How to draw and paint fantasy architecture: from ancient citadels and gothic castles to subterranean palaces and floating fortresses

130 Pages·2010·14.43 MB·English

by  Rob Alexander

FFrroomm aanncciieenntt cciittaaddeellss
aanndd ggootthhiicc ccaassttlleess ttoo
ssuubbtteerrrraanneeaann ppaallaacceess
aanndd FFllooaattiinngg ffoorrttrreesssseess
hh
oo
ww
t t
oo
d d
rr
aa
ww
a a
nn
dd
p p
aa
ii
nn
tt
F
In this how-to guide you’ll find the essential art principles and techniques for drawing
a
and painting fantastic buildings and environments, alternate realities, and ancient
n
citadels—and you’ll learn the skills that make it all look convincing. t
a
Step by step, learn how to use real-world architectural references to create s
y
extraordinarily fantastic buildings.

a
A texturing gallery filled with reference material will show you how to capture the
r
differences in surface textures using a range of media, both traditional and digital. You’ll
c
also learn to add details such as weathering, carvings, and smoke and fire damage.
h
Once you’ve developed a comprehensive approach to architectural details and have
i
mastered the necessary rendering techniques, you’ll have everything you need to paint t
or render your fantasy creations effectively. e
c
t
Rob Alexander is the author of Drawing and Painting Fantasy Landscapes and Cityscapes, also
u
published by Barron’s. He is an illustrator and conceptual artist working in publishing, magazine,
computer gaming, and collectible card game markets. He paints fine art, fantasy, science fiction, r
children’s illustrations, and contemporary landscapes, and has received numerous awards, including
the prestigious Chesley Award from the Association of Science Fiction and Fantasy Artists. e
FFRREENN BBaarrrroonnss ccoovveerr__..iinndddd 11 2nd Proof Title: How To Draw And Paint Fantary Architectve : 27902 88//1133//1100 99::1199::1188 AAMM
Job No: CPJ0810-05/4234
H D P
OW TO RAW AND AINT
Fantasy
Architecture
FFFFRRRREEEENNNN pppp1111----7777 pppprrrreeeelllliiiimmmmssss____....iiiinnnndddddddd 1111 1 1sstt PPrrooooff JTJTooiittbbll eeNN::oo HH:: PPooJJww00 66TT11oo00 DD--22rraa88ww // && 44 22PPaa66ii99nn tt FFaannttaassyy BBuuiillddiinnggss :: 2277990022 TUBS 7777////11110000////11110000 1111::::11116666::::01015656 PPPPMMMM
FFFFRRRREEEENNNN pppp1111----7777 pppprrrreeeelllliiiimmmmssss____....iiiinnnndddddddd 2222 1 1sstt PPrrooooff JTJTooiittbbll eeNN::oo HH:: PPooJJww00 66TT11oo00 DD--22rraa88ww // && 44 22PPaa66ii99nn tt FFaannttaassyy BBuuiillddiinnggss :: 2277990022 TUBS 7777////11110000////11110000 1111::::11116666::::01016666 PPPPMMMM
H D P
OW TO RAW AND AINT
Fantasy Architecture
R A
OB LEXANDER
FFFFRRRREEEENNNN pppp1111----7777 pppprrrreeeelllliiiimmmmssss____....iiiinnnndddddddd 3333 1 1sstt PPrrooooff JTJTooiittbbll eeNN::oo HH:: PPooJJww00 66TT11oo00 DD--22rraa88ww // && 44 22PPaa66ii99nn tt FFaannttaassyy BBuuiillddiinnggss :: 2277990022 TUBS 7777////11110000////11110000 1111::::11116666::::01017676 PPPPMMMM
A QUARTO BOOK
First edition for North America
published in 2011 by
Barron’s Educational Series, Inc.
Copyright © 2011 Quarto Inc.
All rights reserved.
No part of this book may be reproduced or
distributed in any form or by any means
without the written permission of the copyright
owner.
All inquiries should be addressed to:
Barron’s Educational Series, Inc.
