Specialization in Concept Art: Creative design of characters and scenarios

Now that we know our boundaries, we can do research and let curiosity take us away to magical places! Though, let me give you some useful tips to make this journey go even more smoothly.

Doing Research

The Dos and Don'ts of Architectural Design

What not to do is often just as important as knowing what to do. I’ll demonstrate where to pay close attention and show how a successful design starts off.

A Part-By-Part Breakdown of the Specific Architectural Elements 1

To make our life easy again, we’ll start with the basics. The window, the door, and the archway. Already sounds like a fantasy movie, don’t you think? Let’s get to sketching!

A Part-By-Part Breakdown of the Specific Architectural Elements 2

Here comes the second part.

Finding the Architectural Style

Time to solidify our initial ideas and designs into a style that we can use across the entire design, but also across other structures in a similar style! We’re not just making a building, we’re building a world! Shape language, sketching and some spicy questions are on the menu.

Sketches, assemble! The time has finally arrived for us to combine our ideas and construct our complete structure. We'll transition from separate sketches and bubbling ideas to a full-fledged concept with all the bells and whistles. We're not afraid to make mistakes or to start over; we trust the process.

Sketching the Structure

Perspective can be complex, but I will show you an easy way to achieve a good-looking structure without going all out. While the more you understand perspective, the better, everyone has to start somewhere. Here, I’ll demonstrate my method for quickly turning a flat side sketch into a complete perspective drawing.

Perspective Drawing 1

Now we start with the second part.

Perspective Drawing 2

Our structures are looking great! Time to look at our research again and apply the materials we have found. I’ll show you where my colors come from and how I manage them as we make our way to the final drawing.

Setting up for Color

Rendering the Final Materials and Adding the Finishing Touches

A final design is the result of countless little decisions that keep influencing each other. I’ll show you how I keep iterating and just how to apply those finishing touches in order to call this design done.

The last thing that remains now is to present our design to the world. We have to make sure that people who don’t know of our process still understand what we are trying to say. In this last video I’ll show you how.

Reflecting on the Design

Module 3

Learn to design animated worlds with Tory Polska, visual artist for Netflix and DreamWorks. Using Photoshop, you'll transform ideas into rich concept art that supports storytelling, blending research, creativity, and emotion to craft magical, cinematic environments.

23 lessons (5h 19m)

What Is Visual Development?

In this lesson, you will learn more about the role, duties and responsibilities of a visual development artist and how to become one. Also, I will share with you what we are going to do during this course.

Working With References

Here I delve into references and my approach to gathering them, how I pay attention to a specific image and how a great image can change the whole design concept. I will also mention basic things like brainstorming keywords for your search and more advanced tips like reference organisation and analysing.

Idea Generation 1

Good research feeds your mind with many thoughts, and in this lesson, I will share my way to process this information.

I'll continue explaining how I generate ideas. It’s an important intermediate step between just images from the Internet and your original designs.

Idea Generation 2

Here, you'll learn some basic stylization principles that add animation quality to your designs and help make them more specific to your needs.

Stylization Principles 1

17m

Stylization Principles 2

I'll keep on showing you the main principles that will add more character to your environment designs.

This lesson will introduce you to Miro, a tool I use for organizing my research. And then, I will show some essential Photoshop tools I use in my everyday work.

Workspace and Tools

Let’s talk about tips on how to read briefs smartly and find important clues that will help you create a great design!

The Brief

Creating Reference Boards 1

It's finally time to work! And we will work smart! This stage is super important for the following drawing process.

Creating Reference Boards 2

Now that I have my images selected and saved, I will put them together in Miro.

Analyzing Your References

I'll show you my process for building a cohesive reference mood board. I'll also add some inspiration from other artists. Once we have a lot of information on our board, and in our head, it's important to structure our impressions out of it.

Sketching Ideas 1

You will see my process of converting information from research into visuals. At this stage, it is essential to think about big ideas and not about “picture making”.

Let's continue working on the sketch; it's a stage where we all can have fun without stressing about pretty lines!

Sketching Ideas 2

Here you'll see the rest of the sketching process. I will work on sketches from each kind of reference I gathered before.

Sketching Ideas 3

Once you have established big ideas, it is time to refine your sketches, so the pictures are easy to read. In this lesson, I will show how to clean sketches and add some values for better presentation.

Refining Sketches

In this lesson, I will discuss what works and what does not in the designs I sketched out. And then, I will start working on the final “Frankenstein” design by combining different working ideas into one.

