Fantasy Art Templates: Ready-made Artwork to Copy, Adapt, Trace, Scan & Paint

145 Pages·2009·54.43 MB·English

by  Jean Marie Ward

F a ntas
y
Art
Templates
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a nta
F s
y
Art
Templates
Ready-made artwork to copy,
adapt, trace, scan & paint
Illustrations by: Rafi Adrian Zulkarnain
Text by: Jean Marie Ward
A & C BLACK • LONDON
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C ON TE N TS
A QUARTO BOOK
Copyright © 2010
Quarto Publishing plc
First published in the UK
in 2010 by
A & C Black Publishers Introduction 6
36 Soho Square
London W1D 3QY
www.acblack.com
All rights reserved. No part of this
Chapter 1
book may be reproduced in any
form, by photostat, microfilm,
xerography or any other means,
electronic or mechanical, without Heroes &
the written permission of the
copyright owner.
Villains 8
ISBN: 978-1-4081-2218-1
Conceived, designed
and produced by Wizards 10
Quarto Publishing plc
The Old Brewery
Techno-mages 12
6 Blundell Street
London N7 9BH
Warriors 16
QUA: FATT
Thieves & assassins 20
Editor & designer:
Michelle Pickering
Adventurers 24
Indexer: Dorothy Frame
Art director: Caroline Guest
Scholars & clerics 26
Creative director: Moira Clinch
Publisher: Paul Carslake Bandits & pirates 28
Colour separation by PICA Barbarians 30
Digital Pte Ltd, Singapore
Printed by Star Standard
Elves 34
Industries (PTE) Ltd, Singapore
10 9 8 7 6 5 4 3 2 1 Fairies 38
Dwarves 42
Sorcerers 44
Giants 48
Princes & princesses 50
Horsemen & -women 52
Beast masters 56
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Chapter 2
Celestial &
Infernal 60
Gods & goddesses 62
Angels 70
Devils & demons 74
Chapter 3 Chapter 4
Monstrous & Techniques &
Mythical 78 Backgrounds 116
Dragons 80 Tools & media 118
Mythical birds 84 Creating characters 122
Fantasy beasts 88 Setting the scene 126
Nightmares 96 Applying colour 138
Ocrs & ogres 98
Ghouls 102
Yokai 104
Gremlins & goblins 108
Merfolk 110 Index 142
Imps & familiars 114 Acknowledgements 144
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6
IN TR ODUC TION
From Harry Potter to The Lord of the Rings, fantasy is not just for kids anymore. Illustrating
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.
On the following pages, you will meet 150 creatures and
characters – wizards, dragons, ogres, gods, mermaids
and more. Each character features a sketch suitable
for scanning or tracing, as well as a finished coloured
example. Tips on composition, lighting, developing
atmosphere, depicting magic and other
tricks of the trade accompany each
drawing. You will also find easy-to-follow
discussions of media and techniques,
as well as backgrounds for a broad
range of fantasy settings.
The templates can be copied
exactly, adapted to portray famous
fantasy characters or used as a
springboard to invent new ones
of your own. The goal of this book
is to present some of the possibilities, and to help
you create pictures that transport viewers into
a believable imaginary world.
This collection of extraordinary beings is intended
to provide inspiration as well as instruction. Whether
it be the dangerous, unearthly beauty of an
immortal sorceress or the iridescent sheen of a
dragon’s scales, the best fantasy art is a feast
for the eyes – a mind-expanding banquet
that you can freely sample again and again.
