
the direction of the
prince’s gaze and
the fluttering fabrics
lead the viewer’s eye
to the scene behind
him instead of in front.
61
PRINCE RAYNER
SILVERSTAR
62 63
PRINCESS The strong triangle defined PRINCE
BONG CHA by Princess Bong Cha’s boots ALEXEI
and crown, in addition to the
bright colours of her gown,
make her a good choice
to anchor a larger scene.
A ccording to the Bedouins, Allah made the horse the lord of all other animals, proclaiming:
‘Men shall follow you wherever you go; you shall be as good for flight as for pursuit; you
shall fly without wings.’ This is certainly true in painting, where a well-rendered horse and
rider can make a picture’s two-dimensional surface seem to explode into motion. Unlike many
other staples of fantasy, however, horses are real; the artist must pay careful attention to
their anatomy and movement – as well as to their riders – to depict them to best advantage.
64 65
FIROUZ KHUTULUN
MIRZA
66
HAGEN OF
BURGUNDY
BE AS T MAS TE R S
W ho does not yearn to pet the tiger? Who would not be just a little bit afraid of the
person who did? We equate power over animals with dominion over nature. This makes
those who successfully master the creatures that we fear – big cats, the monsters of the
ocean deep and creatures only imagined in our nightmares – somewhat intimidating, if not
downright frightening. We wonder about the source of the unusual, perhaps unnatural,
connection between man, woman and beast, and worry that they may turn against us.
69 70
With her tiger coiled
protectively around
LAKSMITA NOURÁN
her legs, Laksmita
and her beast are
connected by both
proximity and colour,
and function as a
single visual unit.
71
HADES Hades, king of the Greek
underworld, rides Cerberus,
the three-headed dog that
guards the gates of hell.
To the ancients, the different
heads represented the
past, present and future.
72
VENIMAE
A Throne angel
(page 70)
& Inf ernal
by reawakening love in
the heart of the grieving
god Shiva. They also
happen to be first-rate
stories. This chapter
introduces some of
the gods and demons
whose tales form the
basis of world culture,
familiarizes you with the
symbols that define them
and demonstrates how to
combine these elements
into strong compositions
that look fantastic and
tell great stories.
W hatever their individual characteristics, gods and goddesses can be seen as metaphors
for humanity’s highest aspirations – and the dangers inherent in pursuing those goals.
Even helpful deities, like Athena, had their dark side. After all, it was Athena’s cruelty that
created the monster Medusa, whose head adorns Athena’s armour. This duality is most clearly
expressed in the trickster gods, such as the Norse fire god Loki and the Native American
shapeshifter Coyote, who keep the affairs of mortals and immortals from ever growing dull.
74
LOKI
75
ANUBIS
76 77
ZEUS Zeus, the lightning-wielding king ATHENA
of the ancient Greek gods, rides a
cloud bank transforming into an
eagle, his symbolic animal. He
also carries the sceptre denoting
his supreme authority.
79
Tip: The stylized
whorls of the clouds THE JADE
and their faintly EMPEROR
metallic sheen lend
substance to the
Jade Emperor’s
cloud throne.
The Taoist ruler of
heaven and all realms
of existence, including
those of humans and
hell, sits enthroned in
his palace in the sky.
80
GUAN
YIN
Robed in white,
holding a willow
branch and a
bottle of pure
water, the merciful
goddess Guan Yin
sits on the lotus
that represents
purity and the
growth of the soul.
Tip: Reinforce
the symbolism
of Guan Yin’s
robes and lotus by
depicting them in
clear, bright colours.
GODS & GODDESSES 67
81
COYOTE
The storyteller
of the Native
American gods,
Grandmother
Spider sits at the
centre of the web
of the universe.
Its threads are
dewed with stars.
Parvati dancing.
Note the way that
her flowing hair and
billowing scarf and
skirt add to the sense
Parvati’s divinity is demonstrated by the way of movement.
the rocks of her mountain home have shaped
themselves into a natural throne, and her extra
arms, a common attribute of Hindu gods. Her
humanity and divinity are visually integrated by
having her human arms complete the gestures
of her divine ones, and vice versa. Her complex
pose suggests both the positions of yoga and
the patterns of a dance – necessary talents
for the wife of the Hindu lord of the dance.
GODS & GODDESSES 69
ANGE L S
84
Tip: The
THRONE sweep of the
angel’s left
wing and
trailing wisps
of power
suggests the
Grim Reaper’s
scythe.
Wheels
within wheels
ringed with
eyes all around,
the angels who
supported the
chariot in the prophet
Ezekiel’s visions were
Thrones, the engines
of divine justice, which
grinds slow but fine.
85
AZRAEL
86
PRINCIPALITY
Tip: Use clear
yellows, oranges
and reds to depict
incandescence.