The Final Design

Adding Context and Setting the Mood 1

Now I will start working on a final concept art piece based on the research and latest design.

17m

Adding Context and Setting the Mood 2

Here I'll demonstrate some quick environment context (like the sky, distant mountains, etc.).

Adding Context and Setting the Mood 3

I'll work on lights and focus to indicate the idea of the environment.

Adding Context and Setting the Mood 4

And it is almost done! Here, I'll refine all the details and bring more life into the composition.

In the final lesson of this unit, I will go over my painting and do little tricks to finish the concept!

Final Touches

I encourage you to organise all work done during the final production into one solid portfolio page. It’s fundamental to show your thinking process, how you get from A to Z.

Project Presentation

Finally, I will share some tips to create your visual development portfolio. I will also give you some thoughts about my experience to help you break into the animation industry!

Final Considerations

Module 4

Enter the world of ancient ruins with Sergei Sarichev and create atmospheric concept art. Using Blender and Photoshop, you’ll explore 2D-3D workflows, lighting, and cinematic effects to design hauntingly beautiful environments with a gothic and realistic touch.

16 lessons (2h 57m)

The Process and the Tools

I'll start by telling you about the process we will follow in this course, from beginning to end, and what tools we will be using to achieve that.

The 2D-3D Workflow

Now, I will cover the basic structure of the 2D-3D workflow I use to create concept work. I will tell you about the benefits of both and how I combine them together for an efficient workflow.

The Basic Principles of Design

The last thing I want to do before starting to work on the project is to go over the basic principles of design. I will explain what they are and how you can apply them when working on your visuals.

The first thing I will do is define the projects with words. This will be the foundation for the search for visual references and ideas in general. Then, I will create a style guide that I will use as a key reference for most stages of the visual work.

Conceptualizing the Idea

Sketching with Simple Shapes 1

The next step in the process is to create a black-and-white sketch in Adobe Photoshop. I always start with basic linework, then move on to values, then atmosphere and lighting. First, however, I will review the types of brushes that I use.

Sketching with Simple Shapes 2

I will develop the lighting some more before moving on to textures. Once I'm done with this sketch, I'll show you the other sketches I made for this project. I usually make around four of them before deciding on one.

In this lesson, I will cover the initial basic 3D blocking of the chosen visual. I will show you how to set up your cameras and choose a favorable composition.

Compositing the Scene

Adding a Character

Now that my composition is done, I will show you the different tests I've made and how I landed on this final composition. Then, I will explain how to use Mixamo as a basis to add a character or creature to the scene, and how to place it in your scene once you've chosen it.

Establishing Mood and Lighting

It's time to focus on the lighting. I'll present the various lighting tools available in Blender and then set up the basic lighting and atmosphere that I established in my sketch.

Creating the Individual Hero Assets

I will now come back to my initial 3D blockout and start building the hero assets that will populate the scene. These are assets that will be more visible than the rest. To do this, I will use Blender for the basic modeling and 3DCoat for the details.

My 3D scene is done! I will set up the render passes and the basic rendering properties to obtain the best results while maintaining reasonable rendering times.

Rendering the Scene

Setting Up the Render Passes in Photoshop

Here is where I move back from 3D to 2D. I will explain how to set up the renders done previously in Photoshop, how to use them, and then how to arrange the Photoshop file for high efficiency.

Atmosphere and Background Photobashing

Next, I will fix some of the background elements that weren't properly rendered. Then, I'll teach you the basic Photoshop techniques you can use to extract usable photo elements and match them to the created image. I will demonstrate a manual way to do this and a more automatic process.

As I'm getting closer to the final image, I will go through a thorough review process of my image. Based on my notes, I will use photo elements to enhance various elements of the visual for a more realistic look.

Photobashing

I will now focus on simplifying the image by overpainting some key areas. The overpaint will unify the whole and bring a more painterly style to it.

Simplifying and Unifying

Finalizing the Image

In this last stage of the process, I will work on some final touches. I will explain what makes an image seem more cinematic and show you how you can emulate those effects in Photoshop by using both a manual approach and an automatic one.

Module 5

Join Even Amundsen to design characters that feel alive through the power of worldbuilding. Discover how culture, history, and setting shape appearance and personality, and use tools like lighting and color to turn ideas into visually rich, story-driven protagonists.