250 Wireless Boulevard
Hauppauge, New York 11788
www.barronseduc.com
Library of Congress Control No.: 2010928093
ISBN 13: 978 0 7641 4535 3
ISBN 10: 0 7641 4535 5
QUAR.FREN
Conceived, designed,
and produced by
Quarto Publishing plc
The Old Brewery
6 Blundell Street
London N7 9BH
Project Editor: Emma Poulter
Art editor and designer: Jacqueline Palmer
Picture Researcher: Sarah Bell
Copyeditor: Sally Macachern
Proofreader: Tracie Davis
Indexer: Richard Rosenfeld
Art Director: Caroline Guest
Creative Director: Moira Clinch
Publisher: Paul Carslake
Color separation by Pica Digital
Pte Ltd, Singapore

Printed by Star Standard Industries
(PTE) Limited, Singapore
9 8 7 6 5 4 3 2 1
FFFFRRRREEEENNNN pppp1111----7777 pppprrrreeeelllliiiimmmmssss____....iiiinnnndddddddd 4444 3 3rrdd PPrrooooff JTJTooiittbbll eeNN::oo HH:: CCoowwPPJJ 00TT77oo11 DD00rr--aa33ww77 //&&44 22PPaa77ii00nntt FFaannttaassyy BBuuiillddiinnggss :: 2277990022 TUBS 7777////11117777////11110000 1111::::55550000::::54542727 PPPPMMMM
Contents
Foreword 6 Chapter :
About This Book 6 Details and Textures 74
Traditional Art Materials 76
Digital Art Materials 78
Chapter :
1. Wood 80
Introduction to Architecture 8
2. Wood Joinery 84
Middle Eastern Architecture 10
3. Stone and Brickwork 86
Middle Eastern Details 12
4. Thatching 90
Romanesque Architecture 16
5. Plaster 91
Romanesque Details 18
6. Marble 92
Gothic Architecture 22
7. Weathering and Aging 94
Gothic Details 24
8. Mosaics and Painted Tiles 96
Mesoamerican Architecture 30
9. Fire and Smoke Damage 98
Mesoamerican Details 32
Viking Structures 36
Chapter :
Asian Architecture 38
Creating Your Own Worlds 100
Asian Details 40
Layering Values by Rob Alexander 102
Modern and Futurist Architecture 46
Evoking Mood
Modern and Futurist Details 48
by Anthony Scott Waters 106
Painting Light by Lorenz
Chapter 2:
Hideyoshi Ruwwe 110
Picture-Making Techniques 52
Exploring Ideas
Light, Shadows, Values, and Shapes 54
by Stephen Hickman 114
Perspective, Distance, and Depth 58
Establishing Depth by
Composition and Concept 62
Rob Alexander 118
Color Theory and Usage 66
Creating Drama by Tom Kidd 122
Mood and Drama 70
Index 126
Credits 128
FFFFRRRREEEENNNN pppp1111----7777 pppprrrreeeelllliiiimmmmssss____....iiiinnnndddddddd 5555 2 2nndd PPrrooooff JTJTooiittbbll eeNN::oo HH:: CCoowwPPJJ 00TT77oo11 DD00rr--aa11ww44 &&// 44PPaa22ii66nn99tt FFaannttaassyy BBuuiillddiinnggss :: 2277990022 TUBS 7777////11112222////11110000 4444::::11119988::::22443322 PPPPMMMM
F A T B
OREWORD BOUT HIS OOK

This book is about painting architecture for the fantasy and science-
I have always been fascinated fiction artist. You probably know that already, and it’s likely that was
a factor in your picking up the book in the first place.
by architecture, especially older
While it won’t provide you everything you need to get through
styles of architecture. The your first-year university architecture course, it will give you a very
solid understanding of how some of fantasy arts' most influential
thought of someone taking stone
architectural styles came about, why they look and work the way
or wood, working it and shaping they do, what influences they had on other architects and artists
alike, and provide the understanding you need to make use of real-
it, and fitting it all together to
world architecture in your own creations.
create something as magnificent The book is written from a visual artist’s perspective. Rather than
compare minor nuances that distinguish German Gothic from
as a Mayan pyramid, or the
French or English Gothic, the book looks at architectural styles in
Hagia Sophia, Notre Dame a broader sense to give you a firm knowledge of their most common
forms, elements, and characteristics, and an understanding of their
cathedral in Paris, or the
styles, the cultures that created them and the ways in which they
Naritasan Shinshoji Temple in tend to be used in fantasy and science-fiction art. It will not provide
you with a handful of shortcuts to picture making, nor will it teach
Narita always made me want to
you one specific technique for painting. What it will do is teach you
reach for a paintbrush. I think it’s about architecture, about how and why the buildings look as they do,
why they were built the way they were, and show you how to
the light. The way that great
understand them in a visual, artistic sense so that you can create
architecture becomes part of the your own images from a position of knowledge, confidence,
and understanding.
environment, integrated with it,
or dominating it, capturing,
The book is organized into four chapters
holding, or reflecting the light,
CHAPTER 1: INTRODUCTION TO ARCHITECTURE
so that what was complex, This chapter examines the basics of Middle Eastern, Romanesque, Gothic,
Mesoamerican, Viking, Asian, and Modern or Futuristic architecture.
manmade, and possibly sterile or
cold becomes instead majestic
22 INTRODUCTION TO ARCHITECTURE
HEAVENLY INSPIRATION
and awe inspiring. That sense of Tall, stately, graceful, brooding, romantic, haunted—all these and more Tasdenahdnerks tf eoha eniols dfs (ouownppilenpigndrhenotsew sss isttvrr eeain aci nmewtreihynra)gi tor ertw.hi norofuouldrgc hoe ttahhe esr ewwniissneed obowef s ha ec virgeehratyt, e s a
apply to Gothic architecture, a staple for the fantasy artist.