87
SERAPHIM
W hether they are fallen angels, displaced gods or manifestations of our basest desires,
demons and devils provide the dark counterpoint to angels’ light. They revel in evil and
exult in terror. Their outward forms often reflect the hideousness of the spirit within – horns
sprout from skull-like faces; misshapen bodies lumber on viciously clawed feet; razor-spined
tails double as weapons. However, not all demons wear their ugliness on the outside. Some
appear very attractive indeed, and they may be the most dangerous of all.
89
BEHEERZAL
Tip: Light-red
highlights on
deep-red skin
evoke infernal fires.
90
HELL
WARRIOR
91
LILITH
92
LAMIA
94
STRIGOI
93
DUENDES
95 96
EMPUSA MORA
This succubus-like
vampire is a close
relative of the
Strigoi, capable of
both shapeshifting
The daughter of Hecate, the
and mischief.
goddess of sorcery, Empusa is
by turns a vampiric seductress,
a guardian of crossroads and
the devourer of travellers on
the road after dark.
Monst rous
D
ragons, unicorns, ogres and
mermaids – what is so compelling
about these fantasy icons? Beyond the
world of art and literature, they adorn
national flags and corporate logos.
Is there something inherently
pleasing about a dragon’s
serpentine coils
or the gleaming
horn of a
unicorn? Does
the allure of these
fantasy creatures lie in the
glamour of the impossible? Are they
shorthand for repressed desires or
nostalgia for the childhood equation
DR AG ONS
P eople in China, the heartland of dragon lore, might not believe the legends about dragons
handed down from their ancestors, but they do not doubt that dragons exist – fossilized
‘dragon bones’ routinely emerge from the sands of the Gobi Desert. The earliest
representations of dragons share many similarities to giant saltwater crocodiles,
found throughout Southeast Asia, that, like their mythic
counterparts, can sense a coming storm.
97
GREEN
DRAKE
99
TIAMAT For the Babylonians, Tiamat was
the personification of salt water
and chaos, and the mother of
monsters. After her death, her
enormous body was used to
create heaven and earth.
100
JIAOLONG
M Y THIC A L BIRDS
P eople have always viewed independent flight as a kind of miracle, so it should come as no
surprise that birds would be chosen to symbolize heavenly phenomena such as the sun
(Bennu, Garuda and Phoenix) and storms (Garuda and Thunderbird). However, these fantastic
creatures may be more than metaphors. For example, the Bennu may have been modelled on
a recently extinct species of heron, and the Thunderbird on large condor-like birds
that became extinct about ten thousand years ago.
102
BENNU
103
GARUDA
Part-man, part-
eagle, Garuda
serves as the Hindu
god Vishnu’s mount.
This symbol of
irresistible force
is so large that a
grown man could
hide between
its feathers.
105
PHOENIX
104
THUNDERBIRD
F AN TAS Y BE AS TS
F antasy art challenges the artist to make the impossible appear not only
possible, but also plausible. Studying and drawing people and animals
can be a big help. It is much easier to draw a centaur, for example,
if you know how to draw a man and a horse. Similarly, the ribbed,
leathery wings of a bat can serve as models when drawing the
wings of a gargoyle.
107
Tip: The Centaur’s belt creates
MANTICORE the junction between human
and equine anatomy.
The man-eating
Manticore has a
human head on a lion’s
body, and is equipped 108
with a poisonous
stinger in its tail. CENTAUR
Half-man, half-beast, the
Centaur can be a ferocious
warrior or a great teacher.
Its human nature allows the
artist to add clothing and
weapons to the mix.
109
GRIFFIN Griffins did not
appear in mythology
until the ancient
Greeks began trading
with Asia. They may
have been inspired by
dinosaur skeletons
seen by travellers in
the Gobi Desert.
110
GARGOYLE
111
PEGASUS
In Greek mythology,
Pegasus helped the hero
Bellerophon to defeat
the Chimera, and carried
Tip: Pay special attention to
the thunderbolts of
the junctures between the
Zeus, the king of the
horse’s body and its wings.
gods. Pegasus also
created freshwater
springs wherever its
hooves struck the earth.
112
CHIMERA
113
SPHINX
115
UNICORN
Stealing a Selkie’s
sealskin traps this
shapeshifter in human
form. This female
Selkie can only return
to the sea after she
has reclaimed the skin.
117
Takshaka, the most feared of TAKSHAKA
the three Naga snake kings,
embodies all that is dangerous
about snakes. He is the sworn
enemy of Garuda, the mighty
mythical bird upon whom
the Hindu god Vishnu rides.
118
KANYA
NIGH TMA R E S
T hese insidious thieves of rest do not just rob a person’s sleep; they also steal away that
person’s life. Some accomplish this by transforming the sleeper’s spirit into a beast of
burden that they harry night after night. Some steal a sleeper’s breath, sap their strength
or simply scare the person to death. More frightening still, some spend
their days disguised as humans, passing undetected among
us as they seek out their next victim.