17 lessons (3h 30m)

Treating the Character Like a Person

Cutting through some of the jargon used in the industry, we will discuss characters—how we build them, from craft to conceptualization, referring back to the influences for points of wisdom or particular techniques. The focus will be placed on demystifying the process and breaking it down into bite-sized chunks that can be dealt with one at a time.

Defining World Constraints

The very idea of constraining creativity can seem antithetical to the idea of free creativity, so explanations are needed.

While we are here to make characters, it's first important to create a world for them to stand on.

Building the Setting

Defining the Character and the Context

With the framework of the world in hand, it's time to find your character’s place in it. Prince, pauper, wizard, villain, or vanquishing hero, you must understand what made your character.

Creating the Character: The Whole Funnel

It's finally time to start building! In this lesson, I will show you how to clearly define the scope of the world that you will create. To do this, you will need to outline different categories of rules, related to your world, the biome, and resources. You will then see an example of how to develop the setting, followed by the character.

Overcoming Creative Blocks

Now that we head into the mark-making stage, a major part of the preparation work is to foresee the art blocks hiding in the distance, caused by the undertaking tasks that we don't actually know how to solve. An honest appraisal of what we do and don't have the tools to solve is a good way of avoiding pitfalls and making sure our mental library is continuously growing.

Constructing the Character: Proportions 1

Now that we have a concept and a bolstered mental library to work from, let's get to building the character. To get this process started, I will demonstrate how to use a mannequin to plot out the direction in which you'd like your character to go. This will establish a neutral starting point to work from, as you build the figure of your character.

Constructing the Character: Proportions 2

As I said in the previous video, the time has come to activate your inner fashion guru. In the second part of this lesson, I will guide you in constructing the clothes of your character. As a guideline, I first like to think of the function of the costume, before constraining those needs by what's available in the world.

Line Drawing 1

Here we will use a separate layer of line drawing to give service to all the construction from the earlier stages; keeping a close eye on the concept and making sure we end up with something that represents the original idea. I will first collate all the information that I already put down in a new layer, before adding the minute details.

Once I've finished collating all the details, I will switch off the underlayers to see the piece in all its clarity, ready to make key design choices.

Line Drawing 2

Lighting

To use light well, we must treat it like all the other elements, making sure it supports what we have already put down and effectively elevates the information in our piece. We, therefore, create a hierarchy of light, reasoned through the way our eyes inform our brains about the world.

When it comes to colors, you should aim to reflect the context and character in your palette and create harmony. Let me show you how to approach this.

Flat Colors 1

Here I will continue to add color, working through one element at a time.

Flat Colors 2

Refining and Rendering 1

Once you have worked through all the layers and tidied up your character as best you can, it's time for the surprisingly simple effort of rendering. Most of the choices have already been made, so at this point, we only need to go over the piece and consolidate. We're getting close to the finish line now, and it's tempting to go in for the highlights and rendering tricks. However, a lot of time and effort can be saved by clearing things up for ourselves first.

In the second part of this lesson, I will continue tweaking the piece with the pushing-and-pulling technique. As I manipulate the lines and work in the light, you will see how the illusion of form against light brings out an element of three-dimensionality.

Refining and Rendering 2

This section will focus on the final touches, softening outlines to manage attention, blending textures, and adding final drop shadows.

Refining and Rendering 3

Building on What You Have

Once you have taken the time to build the world, the context, the culture, and the character, it would be a shame to waste even the smallest bit of your effort. Once you have your framework, it can yield greater and greater results the more you build on it.

To begin, I will discuss the fundamentals of light in art. I will introduce important principles that when applied to an object will make it look 3D. These include local colour, ambient occlusion, diffused light, highlight, bounced light, terminator, cast shadow, and form shadow.

Module 6

Discover Sammy Khalid’s creative process and learn to design characters through observation, research, and painting. Using industry-proven techniques and digital tools, you’ll develop the skills to create unique, expressive characters for film, TV, and games.

35 lessons (9h 20m)

Fundamentals of Light 1

Now that we have covered key terminology, I will demonstrate my approach to colour theory and still life painting.

Fundamentals of Light 2

In this lesson, I will introduce important design elements and principles that I always keep in mind while drawing. I will then demonstrate how I apply these principles by sketching a master study of a painting by Rembrandt. At this stage, accuracy is less important. The focus will be placed on establishing the shapes and the relationship between these shapes.