wonder has become something
GOTHIC ARCHITECTURE
fcaaspctiunraet ianngd f oexr pmloer,e s oinm eevtehriyntgh itnog Gaccdfhtaohanrlaeecrotardaa hhkttvt n heihd,ic t,ldia eeoeycgrnl cn ifarftadcavalruras neoccrm tyetmahteasfolo iu s wt asoGyhelt h dcaysfaototiyulrulret,ret noh.rmpi tesniFarect slogr.id s sov aTao srimrrt edhcuehlnohi iienmassnoi ettgqksm ea , ouio cjvnieenitfetngasu scrbtn trseidseeeacs tsii b t rnstsycioeotleogaeiann nsu ucgttbtc ratli cueetialaaiflasilnvu,nl tdefadgle a, nib r lnneisaidomnovtgc raolee graisbfsocdrgyu laaw.ao e ltcn,rci eyvakdfe ius r, ly , GETteotaitboanhhh rnohpt eeeSlchOtaoeetT i ehhr nnbpcTirers AtgnaeaauwetH Be-trciri acimnhohfssILkbeteeCenesguaIcaddgi S rgrgnMtos reo H eshadqGfs u t,tIoloueOtoa n Nhfaiaantttds OteenhGntet i ,hn ,diadcdD c iegRnTp a t t ehs t olpt(cid:3)HhimefhlehnmaoeereEr eargri iioademsn h iantnrrn eeenm a aet ibslcg,nlols iepuendhcraqnai gt lanutdts,cs erod eiehetrgnm -hy as thrgsep haptpetscy rechells.oelap eeestv.lsoe , i oEdr aloyefevn fne od dnf UTspafacuiugnnrlehiScmnddeauIhli r cNibsihwegtetiieGshnuagfcu tgrr ho Llbtm i lunniffegoIrot dGhathtlchih latHu aoesidgsstf T mee ts psht t—ao(cid:2)oaaker isii clnlatsslphoftdl—uihiepndsleelhg ysrvpta eooacaign.f udr tutgeelhdst aneee.st ed dteGaod ssnon pbcteahayi ei ccne t,,
I paint, and, ultimately, has led to
the book you now hold. Study,
25
enjoy, and let yourself fall in love
with architecture the way I have.
Ttuhhniacs nrbekdo oiytokeu:d ntaaorm tt heises bwaypo pRneodaber r Afaullelo xnaagrntsidsidteser .wwhoork c; oanllt ributed to aWrtioasrrtkcsad h rrbicianFFRRtyEEhNNwes pp 88ipc--55pti11 nteiiiPnnrttrrruoogoc etthoor aasftrrdoccaeuhh __.. tiilnnosrdd bodd as fg 22gy22 ileo r renetanhxarpaeealhl- msw poalrneldds RBtsbwusbtblteirohkptpfueuoairef teeptc ootInah tt hckeBprrnsd ht ewltihrfgiojifdBleu neseeii uscenrsgrsEa sgts c dpte nsoptD hoooihswldbroeytfreyw. e r ie a .nsoV tsuTls lthcottlfT,pi h sa ve ewatha aAi ebo istnoel srmo il aUdenen a sa rseag nthlimbdLt lhlbs’doaihtsTuefeosh uswte il fSs newlilt urdcasti rwyiicned lbaiyf snfa aci.utlsogooge eclte Clrhr ia aeo c safotdttbtden rthnoel aoyeyuaatidd nnlnahvmttsosttmaawrrtiiatarwtlse , mfuhohahhdoenipteaetlnnr eofa bnerelirteldc m.ta uteeaeatunonddehluth pdtebAlbthrhseum nhctcdnleshlwia dy ceai ose-cerreeewancm ca rtdteeitxruol ,edirr boess igopce vnuia ss ct iecrsttcv ,wdt bao heid eb tul olhe atrttdtaev lhotuwbrsiwasr hoae uucrhn sneranou,trtp eltm lme il—syc eeo sh pihsuith o e gcit l de l, wdlpidhbellnta ery alsltitluse a,eeiie emensssoh wwunnolrrrct f , idti tesawuh gputgaiceaascos. anslhl mp estaillhtsoaT l ialglw.ao toywtobn sloaunuehet lAhr raen wswtii,afs dritat n rti puee gela easis ih dallgasn donnlcen idaotsoo .anm o d iturng tcd wtsflntocgdhbn.hllc eps u heoetf etyt ri Psleeteolht7anhdoe uwa ith 7hecdp/tsrrdenafgkis/1hirtee lnfr o tn f1 eytneh2worud bi atinra2yb ean/cacehars wutdli/1esotknu