120
THE
HAG
121
NOCNITSA
The Polish
nightmare Nocnitsa
specializes in
terrifying children. Her
Tip: Medical companion, a steel-clawed
illustrations provide Pesanta dog, sits on sleepers’ chests
good visual references and deprives them of breath.
for skeletal figures.
NIGHTMARES 97
122
LEYAK In the folklore of Bali, Leyak is a
midwife by day, but after darkness
falls, she detaches her head and
internal organs from her body to
prey on new mothers and infants.
123
ROKUROKUBI
At night, the seemingly
human Rokurokubi gain
the ability to stretch their
necks and alter their faces.
They use these tricks
to frighten sleepers,
drunks and other
‘unreliable’ witnesses.
OR C S & OGR E S
124
The veteran of many
HLLUD-WAR battles, this captain in the
orc army of the Uruk-hai
is larger and bulkier than
most of his troops.
125
SETTWERDER
126
CORMANELLA
127
GALLIGANTUS
100 MONSTROUS & MYTHICAL
GHOU L S
emons or the undead – with ghouls, the distinction gets blurred. The first reports of ghul
D and gouleh came from travellers in ancient Arabia. These evil genies haunt graveyards
and desert wastes, preying on wanderers, robbing graves and eating the dead. They can
transform themselves into the image of those they have consumed, and seem to have the
power to infect others with their dreadful appetites – or is that just a rumour started by
evil sorcerers, who have long sought to animate the dead for their own nefarious purposes?
129 130
UNDEAD ZOMBIE
WARRIOR
Magically compelled
to serve his liege
until his bones
are ground to
dust, the Undead
Warrior exists
only to fight.
131
Tip: The strong triangle
formed by his head, torso
GHOUL QUEEN The Ghoul Queen has
and widespread legs imparts
feasted on corpses for
so long that she now a sense of solidity to
resembles one herself. the Ghoul King’s
otherwise
skeletal frame.
132
GHOUL KING
Y OK AI
S een through the lens of Japanese folklore, the world is populated by inquisitive, mercurial
beings called Yokai. Although some prefer the solitude of forests and other desolate
places, most are fascinated by humans. Many heroes of Japanese history supposedly enjoyed
their aid, but it is important to remember, especially in summertime when the worlds of Yokai
and humans draw near, that these are supernatural creatures whose thoughts, feelings and
agendas are very different from ours.
133 134
ONI YUKI
ONNA
135
TENGU
136
KAPPA Tip: Careful highlighting
lends a watery slickness to
the Kappa’s blue-scaled skin.
GR E ML I NS & G OBL I NS
N ot everyone can be a fairy queen or lord of all the elves. The high courts of the fair folk
could not exist without their version of ordinary people – innumerable sprites with little
magic and faces only a mother of their own species could love. Goblins fill
the ranks of fairy armies; gremlins serve as fairy agents in the mortal
world – they made quite a name for themselves bedevilling aircraft in
World War II, and have recently turned their attention to computers.
138
BOGGEL
Despite his
diminutive stature,
the foul-tempered
gremlin Boggel can Tip: Like a dwarf or child,
do a lot of damage Gremilla’s head is large
with his crystal- compared to her squat body.
topped wand.
139
GREMILLA
Like a magpie,
Gremilla will use any
trick, no matter how
underhanded, to
add to her store of
gold and jewellery.
140
WICK
141
The goblin Wick serves the Unseelie Court,
NAMHAID the fairy court where magical creatures with
more malicious intentions towards humans
reside. Wick serves the court in any capacity
required – violence is no object.
ME RF OL K
W ater is the source of all life and one of its most efficient destroyers. The merfolk –
mermaids, mermen and all their semiaquatic kin – have personified this duality from
the very first mermaid story told in ancient Assyria. The fish goddess Atargatis fell in
love with a mortal shepherd, but her embrace proved deadly. Horrified and ashamed,
she threw herself into the sea, but being a goddess, she could not die. Instead, she
was transformed into a creature that was both beautiful woman and fish.
142
TRITON
WARRIOR
143
Tip: Merfolk are usually
MELUSINE seen through water, which
affects their colouring.
Remember to adjust
accordingly when they
emerge into sun- or moonlight.
MERFOLK 111
144
SIREN The song of these bird women is virtually irresistible,
luring sailors to shipwreck on the coast of their rocky
island. The hero Odysseus was the only listener who
neither wrecked his ship for their pleasure, nor died
of longing for their haunting song.
I mps and familiars perform the same functions for witches, wizards and sorcerers as goblins
and gremlins do for the aristocrats of the fairy world. Little demons, known as imps, can be
conjured to serve their masters by cleaning, spying and milking the neighbours’ cows dry. The
opposable thumbs of their true forms aid them in precision work, but make it hard to disguise
their infernal origins. Those that manifest themselves in more ordinary shapes are called
familiars. Cats, bats and toads get most of the press, but any pet will do.