Fundamentals of Design 1

With the masks in place, it's time to start adding colour! In this lesson, I will continue to emulate Rembrandt by applying the principles discussed earlier. You will learn the importance of hue shifts, tones, ambient occlusion, contrast, and more.

Fundamentals of Design 2

Now, I will add the final details. You will learn tips and tricks – like flipping the canvas – to expose any weaknesses and refine them.

Fundamentals of Design 3

In this lesson, I will demonstrate how to achieve dynamic figures through gesture drawing. The key aspects I will cover are the line of action, opposing curves, and balance.

Gesture Drawing

Referencing

Great referencing is the cornerstone of a successful design. In this lesson, I will share how I bring depth to my characters and my reference gathering process.

Let's begin drawing! First, I will show you how to construct the gesture of your character, focusing on movement, weight, line of action, balance, symmetry vs. asymmetry, and proportions.

Sketching: Gesture

Now that the gesture lines are done, it's time to establish the volumes that make up the character. This will act as a guide for making the drawing feel three-dimensional.

Sketching: Volume

Design Sketch 1

With the pose and volumes done, we can move on to designing the appearance of the character; their clothes, props, features, etc.

As you progress through the design sketch, don't be afraid to play around. This is the stage of experimentation. Here, you will see how I fine-tune the details of my character until he reaches the standard that I want.

Design Sketch 2

In this lesson, with most of the design figured out, I will show you how to solidify it with clean line art.

Final Line Art 1

Here, I will continue to consolidate the design, focusing on the torso and moving down to the legs.

Final Line Art 2

To finish the design process, I will sketch the final elements of my character: the props and the dogs. By the end, I will have solid foundations to progress to the next stage: painting!

Final Line Art 3

Masks 1

In this lesson, I will share different approaches, tools, and strategies for creating masks, including grouping materials. This stage will make the rest of the painting process much easier.

Here, I will focus on creating masks to separate my character from the dogs. Then, I will move on to isolating the jacket.

Masks 2

Next, I will continue grouping the different elements of my character into masks, progressing to the props.

Masks 3

Time to finalise this stage! Never underestimate the importance of creating masks. Doing this will allow you to paint freely but also maintain the structure of your design.

Masks 4

In this lesson, you will see how to add flat colours to the character using the masks from the previous lesson. I will also discuss some theories on choosing values.

Flat Colours 1

Next, I will continue adding colour, progressing from the base layer to elements in the foreground.

Flat Colours 2

In this lesson, I will model how to apply the fundamentals of light to add realism to the character design. The topics I will cover are ambient occlusion, direct light, wrapping shadows, material indication, and specular highlights.

Lighting 1

The first rule that I will address is ambient occlusion. I will simulate the soft shadows that naturally occur as a result of ambient lighting. This will bring realism to my character.

Lighting 2

Here, you will continue to see how I apply the rule of ambient occlusion. Little by little, my character will start to come to life.

Lighting 3

Now, I will move from indirect light to direct, by integrating a new light source. You will learn the tools and strategies to create realistic shadows in Photoshop, according to where your light source will be.

Lighting 4

In this lesson, I will continue to manipulate the shadows of my character according to the direct light source.

Lighting 5

Following the theme of direct light, I will finish the final elements of my character and then move on to the dogs.

Lighting 6

In this lesson, the focus will remain on core shadows. Now, I will progress to wrapping shadows. These will enhance the terminator line which will build form.

Lighting 7

Now, let's apply the final fundamentals of lighting: material indication and specular highlights.

Lighting 8

To conclude, I will add the remaining highlights ready to advance to the next stage: refining the smaller details.

Lighting 9

17m

Fine Details 1

In this lesson, I will discuss where to add details. First, this will require that the focal point is identified, followed by any secondary and tertiary details. Then, I will share some tips on brushwork in order to lead the eye.

Here, I will continue to work on the smaller details of my character, according to the order of importance and the pathway that I want the viewer's eyeline to take.

Fine Details 2

Let's continue with the focal points! In this lesson, I will enhance the details of my chosen focal points to draw the viewer in.

Fine Details 3

Next, I'll move on to perfecting the tertiary details: the dogs.

Fine Details 4

To end this lesson, I will teach you how to address your edges. For example, you will see how I soften those that appear at the back to fortify the illusion of depth.

Fine Details 5

Final Presentation

In this lesson, we will finalise our design ready for presentation. I will cover colour grading, glows, sharpening, chromatic aberration, and grain.