The horsewoman
Brunhilda the Valkyrie
(page 53)
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INTRODUCTION 7
How to Use This Book 10 HEROES & VILLAINS WIZARDS 11
WIZARDS
First, choose a fantasy character from Chapters Magic changes everything. This applies as much to the person who wields the magic 3 348
1, 2 or 3, which feature 150 heroes and villains, ain vwishuaicashl i vtm odacoagebicsu tlaaofr ftyeh cneto ss tia tou pnaaltyii onttnoi n hdgee’s s ocwrr oisbrhelde tashenede mk istas gt ocic h aailtrtseaercl.f t,Te bhruse.t fSaaolnsmtoae sttoiym asehrsot itwsht i stnh emee edmasan ntsoy c dwreeaavyetsiln ogp WPRIZINACRED ZZUUNNTTOORR
celestial and infernal beings, and monstrous and abe mtwaegeicni awnh wath oa icsh baorathc tmero rwee aanrds alensds wthhaant hhuem oarn s; hseo mcaenti mdeos. it is as subtle as the contrast Ttadobrh aoeewv xWenp, ei fzacranotr dmad n s Pa oar hithntiagacsehc k baa efpnrepgonelme a. rs
1 2
mwiysthh itcoa lc hcoreoasteu rfeigsu. rIne st hwei tbhe sgiminpnlien gs,h yaopue sm aanyd RDAAVREKN TDbhathrhhareeeehavitrcrresrie osk ftibsnnt aomR oys m raf reaedtlc i vyhpgloreie.areoanrnetswere ssssah nei.wsl na nlT ooisgtthf w hs e s Csssssahhhtt rcraioeeeomf wfnhin sssgsof or autldondhnge’ns.tsg f tiT eehcashnisettpetaisroas i nvmw ntctie.nhaea yag g t i cal CRIEMLLSEON
large blocks of colour, such as Zenita (page 39),
Princess Elena (page 50) or Jiaolong (page 81).
Next, refer to Chapter 4 for advice on tools and
media, how to trace or scan the template, plus Wbcethovoieeato hrttc,y s lhZao aisunsns nebdi’ctes o b awriidr giidzes a, a r odf.
tips on adapting and colouring it. Chapter 4 also
features some sample backgrounds so that you
can set your character into a fantasy scene. TbptZthhrouipaeirng t:ttg h rKohlatoraeei’wtsess tpa mc i rteoie atlcme tdatemhmsareteriaas knmn l.oti dzTsane, hg tidanoeic n at hdohti mrisb .
Tshkeipirn: oaTnnhede w rseiotdrhc etehyreees sr sah’vse elgpnr steo.y -mtinakgee d Toitonorui pn atb:efn ai Ttydc h wkopegwoa rbuinonrl udttigihn nmhedgt a,c d rkboeeeulmdo th u aobernfre id C far sr te fihimaoted.cs yamo lnt opo oEo dliln et’ s TsPhphuoiorispriww nr:f e ocoTherurhe,e’ ns eaawd shrgii mnalwolgn l ewda dtl inl hen sadelihdms otW olhbwirgiiuzssshsa ot r.idn g
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82 MONSTROUS & MYTHICAL DRAGONS 83 Each character Look at the
wbbauluurnnrneitdecliad lah ttD ksh,ha oset R imhcnIfhia R?Aesay1 s vOoNd0thGoluorae1c Natp Oc iglocnae oon Nnsin ntnst st oh– ewtet n eo actrpu sorutl moditntco- omywbour jeiwhayagt . uwih Whthtaimh nase aaal hvarinrhcntoainontdaa tlsaug peld fdi n a we skhamad blhniitrn vdalhokieidetgyee s rh hapo b tsgettrsfol ’re oso mhuebi swotia giamsutedtrhs imovsn nmueoeergaerrocfrl edm f hyua e f r cton,o ao–r v we Iron Dragon: Key PoSvplifiohestso wfiewtreionosrm, n at. ht tN hetho edet nre ase hagcomokw neli kdtlheeee vfhe esanlc cdaaksslle eitstshs .e ftatneohsaaag matteu ettcrhe aeaemnsnr pd bawl e assi totkuhemes, taeec d h ofpfto eaermia nitcpdtohele a cdacto sehel .aoox Hraunamar hc ntptohdelweeyr
information about tips are provided.
the character.