147 148
BLACK WATCHER
ASH
Watcher goes
where his master
cannot. His tiny size
and ability to perch
in out-of-the-way
places, such as
curtain cords and
chandelier chains,
keep him from
being noticed.
149
EYES IN
THE SKY
T oday’s artist can create in a variety of media – traditional, digital, and combinations of
the two. The figures in this book were first sketched in pencil, then scanned and coloured
digitally. The process could just as easily be reversed, with a digitally drawn image used as
the basis of a traditional painting. The choice is yours, but do not restrict your creativity.
Try as many media and methods as you can. Some will feel more natural
than others, but it is always worth exploring the potential of a new
medium or technique before discounting it.
S k e tch
Inspir
book
atio
time, a n can strike
្ Pencils your id
nd you
w
at any
Graphite pencils are graded from very faint ea to t ant to nail
a n d th he pag
en e th
hard (H) pencils to soft black (B) ones; HB availab . Sketchbook ere
pencils are medium grade. Experiment to le in m s are
and siz any sh
es . H a a p es
find which is best for you. Some artists use offer t rd cov
he ers
a craft knife or scalpel to sculpt their pencil Ringbo best protect
tips to the exact shape they require; pencil u n d sp ion.
for dra in
sharpeners give a more regular shape to wing a es open flat
and p r nd cop
ov ying,
the tip. Mechanical pencils with replaceable place t ide a handy
o clip a
leads produce a consistent line weight and p en .
do not need sharpening. A non-repro blue
pencil, commonly used by animators, is an
erasable coloured pencil. It is less prone
to smudging and smearing than graphite,
and when scanned, the colour can be
desaturated and resaturated in
whatever hue required.
៑ Eraser
Erasers are not just for correcting ៓ Paper and board
mistakes. They can also be used to Experiment with the different kinds of drawing paper
refine pencil lines and to add highlights and art board, and find out if you prefer a smoother
in shaded areas. Plastic erasers lift the or rougher texture. Paper should be heavy and tough
most graphite, but can damage the enough to handle repeated drawing and erasing.
paper if used with too much force. Work as large as you can. This will give you the
Kneaded erasers can be moulded chance to add more detail, and it is also easier to
into different shapes. Clean erasers hide little anomalies when the work is reduced in
regularly; dirty areas can be cut away with a size for printing. If you intend to scan your work,
craft knife or rubbed against a clean sheet of paper. you may have to limit yourself to A4 paper, because
larger format scanners are expensive. No matter
which paper or board you choose to draw on, if you
intend to colour it, make sure that it will support
្ Copying materials your chosen colouring media.
Tracing paper and transfer
(or graphite) paper can be
used to transfer the templates
from this book to your art
paper or board. Acetate is
useful for adjusting the
size of the templates
using a grid system.
TOOLS & MEDIA 119
្ Pastels
Pastels create different effects,
្ Markers depending on the binder used to
Felt marker pens come in a hold the colour pigment. This can
variety of bright, mess-free, range from dry and chalky to
consistent colours. The ink oily, and includes water-soluble
may be opaque or transparent, pastels or pencils for detailed
and pen tips come in various work. Soft pastels need a textured
sizes and shapes. Markers surface to hold the pigment, and
must be used on bleedproof should be sprayed with fixative
marker paper. Permanent to prevent smudging.
black markers are a popular
choice for inking (page 123).
៓ Brushes
្ Watercolours There is an enormous
Watercolour can be a difficult variety of brushes to choose
medium to control, but the from. Begin with budget
results are unique and brushes while you practise
spectacular, with bright, vivid and find out which widths
colours and wonderful texture. and lengths you prefer, then
This medium can be employed in invest in quality brushes,
many different ways, making it which last longer and give
very flexible. Watercolour does better results.
not mix well with other media,
៓ Acrylics
although coloured ink gives very
Many professional fantasy artists
similar results and can be used
use acrylic paints because of their
in mixed media work.
flexibility and relatively low cost
compared to oil paints. Acrylics
provide bright, easily mixed colours
with low odour and easy clean-up.
They dry very quickly, which can be ៓ Gouache
positive or negative, depending on These bright, permanent,
your working method. Chemical opaque watercolours are ៑ Oils
retarders are available probably the most popular Oil paints remain the first
to prolong drying time, paints among illustrators. choice for many artists
and gels can be mixed They can be diluted with because of the range of
with acrylics to change water for transparent effects they can produce, from almost
their appearance. applications or transparent glazes to dense, creamy
applied in opaque colours and three-dimensional brushstrokes.
overlays. Oil paints take longer to dry than other media,
allowing the artist more time to push the colours
around and mix them on the canvas.
120 TECHNIQUES & BACKGROUNDS
WORKING DIGITALLY
Computers have transformed the commercial art world. Just a decade ago,
art created using a computer was unusual; now it is commonplace and fast
becoming the standard. Many young artists find the digital environment
more familiar and comfortable than traditional media. Even work created
using traditional media becomes digital before publication, because almost
all printing processes are now digital. However, it is important to recognize
that a computer is merely a tool – skill and imagination are also required.