tlitltpn1eth0tepteo,hr au t dt0sho dh o dfwgeotnye ros w i nerof eemr 1r l nia vae tfyn 1aaioeasw2lteehctlgsr:s rloc lh:tlf0hrrdsoo5tlscwesrhs es1saeaee9.oat hmw s ftt :aallhsh vi:n 3uu m 1llecn,anteie e8 ie 5 lgseaimclttrdv, rd eo s Pihe hahP e alaot MnraMtie h nnnhni s oeo FFdstgeRRr f r EE NN pp88--PBotsbafm55ahtnene11Ircead cEco en tii aapnhRnnysdmugeitt Seeaccdcacfrrsb earcoorsooreeps(cid:2)erscec o iomllui lmui,lttthaeicltrp khnaoomhipatwtatoepeger seetotaasnhnroyi e cveurrav sia wrl eccwtusn ea .tniufehhn s,spodu aad Trst__ i, at,lesgn r athw ht..pros cchipiieeellsnnil.nleiottaps fidtdd hrgsumynee dd s llue a esp t,ps r saeo a.w22,ln sln as33petcerhideldil na o oat rfo“fsn rv dmitweb hharseeten”ri ceylwpa etoelaidtfrltyel e tnh in WHttpctawoorhhnaoffauhee rsOmtosi evlhsewsspelOmeei aeebeda gDmsenlri,tegoa, rE eb tshbnorih Nenpetcefpe aape aauat Huce hmsnrbateaepadioAsnf t mo uvae dsMtsclehndue ,eob rMdp aau tane painnsElstmaios ddgtiRuis ren hortttfBm tyitiu fbend.Eo nabgtrtifArochvi e enaaet Mwdtcit l oahsa tsrSnivieo,lnne l aa.(cid:4) oigtr niuloinfI, engl tttatstthe shrrts er,iaheoc i 7onlelyfwaeo7 /rs tnw ess/1meldee1ii 2lngyiWTcbccdbtTtEdBMoebairn2nte/ooh vyseoov eeeyehfnsg/o1As ptepe nrmmcccagec f1 I lc0o Soerdtuooa Nlol0iouyppueE sristmrrl n Drmim llgufaa h fiea ytgMoc1uem htt, Oxv b1ees aftl2 tf a gonimlh tddWt:apnOto:hi0dee s5rel ,niaabwuean eds1L,o 9dTpt bco ctgtc imtD:en:r fyea4hleteoR1 ogeangtlIrpn er3errou5 crAsNmpn ydaats a mrdeu resCw Pr GtutPocisrersen tecM rEeMiyersohSsunrddf,ee rRf ia of ibg gigenugo(cid:3) cctwttY tl hehfnu.lhtehc e n tohesl(cid:4)ce :ra; a.m wei f rbrettr.(cid:5)acah eoaatlsetrsemer l esydy tbtfbifaftwctBTsreahohonruuhoi nUeeaeg ndvttemptt ttadeTe austrrlctfaoth eerTsrplihtyoynyrewsshyaRe uig hsssn eescwrsEoe e g veactairtswaSsto sol anhoibnSc hioc dn(n dEuuobBaranl d iett veSuggtp,)twtoi ie. trnhnvihi w(cid:3)wvwneasNteeftenesorh, e o da fasdaearesoytn cecr nthneaoihrmdelslda e sunue th ds isdtsrhorunaoh .o p ernsi mnyewdm wa Ti.oad fob cah,siaRru aewu eyetemga’ledthrl sn n tenebm.essrt ws d he(e i EcCelpe(al hes oAmov marr)o sowood,)meieup nbfol etlt uestehtpoertfriom atanehmlr aet ,aangsedete rxelrsih e lz.icnvoorcfte ioeyehtnwvor s,mer rpge f tttadiry owiaee,cttio rhnrneoateu et hdrlic ,kcse t e io n,
FFRREENN pp88--5511 iinnttrroo ttoo aarrcchh__..iinndddd 2244 77//1122//1100 1 12::0519::4175 PPMMFFRREENN pp88--5511 iinnttrroo ttoo aarrcchh__..iinndddd 2255 77//1122//1100 1 12::0519::5105 PPMM
FFFFRRRREEEENNNN pppp1111----7777 pppprrrreeeelllliiiimmmmssss____....iiiinnnndddddddd 6666 2nd Proof JToitbl eN:o H: CowPJ 0T7o1 D0r-a1w4 &/ 4Pa2i6n9t Fantasy Buildings : 27902 TUBS 7777////11112222////11110000 11110000::::22226644::::55009955 PPPPMMMM
7
ABOUT THIS BOOK
CHAPTER 2: PICTURE-MAKING TECHNIQUES
62 PICTURE-MAKING TECHNIQUES COMPOSITION AND CONCEPT 63
How-to techniques slanted toward artists painting architecture.