Tppgeiehllmreoh wsda repoadsrg rogoetonhsl tdeini,nr prgterr oeepnacoi ssoueur,s e s. Themohvipse hvraiinesgwiz edosrfa itgthsoe nm ass. Sfoerl efoctuerd k cehya proascetesr. sT hheavsee cteamn pallastoe bs e
Tsifnrwho aeimf ttd leayrra brdgoiofovyweninn. sgww aaortodtapsc sk uposesde sa os fr oeftehreern cchea froarc taedrasp itni ntgh et hbeo ok.
TpiahehtiTdmnhndruuehh easmgadlmiels gosd e g tecao fe rhiroatdntnme ie nfi sf efad oappdrttncenohcwh , y tfudmefdaieh iss oseenept t,iftthl dzid haaofcieeeltsseifta slsr uv emii is ptnftriad,es ihe etbc t twre.tsbhthe eaIiu eoeehrnrncrr ed i kd.dewdncay.ie oid ascp sTrln tlhteliahlaaantsia rennn nhgdaa gceca l snoie t,ezn bthdf i e,ef nea e tr ttsycorh oho eerofeomewey n fsp deaec dmrtt srrah hetaistosonseeh,gtk eg leiaoweetn nsnt.’it sh dn e e gd s An example of one of the key poses in a
background setting, with advice on how
FATT78-115ch3creaturesUS_.in8282 9/18/097:24:10PM FATT78-115ch3creaturesUS_.in8383 9/18/097:24:20PM to fit the elements together.
122 TECHNIQUES & BACKGROUNDS 134 TECHNIQUES & BACKGROUNDS
CREATING CHARACTERS
Ccatcthhoobhaenpoat ycupt ,ecitt saa meetdnrh p i ae4nblpa f etpotte eruracosmsnh.vednaidd ticq ietoouosnle o su r TPciatttuaat(cid:2)lclaiifrhrhonnfonnnsr laatayveeee aip ddeAnnnieocss nycrm tg ssrsetdu ,aorit hs ff ntara lhrsueettocaheaegrecertgrrnaern waas iec ve gpmnniip nctu de tt ag ithaia ws.rerstrni ho nsypYfahe epogtenet tonee th foair i rTuywothatunr stpmero peto.se if gppfi eanrwc e peem iau ahaapantaypiirdrisi, hfc pocento n gep t pcr ttuhiecin etarhr uotu onealooes ac arbermrarngmotin.mtilcdea no lo eet pvlAo g oais eipetgu maatmaenseptonsdwrlisr tihelrotc aykn eeip s ao gdtednenrti tntaonenlnr ih ,haaa a a ta w.y ti pugHda semttpstl aia ces cyrl t Bhptltoiia iohy s amn nao owfgt m,ppt i ghtiafainatiensoen np ehdgytUUtras2sttOuanebuiooan acgngu eeihee(ihat e lnissun.nrc nsznouo sffgh5 mct sedy eeeeptlitimesoaegs o etfspaglhniihc euoy qeaut.ush i r paner sa yremnrsngbciesmocbtmuu Yrs bancglm enqigo urot bi eaifpuesni oote qjanogep sa rauper(r ctro agsaa rHgtuf uieg rya1el fuc taczig aq talaopriosiatOei p deoB lare nhsgirmtoicruhetaanowsetkengfcds a veuc e) eieiea nlfsronaeiw grpdearn. g e irseii n do ssginw ctn aarin rw g eDrioiqza itisa,hi qriinmskeltt dlnt tmrtatmesirntilaun irehs imctsuo p)osoresei tnm,yaacah ae deamt a;paahCes r tn ie iwgo htgcrs ton at gld altr.r ntnhloip efy ro.e adeiooaec htes Sseatnmeevasl iC io ,nphrsskaumei.ct ercsiea. d g u on eriager ItmimcodoTnsrat cstaigestfp.gdren uq gr nopegaoaadetoicsny,ua grde uh yrm csm ia.ed aeetwcktf ate eadanoooiT e sdeehtpor , mgp hrf rh le eln ie e etetie, fasoes ,x.om- lx rcsa a eaaasmxvn ndpae blcr aeyaetc.olw RYrtoppytOraeouirni eaiEoqius n unndcsGutn