្ Scanner
Whether you wish to scan a sketch as a
starting point for a digital painting or
to digitize a handpainted artwork for
printing, a scanner is essential. Most
scanners have very high optical
resolutions that are more than
។ Computer adequate for scanning linework.
Most modern computers are powerful enough Getting decent colour scans is
to run a painting application, but you will need another matter, and if you have
a quality graphics card and as much RAM as handpainted your images,
you can afford. Graphics applications, such as you may be better off getting
Photoshop, will use all the memory you have them scanned professionally,
and still want more. Macs are popular with particularly if they are going
artists and designers, while PCs are renowned to press. Scanners come in two
for their animation capabilities. Whether you sizes: A4 and A3. Ideally, you should get
decide on a desktop or laptop will be dictated the larger model, because this will let you scan
by your personal working habits. Laptops take large drawings in one piece, but they are very expensive.
up less space and are portable, but good An A4 model can be purchased cheaply, and you can scan
desktops are more powerful and have greater larger drawings in sections and piece them together digitally if
storage capacity. When it comes to monitors, necessary.
size and quality are critical. Make sure that the
monitor is properly calibrated so that colours
are displayed as accurately as possible.
A larger monitor can be attached ្ Graphics tablet
to a laptop if required. Nearly A graphics tablet is a more natural way for a digital artist to
all computers come with work than using a mouse. A stylus is used to draw on the
CD/DVD burners as tablet in the same way that you use a pencil to draw
standard, which are on paper. Depending on the hardware, the tablet can
indispensable for read pressure, angle, rotation and other parameters
making back-ups, from the stylus, and feed the information to the art
although a second software. Tablets are available in a variety of sizes
external hard drive is also and sensitivities. Hardware is also available to integrate
advisable for this purpose. tablet technology with a flat panel display, which allows the
user to draw directly onto the screen.
៑ Printer
Good-quality inkjet photo printers can be purchased cheaply. The
big trap with inkjets is the cost of replacement ink and quality paper.
A printer that has separate cartridges for each colour will be more
economical. Laser printers are faster than inkjets and the cost
of consumables is lower per print, but the initial outlay is higher.
If you intend to sell prints of your work, you may find professional
reproduction more economical.
TOOLS & MEDIA 121
Adobe® Photoshop
៑ Parvati’s face displays the www.adobe.com
clear colours and crisp detail Photoshop is the longest-established and best-known digital
characteristic of acrylics. art software. A simple yet powerful set of drawing and
painting tools is complemented by a versatile, comprehensive
suite of image adjustment tools, making this the first choice
for many professional artists. Photoshop has the additional
feature of Image Ready, which is a highly effective package
for producing simple animations and preparing artwork for
use on the internet.
Corel® Painter
www.corel.com
Painter excels at emulating traditional media, and the
sophisticated painting engine gives you almost limitless
។ Digital effects possibilities when creating your own brushes and effects.
are shown to great There is even a palette on which you can mix colours.
advantage in the Painter is very popular with digital artists who come
intense, fluorescent
from a traditional paint-on-paper background, but is
glow of her second
set of arms. suitable for all levels of expertise.
ArtRage
www.ambientdesign.com
ArtRage’s simple, clean interface hides some very clever
painting tools. The toolset is small when compared to some
other art software, but the focus here is simply on painting,
and the results are excellent, with some very pleasing natural
media effects. It provides a competitively priced introduction
to digital painting.
C R E A TI NG C HA R AC TE R S
T he templates in this book are designed to save you the time of sketching your characters
from scratch, so you can simply copy them exactly using a variety of techniques – tracing,
using a grid, photocopying or scanning, for example. Once you have gained some confidence,
you can also try adapting the templates. This can be as simple as changing a warrior’s
weapon to that of an assassin, or as complex as drawing a completely new character
of your own using a template as the model for an action pose.
Lower body
and legs:
ber Chimera (p
creature? acter, remem age 90) Shield: Und
Human or es to cr ea te a new char em en ts from ea
Warrior (pag d
ning templat so you can se
lect el e 102);
When combi of fa nt asy, angle chan
e world ged
that this is th creatures.
an an d nonhuman
both hum
:
(modified)
Headdress ag e 10 3)
and en (p
ified), head Ghoul Que
Hair (mod w ood u
body: Gin a R os en Wings: Teng
(page 26) (page 10 5 )
USING A LIGHTBOX
By piecing together traces or scans, or digitally
manipulating the templates, you can create
as many new figures as you like. If you work
traditionally rather than digitally, you may find a
lightbox useful for trying out different adaptations
of the templates. You can buy a lightbox or make
ith one from an old drawer with a white Perspex sheet
Left arm (w
d br ac el et): on top and a fluorescent light strip inside. Use the
adde
ru ci e
Elfina B lightbox to collage images together by overlaying
(page 41) different elements of the composition on separate
and sheets of paper. You can use tracing paper on its
Right arm
af f (m od ified): own to almost the same effect, but it is not quite
st
e 6 3) as good. Some artists use a lightbox built into their
Athena (pag
drawing board so that they can switch between
ied): the two without having to move.