Pcoenrscpeepct taivree, alilgl hetxinagm, inceodlo ar nthde eoxrpy,la cinoemdp aoss itthioeny, rmeloaoted ,t oa npda inting CANODM CPOOSNITCIOENPT TIotvsvsnoeaehf HlractcucyhpoUeoo iesnlsomMo sd.lto p sBhcAaso uNotseosm l Artoetth bhhIr liesLaesnus n ay mh(cid:3)ssd iladt.b a tsaonFhg r aoeberbica le usoutnei,hvlsg dneed e io nrrd daangterhlw slfat ei.hicnwn eoeigimn dnsigdc.a steegNh apeooa,t.ft w t aoIect nf’insa td’t nsh olo eefbtoxti emepwk n lemaoa rhrsatmeeo d ml pbeeaufa xruicsenplh ia lctof oi lsfris tkeebehe teeah ipngaon beiw nass t wbfraieaientschlddtt (cid:5)Tpntchelohee ceianFre ertfsI,li yn Nmsr,a aeAualrf Lsneyidt d rS ere beainKtea cE ilmseiesT numnmCoso tHuatw gotb e hetrta hiaadkerler caincshw i itttgynoe.a caatEthc uvfecreinruenear datli on tste komalye .aartuckdihedn. e ittAdh t re se ttahadist e ,
manmade structures. Canodm cpoolosirtsi,o tnh eis r thhyet hamrr aonf gliegmhetsn at nofd vdaalrukess,, asnhadp tehse, 1 2
overall design of your painting. Concept is the
driving force behind all the compositional choices;
it’s the underlying idea that holds your picture
Whooiwmrk aaingnge , a drftrriaoswmt ih niangsist ictdareelf maisntkoaeenld ts pcttihrhea ecttieoer KCTbiyotaaoatIabaracdtbpbttthoheeteoor ss soflaireao hpsyldefn k oiaedougcicolmiRpag hLg nle tdP nkoili ca ycyslv hor nwotenoresea eouyytncoioeaiiiwtt t to mns ton onlvacogyu eudoiy’chodtsnohu enttngsocu,u rera t ni etrrwe es,pt uwcootfofbene ,h m b e. rupiaeil. rn ihfeptane rhaalocNiannp rtoEf ont selwts,ikstepws tat tsd qn •nytsnh.odwhovre p w,pnhgorute ucigew ee nfCouaaa plesrhdyooa i,e iwnirdro op i snaldepg o .na ll,tngd nvl ipy apeeoraagh Tohtatuict aaltrobh c, fynaruhe,i ief it iuiii nhoh,nu oycptarvaimt trw yneactzghnctooo u p eitr itpuorunsithnth eheaeg arelunesssgoag oahupo r a,go g i ,.l d sgtfa i mft taek i ravsaz,ueifeoealesh ,nFaiebe tnieeo oa x. ddr pcn a virt e toe ncifrno icnpiFtelrirdoaaas t cp roueyuoodrtrdxlsilhse ilogo co ?nienunctttrltipaex tsyne—reon i amrluges fotTda lttyodetegrstlcioten,hyhn emh e na ue a.n ewh oxsrrtiaeifeti,retnug ponaetuaafdep n t oir ryya.xttnfmctdul ii el dnillolnnai,i tYeia tou yaednctu n apcb.ssgno, y fncllteg urnTrtlle,eirdu sooo ae•cdaoty eihee sraahd sucoooycp e hn, ff,tlfa uaeu cr gEumcioms dt coeftib ivey siltiaaki xoc oisfdhglri eupcn espvon ntou dhn oe ,a rot elryaseson uorns 'sfe e. nsnast r i.t at.avte og ni de E oenfdrysnx othp—sd ulactorrponi rvmpeoee e pygnntooorseus eacirbt rtiyr eo angt e y. tvc•haa eSlnu i lemcasorp,gm leaie fnmy dl—aa tcsefosorl.ecosur,ss . s fhDiraseptt aeoisnl,s •co Umnpiotys—itiowno arkt othnec ew.hole (cid:5)Tmtsosscraibarsctthheukhhil osoyhnllouepfiho eaa e nuneImot rcrowtpdcleshfreidNcwamuoeeoeedbei hnpeIcnfn•oplacivy wp b naineuTgvttctrucioog,fnita ewur ttel ad c ,iTIsluhelaseydrtci oyt rotfrAl oey pahl,rh rtiudeo rririno sf aaa nLsdttteaaasn,rriecitg yhhfsbttm nees ei p hpa ,toaihrnSee aioo iitr nraemiegtatmtoetahdada rginvhcKuetaasiat nrlesenlad aeo,eelsrtpyd d.iElit — shei dngse t,. e .saoni sshHi T a mgaw asweghnaEns EsoksacdlnetuCscn sioaindtaaa etaorntttd ri lde,rioHpd dho rgcbetbcem io o swnmca tk eis ihaeeth rnEnohnenh dehr tpiuso r.i t g.gkehgffcSna nhee,slhlacor yyhse e gtlsadkssvkehnyro,pio,xt oi e sie e d rionfouiaalelno na tlitopa gnomybnirrdcxinm snctte r, p dopehuhi gtei twuaata , fe ol,leseos osl lh id n ,tto derna hhe ef d se VNccirinHtwvwpsspcsnhaateeoooaaeoaaA