gstceimthsits aride iiIip etnaesonaomSt he t yoof dgndyrotyep doT tpo ao acs wnrogifsrpaR almulraeio iemerniuzdipt psc d.Aimscrtee -nhiavaie e alaash, takioai Tpdccittennoaaszelfao reiliItr enn ogf evt ,iaOie t cn e deegntenttdhapsog nhhe.ttmeNd ctatkog yleSaghhla hsep yeeojrr ieumnr aoneseeot tsmMgnr hbtgrnic ughfp fne.ssee aple eihire ht,Ise nrAt fcraoeiwpi.ato1sep dinger ct ynroDsulRtc, a.eg eoo ite leceSfabrysppdt psth aMdl sgKu maraeiiptsronhroheleos otyn aruio.crahaeb pucct.dwcowaSanmoco gsiesedwwnekaluqrW t me adrtu epuaeydo a rneu er uodaateatrolshe-teicrnrineepa n wlctsre ncvogfo ldirioc h.n ac go tomm ceobnsmtipo oihe tUa ons aroecryt tn haviafo eetrd bdsih etnr–a rrtlrtegteagne seepoyoreor hat’f pprsae ec 2sd r ada rp mi tteparrtr hdstta.a ao hcpi uorit iih ao pme.cnnlnmeniseerCtaws(ahRia cm eafbnpenfriiIhenattht e arsnnann thfetdiebegai c eaoipntine t an e pravy lngt eciyr yriti syrhliivre sskrptrnnoa e omhnnrssg cpiooo eesis pa fcotdsr fg inn adtnskd aeguetgoulrnr, aoe cci hreiie g t r tt n4ielytirnc atr e,rtsga ncforne a ccae, p toimyhauHoef ens aaprlnep o ytaordaityhoutmaeafraosic nt a heg uonarn Hnpe oauram trupasptpe a totvitnesgydefy twostmBh fsl re cecftaoe t op m eiu n i,ei etofts‘ii ar madrbanlctgttirnntrhac ,f aureriknh w noo egtf rliae igf mikprer cslanpde ayt i pe i g kifrna)e.dttct slo npay a.eaeohes pd oe ’hugh k lcoa c r i en,ee eni, fale tr i e eesg tes n CtbCsctfoohhehwahhreetacaon t mcrkptio anrgebt secganeraeaots r c fest oukoi4iarnnnng,r m s geadroyop ssprooyiu lraiuuofenna sru dt eri.o n S2EffoitkfgWonoorul uifriolfnCvu e ieetaglemdgllrlhrel n eedgit neSvmsithsdoemao thOteh mslsirebas c eooptsohiylRearesny o er Da rtd Cc wttr(attroareoh eEel7uE noCrl epro esNdifRds erw u h r eeosphcoEl iacvpurucgotRiiehrramudlht.pane km’etaoHdoSc cednabfesiet ,e s s eerri)tthsthee oor s eaasd,sf r aaanttp tthafrhucdlesrteitero e.noes t i umTfth m sdfeiaasobaoecIcep n drnreter etpslee c ddhecndleaap lhseee, ae t ctot etaru tdharorrowfhysdr au aatf de neh enttu ee r.ka? gdd 52 Garzakull 92 Lamia 138 Boggel
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H e r o e s &
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 elf Nessa Morwen
(page 35)
FATT8-59ch1heroesUS_.indd 8 9/18/09 5:35:17PM
V i l l a i n s
accessories are just as important as the character’s
face and figure. A wizard prince expecting an
attack from above will hold himself differently
than a shaman scouting a haunted trail or
a Viking warrior peering into the
distance from the prow of a
ship. This chapter shows you
how to develop and depict
the compelling characters
needed to provide a strong
focus for your fantasy paintings.
The assassin
Darsoz (page 21)
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