Belt (modif
w en (p ag e 35)
Nessa Mor (page 75)
and Lamia
Characterization
Fantasy art exists to tell a story. This may be the depiction CHARACTER PROFILING
of a battle, a contest between good and evil, or a fairy- The more you know about your characters – where they live,
tale scene. Whatever the case, the key to a good story what they eat, how they move, how they react to surprise – the
is characterization. Who are your characters and why better your portrait will be. One trick used by artists and writers
would a viewer be interested in them? The subjects of alike is to create a character profile for each subject as if you
fantasy art – people, creatures, otherworldly beings, were going to role play them. Some of the things you would
even landscapes – need to demonstrate compelling want to know include:
personalities that extend the story in the viewer’s mind
far beyond the painted scene.
Every figure in this book displays a distinctive Personal details Home life
personality, from the battle fury of Albert Landlock Archetype (hero, villain, etc) / Family / Other relationships /
(page 16), racing to meet the enemy, to the radiant Name / Age / Gender Place of birth / Current
Fenghuang (page 86), soaring over a fog-shrouded residence / Hobbies and
mountain. Their posture, accessories, context and Appearance pastimes
colours all speak to who and what they are. Copying Height / Weight / Physique /
images like these is a good way to learn the tricks Hair, skin and eye colour / Curriculum vitae
of visual characterization, which you can then Colour and type of hide, skin, Education / Intelligence /
apply to your own drawings. scales, fur or feathers / Occupation / Economic
Number and arrangement status / Special skills
of limbs / Type of diet /
Distinguishing marks and Personality
how they were acquired / Motivations (needs, wants) /
Clothing style / Accessories Weaknesses or flaws /
(hat, jewellery, etc) / Weapons Strengths / Fears / Spiritual
and their use beliefs or lack of them /
you
s reference e templates,
Templates a g together elements of th own characters Philosophies / Ambitions
ead of piecin
Inst awing your
for dr tures are
as reference different crea
can use them at es of fo ur
Here, templ agon’s head
.
from scratch. n fo r drawing a dr
irat io
used as insp
C haracter d
evel opment
Star t thinking
about the pe
as this femal rsonality of
e Garuda so a new charac
pencil or styl rcerer, before ter, such
us. Keep addi you even pick
develop its ap ng to the ch up a
pearance an aracter’s prof
might be. Th d pose, such ile as you
ink also abou as what its po
t suitable co wers
lour schemes
.
Bennu
(page 8 4)
Nourán’s
Takshaka leviathan
Unicorn (page 93) (page 56) Character
refe
Garuda (pag rence:
(page 92) e
Pose refere 8 4)
nce: Artan
(page 37) an is Vanya
d
Magic type Zostera (page 113)
: Fire and w
Magic wav ind
e pattern:
Colour sch Leela Layn
eme: Red, (page 13)
blue, gold,
white, light
brown, ye llow
126 TECHNIQUES & BACKGROUNDS
SE TTI NG THE SC E NE
T he setting provides the context for the fantasy story – a fire-breathing dragon swooping
low over the battlements of a castle suggests a very different story from the same dragon
circling an isolated volcanic peak. The way in which figures are integrated into the setting,
using scale, perspective, composition and lighting, also helps to reveal the plot. You can
find plenty of reference material for fantasy backgrounds in books and on the internet, and
there are also ten background templates on the following pages. You can use a background
template in its entirety, or crop into a smaller section for a close-up scene. Like the character
templates, they can be copied exactly or adjusted as needed.
Perspective
Artists use the rules of perspective to help One-point perspective
create the illusion of a three-dimensional scene. ្ The lines of the road
Perspective is determined by the horizon line. VP
meet at the vanishing
In most paintings, this is set in the middle of the point (VP) on the horizon
HL
canvas, at eye level. Set it lower and the viewer line (HL). If you draw
will see the scene from above. Set it high, and the lines fanning out from
viewer will be lower than the action. The horizon the vanishing point to
create a cube, you can
line also defines the perspective of the objects see that the cube appears
within the picture. In the real world, parallel lines to foreshorten as it
(such as the lanes of a road) appear to converge recedes from the viewer.
in the distance. Foreshortening affects
In a painting, the illusion of distance is created both the objects and
by having objects grow smaller as they approach figures in your scenes.
one or more vanishing points. Set on the horizon
line, vanishing points define the shape of the
structures and features within the painting, and the ៓ Use two-point
foreshortening of the figures and objects occupying perspective for objects
the space. In practical terms, a gargoyle lurking on Two-point perspective that appear to be at an
the roof of a chapel at the far end of a graveyard angle to the viewer.
will appear smaller than one perched on a VP
gravestone at the front of the painting.