iuantrvogpinllrttwinoodtiLgaeeeeasnae trri Uelvn,rrtei tr sstd iccedie, c hEosvt , temooserh aoaa ehn ayr(tAlletttnna ooi1 a an n sa ccdNctftrrbi–sdup ilhlo e lrtswDlt3e tsstahieslpuevs,ooatti)oc t datluuhs Co,brflr,euw ilidd i l knueuanyeea gaOyye taets lgxnanhl,ah erol sLp t(dc de abpsw4aow dslOh otwotr st)dhrt a.ob wriuoRawy ihlioweblglcaAtl wo oa i n lchSaasrlgiwuftlprisee r ilinshkaT clfseeahos ot gte ii t ela Uoasnronwlp r mtkotebe,l e iuhDaasse m Pwndonotettrl I hheo g gcuysr saEhmfeosetgoto ethirotSn fhh toeeuam i4owpto nteasm(cid:2)h ,tdar usu htph pno xoiaotrht nema leh repfew y o 7rploswewsatot.oop e euh ;tsasrouii,l sngne,eah retrfr . ta hhmi r ika eootfgscnlehTo’ pysl n uoqedde ha.cte fb m uo srtew ulsUstaietis m osc lphaocts eema k oiaotoifestmocnne lkyapsyo cfodgr tnpl. eillcoatoal y oohsiTfolbon ooltar,haldo n u orstet. ur o ri st 3 4 FBttiiptYyspfwmtamtwiedntnohhhohot’nomarouI sai ooaaeere otudwouNimet ishngptrr lch n r deeisggA atamehheadheecocit irrtLnr alan uaeocs haoetolaeoiso g svngvdsrlfsaIurgo jefh ewieu c. d Mi snaztn lweeataot eo so eeohg hdtc rsHdAnsttrh olsi lieeeo,h somyntot G aa he i h, eda edrnmgwe mwct .poirEelwp l amve llrteHrwemra ai pareou,dethsswra i ktholaneao eibt hte- uetnchcaergeswttdtr earauresieerprel earv epftemsecd odrcl o aecaetoa etdarvtouo oir ho se iuornestgeewnn ll epfroytk rrt ,hedee,e hsa r t .dsa ai iln .d t
FFRREENN pp5522__6655 AARRTT TTeecchhss__..iinndddd 6622 77//1122//1100 33::3375::2510 PPMM FFRREENN pp5522__6655 AARRTT TTeecchhss__..iinndddd 6633 77//1122//1100 33::3375::2540 PPMM
88 DETAILS AND TEXTURES STONE AND BRICKWORK 89
3.3 Brickwork and Mortar 3.4 Weathered Stone and Crumbling Masonry Texture reference files present a
I“pANaf gCteeOr 1Nth7TEeX FTa ll” Bwbfbotcboncinihohfrrrrerrh f iiiesviwiv.pcccpitcm ecekkkC l ksraahrps s,sis pyrsbn. le p atmab peaAlgeaicsvoirltsrgatkneiesst, eeye ss, chg aridm . doat, han ,aA h nv oraacad seeodfsnggovm rt lm meeeuvmeiimgans denfobi,lahorg is lgetbics wrst nhfesetteliriyinuhigneni nntcl rssge hiidgkgete.zk aeibd s cetefcfkr hrrs,fliash oieey nur rctunr woagehnktent f oeeeksnhow kr, li st ves atosol, m e r po.cvsra l roaMopepntra hrrbelker rogase kayai tmlrsefanr slh.osm d ; ciM icoerbninpr o ooneaafgi lostitgti co rshnshsra ksr mti,gerota s naer a ,nrroa tmacan a odrunogsidne so rttggcoa d harcewfrasfts el ar apeseiatrmocerlx,soanl km st wn todar.hswh e r n hIaaeitarmefdnvianxen atet r siedet chms uih rb tdrnwel wiaeietsunr dcsreuttehlg kwh-al raiie aitsnftensesrha ge t e idbc emeeocnnwe ardron f iiocth laneichohrnle,kgl tre n sas r , CeooStaysomaeaodnnfcvtnrmo rcuegddruodrurreu emtansa rsia rttl d.ngtlo urbrmi Ide sum islct resn atca’r cpsrdietscun hunua,. ow mdmcanlcrIlyete rorf btu aa em arhittlscratnshehoeehtut seeoa i nael.cnwr ttfrrrsSl i tgeeyeipawtepl adoa nllnbtasl enn,diy bo s te trepb etsshexrosh, irtes pacanrigw uactuapoycal lkleocspiethplssre ty uaamfs euid rron,rv h re ,ow era tecanta am n uoessrntoctd erl , td ffloyrcs ea eco ncsteavdenahraunreeraeictnasrtonncd h. lp s dsk syh Sitea,tce ts oerdfbueol dtruliwc rglpce.yaoco tghri Inutrklp aeteulsird ne lstn eriha ntadse.,faci e n .io Sgaebotlbdnpn tehoraae ss dtascnfdc ho ruaokhd sp fnarsfoit tt ttpdhde teho ohpenf edertinf eeergyhricd, sd n e heddtaa. se ,aete n totftdhaishn ie lee TEXTURE REFERENCE FILE riSnaisdnpegiberaa otrisfo ntpeaoxli tnruter sayolo uuer fctfoeewctasr da sf iannis hed
TEXTURE REFERENCE FILE Stone Arch Ruin With Encroaching Vegetation art elsewhere in the book that uses
Aged Red Brick Wall With Mossy Infills and Broken Mortar dsmoecscsvKobo1oitclrafdvrflee.oiu u halenrg ytueanmksohlrBdoeemnpbeh ue buste, lst soee eat lhrpgs tehr nt nnoreeaisutedeoneeddr rghra k vssf , apabg brocaaep,al ladlyeyrllcfeosenouii o desn fcclyidwetanwf p toktoe a dy i s.aassuvt ycnie hrHnle ,nroy tldets oiiag,dohunav s mcwna b euavrh,ri t ndaniri ltd eapnpyo ttd i opmhaon agtmmk ci ere iom epnnereaais. nde neot skaoKin.dpa,rt tnes m aaeotlangse ibtnerteto . u th olgpa t ires rn e hia dn 3tvotBRchherree.aee g cm c Oecroskaeattvnsarcmreuc,et kireacbofsaunt en,lut lldrh a, r,sn heensatoi drog moutl ihrscttoaitolotginliuge n i,dnor h eagelantan,sosl. y la,dyteL eran soorlot1Inod hyoNfia7do s teka te k C lh tsddolnfeooehOdorn,pds y aN rgls t,d ed lTa tisfeswkroEortustXeewrraa cetT,ai”y istsn la s“s u p gwK bs mraws teeahgwhuoh rteeebawcreene knyhlerl ,. ,e i eaaatc dnysslcad o osririutumintsfo nyg cenc e aosteusno rsr t oroo,rd ee ri emnn hicns tiul agcfacocrrhrovihrgblciin ngeeeddgh eihwstttiso,oah ,l ineal..t s the relevant textures
21bhvare.ulr useSeh t,i sasnt rrmoto twak cseitosshl, o tfeora.s itSoralvyube gflrilgslaahetp,is n,ut g knc eioafeo lopsrmrein, n bgcsu oectl o ooclrofrs erv, aovlataleuird miaa i tendio ealnofnsoind ssi tesueltby rs.ut elAcent.l ulsoTr4e1whe e o t fhc rfooonurcmgeh.r n 3vctsstpb2swbhaaahhaupornlrauaail..aeeelloromisvdi lunlcf WwedeOt aavwreteksce.i iecfi snn nis caonfStfogle gc ehgioilngfgnaltf eeo c l,rt t oisihyotircet nntravao ohdr t poxg ecnmesttluerwahtllic e yroeou ftfoqe,oi,eaf horodnt rursi hsrerdrerre ,mfdo eest a oe a raatiomt istonerhd nnpc nhf lrgbnee,arid tayy atteteag fa yoi i hnatnirdasxvlenrtoueae lht.ettat roi ,rusin sl A ergntreabnlttrkhhcean eogdneyreeeoe iyi et n.dg tc cr fa sahbrf b.ski to htn,conheyr Ipiewlfoion horde oce ttcdownoiuyw hnkrpcetesro tre , oiseko ttftuhb t ahahie.rlh cto iei nieArindhglo eerosgd iahdt n ulih sovnitdvgngeteeo ar htr rusilo w tu ecs.a eeat usuasadr nr fmtdteahdo .cuet hKeecdria hxeeniptr feg rairienp nesoge .s trp uLsh iosnlieoavtsd oearspiis,ivti naibeaiediilnlnnseyugdt —a ys ,t loysuh wbouuginhrub gim,ic tcelkehass y t— 2ldpabasabhcwSctpooahhrh rrearuuafrtiy.epeere troaiifte osp hinnaaaa iaOviwon tduniotttlssekttrse eneiotg sou ,al, fe c taw c tf hntlilntystooadynee yee hghofduoy le rca lorc seteua rtukravolhbrhifrtisrntrnnrigrsaoeueetn re ,et e isochnuag fgc pafsttineeauttenhuno rhan eai; dsun.do.l n lre di motolr tcdeIrcsgee rbinr mtcuelrteoet sbmiur rpg utnrgn ut uerthrlhassphlodhaetsuca epiireetskyeehnm ltroe aaw upelrer sstyslraricpli rorttnlian ihoeat trretavit,hyuignouia frs sa eiew an r k cd ltisteaturadnntthehooo u rnerd esliwrae yvacrnds , nea a,ky , o d.sltee uor rr e 1 2 CHetwhaoeeHswr yevA - attPmoorTi -oofdEousrlRtsalo wc3fwoo : ar msDmntmdesE p opTlsonaA.loi ynIPk Ltua, Sssrh tpeAoicedwNuc a lDiaftsihr c T ew aydEte etXalelt gTanaeitUslis o Ra,hn nEot ediSwsx w tgtuheirveaeeytsnh ,w e taroe,n rdaue nn mwdd eoawrtreskhtreaaidatn l msda inanindgt e c hrtlihoeaewals r w ,t oa y
3 12sfortledicse khLUr a sommyeu ooticn rrlftt eaaasarrrhtn.,ah ,g dewrora whtyhiestae rf n rao ontpmhdae q dburureeilcs leptk.ras iontnht aotn 34sbheatw dAVoeadwerdyns h tbtihogrei hc mlakigomsh.sotssuy nagtn rodofw udtnhedsfei.nrihtiaonng sb1ilte nn Adelixlnotgw t o tdh oaenbmes. aannodt hsperlo, trcahtehse ro tfh caonl or to sy2eonu srR ere oloycf k ossnt.r uvcatluuere t oa ncdr esaotleid ait ys tirno ng ateccchunriaqtueelys adnisdc cuosnsevidn cinin gClhya dprtaewr 2a.nd paint them, making use of the art