Colours also tend to become muted with
distance, known as atmospheric perspective,
so to convey that an object is far away, you
HL
can fade it. VP
Composition
Composition – the arrangement of objects
and colours in the painting – plays a big
role in directing the viewer to the most
important elements. The chevalier Faucon
de Valois is not the largest object in the
painting, but the eye goes straight to him.
។ The size of the giant The compositional trick here is the contrast ។ The viewer’s eye will
Kumbhakarna (page 48) is visually between the diagonal formed by his rearing horse and the focus on what it sees
defined in comparison to ordinary- verticality of all the other elements in the painting. The diagonal most clearly. In the
size people and objects. The use painting of Faucon de
is out of step with the rest, and that difference draws the eye,
of foreshortening also emphasizes Valois (page 54), colour
his size. leading it straight to the figure of the knight. and crisp rendering help
However, there is more at work here than the play of diagonal to define the chevalier
against vertical. The knight and horse are also the brightest as the focal point.
elements in the scene. The chevalier’s armour is crisply detailed
and shiny. The blue of his horse’s trappings is the most intense
៓ Thjostar the Slasher (page 32) is swathe of colour in the picture. It is even more saturated than
the best-lit element in the painting,
the banner at his back. Everything else in the painting is softly
which helps to identify him as the
hero of the story. rendered and shadowy by comparison.
Suggested Characters
104 Thunderbird
54 Baba
Yaga
56 Yeti
35 Waghest Raygor
SETTING THE SCENE 129
2 Suggested
Characters
BEYOND THE
CLOUDS
76 Zeus
79 The Jade
Emperor
103 Garuda
130 TECHNIQUES & BACKGROUNDS
Suggested Characters
72 Venimae
5 An arm-like
branch, sleeved
INTO THE
with ivy and
WOODS
hallucinogenic
red and white
toadstools, points the way to the heart of
the forest, where elves make their home.
The path looks ordinary enough, but why
do the trees seem to pull you in? What
waits for you beyond those arching
branches? Will you stumble into a fairy
ring and be forced to dance your life
away? Or will you fall prey to wolves
or an assassin’s bolt?
Suggested
Characters
114 Fenrir
39 Eldan
Beridhren
17 Nicolas
Hyde 42 Clarice
Curlfall
SETTING THE SCENE 133
6 Suggested
Characters
UNDERWATER
LAIR
70 Nourán
100 Jiaolong
142 Triton
Warrior
134 TECHNIQUES & BACKGROUNDS
7 In a dank
cellar dug
SORCERER’S beneath a
DEN
desecrated
temple, the
foulest sorceries take shape. Torches
fuelled by tallow rendered from the fat
of animals (and humans) sacrificed to
infernal powers light a tortuous path
to the heart of evil. Here, the fates of
kingdoms are decided, hearts are turned
from their true purpose and the dead
give voice to prophecies false and true.
Will the hero succumb to the sorcery
or destroy the root of its tainted power?
Suggested Characters
92 Lamia
138 Boggel
2 Crimson
Elle
52 Garzakull
Suggested Characters
99 Tiamat
37 Durion 49 Heidi
Alagos Fargold
107 Manticore
30 Joanna
26 Rodan
Niero
10
MAGE’S MANSION
APPL Y I NG C OL OU R
C olour choices and placement have a dramatic impact on any artwork. Professional artists
use certain colour combinations – as well as contrasting values – to draw the eye and
emphasize the key elements of a painting. Colour also exerts a subtle yet significant influence
on the mood and emotion of an image.
Contrasting values
The term value (or tone)
simply describes the
lightness or darkness of any
colour, regardless of its hue.
Paintings with little or no
tonal contrast look dull and
bland, while differences of
tone can add visual punch
and create a feeling of depth
and three-dimensional form COLOURS AND MOOD
in the painting. Colours have strong symbolic meanings,
and make a powerful contribution to
the mood and atmosphere of a painting.
For example, red is often associated with
danger or conflict. Most blues and greens
impart a calm, tranquil atmosphere. Colours
also have an association with temperature:
្ This painting of a Power
red, orange and yellow are warm colours;
angel (page 72) relies on
contrasting values for its impact. blue, cyan and green are cool. However,
Notice how the shadows and colours may vary – certain greens appear
dark elements intensify the unhealthy, and the hottest flames burn blue.
apparent heat of the oranges
and the pale flames surrounding
the upraised sword.
A P P LY I N G COLOUR 139
៑ Experiment with
individual colour
combinations as small
thumbnails. You can
then create a rough
colour sketch of the
painting to test your
favourite schemes. This
allows you to experiment
with many colour
schemes before
committing yourself.
Eyedropper
3 Start by laying down the base colours, remembering
to group each colour or type of item together on
separate layers. To colour a particular area of your
artwork, you first need to select it (the selected area
is defined by a dotted line). There are several tools
on the toolbar that you can use. The Marquee tool is
useful for selecting simple geometric shapes; the
Lasso tool for drawing around an area manually; and
the Magic Wand for selecting defined areas where
the colour or tone is distinct.
Toolbar
A P P LY I N G COLOUR 141
Select
All
4 After selecting an Deselect
5 Create a new layer for the colour. You can either
area, choose Select > Reselect select a colour from a palette or create your own.
Modify > Expand. Set Inverse It is also easy to match an existing colour in your
the Expand By value work by clicking the Eyedropper tool, then clicking
All Layers
to 1–3 pixels. This Deselect Layers
on the colour you wish to match.
expands the area so Similar Layers
that the edges are
Color Range...
slightly under the Color Picker
linework; this avoids Feather... Select foreground color: OK
getting pale fringing Modify Border...
Cancel
Smooth...
between the lines and Grow
Expand... Color Libaries
the colour. Anything Similar
Contract...
missed can be
Transform Selection
touched up later with
a few brushstrokes. Expand Selection
OK
Exband By: 2 pixels
Cancel
characterization 125
characters: H
A creating 122–125 E Hades 57
acrylics 119 development 125 Eldan Beridhren 35 Hag 96
Adobe® Photoshop 121 profiling 125 Elfina Brucie 40–41 Hagen of Burgundy 53
adventurers 24–25 Childeric the Frank 30 elves 34–37 Hecatonchires 49
Agni Mukha 45 Chimera 90 Empusa 77 Heidi Fargold 43
Albert Landlock 16 Clairre Ashen 20 Enchanted Caverns Heimdall 64
angels 70–73 Clarice Curlfall 38 (background) 130 Hell Warrior 74
Anubis 62 clerics 26–27 enlarging 122 helmets 31
armour 16–17, 19, 33, 34, 35, clouds 129 erasers 118 highlights 40, 42, 45, 80,
37, 72 colour schemes 139 Eyes in the Sky 115 105, 139
Artanis Vanya 36–37 colour wheel 138 Ezekiel 70 Hkmur the Scout 100–101
ArtRage 121 coloured pencils 119 Hllud-War 98
Arun Nakha 30 colouring process 140–141 horsemen and -women 52–55
assassins 20–23 toolbar 140 F horses 52–55
Atargatis 110 colour(s): fairies 38–41 water 94–95
Athena 62, 63 applying 138–141 familiars 114–115 Huanglong 80
Alila Fayza 17 character and 26 Faucon de Valois 54–55 Hymir Grull 49
Autodesk® Sketchbook Pro 121 complementary 138 Fenghuang 86–87
Aysel Gwynith 39 contrasting values 138 Fenrir 91
Azrael 70 harmonious 138 Firouz Mirza 52 I
light sources and 139 foreshortening 32–33, 53, imps 114–115
mood and 138 73, 126 incubus 76
B tone 138 Freya 64–65 inking 123
Baba Yaga 45 composition 127 inks 119
backgrounds 128–137 computers 120 Into the Woods (background)
Bamdar Silverslayer 43 software 121 G 132
bandits 28–29 copying: materials for 118 galleon, pirate’s 136 Iron Dragon 82–83
barbarians 30–33 Corel® Painter 121 Galligantus 99
beast masters 56–59 Cormanella 99 Gargoyle 89
beasts, fantasy 88–95 Coyote 62, 67, 106 Garuda 84, 93 J
Beheerzal 74 Crimson Elle 10 Garzakull 44 Jade Emperor 66
Bellerophon 90 crop marks 122 Ghoul King 103 Jar Toram 30
Bennu 84 Cyclops 25 Ghoul Queen 103 Jareed 58–59
Beyond the Clouds ghouls 102–103 Jiaolong 81
(background) 129 giants 48–49 Joanna 29
birds, mythical 84–87 D Gina Rosenwood 26 John Seco 12
Black Ash 114 Dark Raven 10 goblins 108–109
board 118 Darsoz 21 gods and goddesses 62–69
Boggel 108 demons 74–77 gouache 119 K
Brisingamen 64 subterranean world of 131 Grandmother Spider 67 Kanya 93
Brunhilda the Valkyrie 53 devils 74–77 graphics tablets 120 Kappa 105
brushes 119 digital work 120 graphite paper 118 Karren Kruse 42
colouring process 140–141 graphite pencils 118 Kelpie 94–95
toolbar 140 Graviton 12 Khutulun 52
C colouring tips 141 Green Drake 80 Kismet Grey 22–23
Calanon 34 layers 140 Gremilla 108 Kitsune 106–107
camouflage 21 paint programs 121 gremlins 108–109 Kublai Khan 30
canvas ground 141 dino-beast 58–59 grid: using 122 Kumbhakarna 48
INDEX 143