FFRREENN pp7744--9999 ddeettaaiillss aanndd tteexxttuurree__..iinndddd 8888 77//1122//1100 66::0083::0161 PPMM FFRREENN pp7744--9999 ddeettaaiillss aanndd tteexxttuurree__..iinndddd 8899 77//1122//1100 66::0083::3101 PPMM
CHAPTER 4: CREATING YOUR OWN WORLDS
Lmthoeeotirkh otohdvoseu rag rtheht e cp lsreohacoreulysl dsee,x rptshl aeoiinfr escdor emwaeitti hvo efs tpteorpod-cabyey’s-sss tb,e eapsn ted xa ahrmotiswpt slte.hs eT ythh eaaiprt pswrhooorawkci nhygeod u 7Iwddrwkmbsneec.aiaei se fspaForcltraekplitekreInn cdygN gv gttd eaer ircIuvotaranSrole iyuordHdst k onubhi abIeer ddN enoeennt s dhGlanetltd i.e hlghd a is TDs eaah nhmmaO nntedif nnacodt. sU dayatec oCe if uluiabprsHtnishrr lla cuaEw eclloenserS eerf ises:el ra rlst Lttuednhu a is ,Iddesni anGiaioe dn ptsnHtnahdguaadr Tee iroie lpnf edtafaMtthh od iscdnewop .eAe gt t-iThisoptNml.eh ha, t AStf haenwetoIdg, Ox hvcstdtetheNikhouci enryebrrhl n ega omw fesia ordfra,adro r. es ifetenuTue grm nbhrxsbrtttreh oaauuov eudiirbiknlgerndeea snsd hinc nt ea eo ktgetuonlg tp,llpe d eorewo dm owdluh iktew init wtcnlhdeihtti h ts whi sa a s
their paintings. It’s a rare chance to see behind the eyes of these artists
PHOTOGRAPHIC TEXTURES
as they bring together all their considerable knowledge of history, Psthehepomator argetreaa lpilsahtyiicce artslel,yx wtwuhritiechsh t whceeo rupelad ui nbsteeind gt wb. eya okveedr liany ionrgd ethr etmo bolenn d
architecture, and painting techniques to craft something truly wonderful.
110 CREATTIhNGis Y sOeUqRu OenWcNe WfoOcuRLsDesS on how to artificially PAINTING LIGHT 111 Osgpsbinhiaoamtvoovcpepewk urt lglhli ataftrheiyitoenee induby dign am bld icagprp kruhbhergsetoaurshso.it lsosdiNunt iinrotn ooetdngthkxe. eetot u otsfdhr eafeipsos utr a sttonhh c eiet
light a sci-fi environment using Photoshop
and how to combine foliage and
LPBmwwTdstacwaaowordreteiahrhetaO sdtifhiniaetechlifotAeitgttri hg eRedricfeetncneohriird io ea Eatgctbt asmwsolrI-ut t neN ucvo llaistNipihidcni rkghlobcolttit Z eehethrri wrfune fmae tol lirtci,nagiTn rtowhdHgettit huvlemeneah ll ic ri u ttItytatpep ohiIihim g n nn aaNlDisaeoeaasgiiggein n norn sr b tEr dhmwttemuamemiim nuYtrGnnsaneoirieetnsggotxao Oo s or ,pgtisue diinuscaf nrscn n.iSteengp r rhhdoesnsiL.Hsd hhaee intoTe cn nn as ecoeuIghtsplctonIh imere eeegsgnRtvedd eGshl brois .i y.reu tiiinvbHoUdnn en e cynne teariHo eaWrqdmnoaealrn lruco et l heaychc ,ero W.nglea ertTirsTbnrrthe ghee msuntehaaEeuiasi fnneon lbawtodt dinsr jcoeftie t in oicro wsgnltautd a esn y l,y . 1Idsthnhheo.se alnCppmpei rOey apaodNtrsu ieob C tvnfuhEoi ioelcPrdum aTibsnmu algSylsea.sK i t sTfeaEr h ofnTocedmCo r a msHhramitp Esihsoo Satcos nowittdhniaof cuscne lua pdorltr vf.ia ed swSsekk naeie nsttt coctehh hateeehrs lseys tclohoiekrangent.e a thrnhyaiec dasa enblld yew euinlsl ed 4Taoalct5AonbwTdvlcpgiihgnaan ooeauhhrvr ..hes taearhedtieeilnsDAielnouienlndsdtro cv ext rr tshpag DiieerusE tbseatnauarirtieursdob nllnDgFhnotrn.etw r i ueg treedsIscteagnIwsTooNri d tN edtrdic thsa bucinhne ahtIs sieGuenniauhgn eNbatensta n dd rc g a rs dc mGTtavnir.u iokmrn o no oel rttsg aYfEvo sogoemSecsa thaeanrrodXhv s dk toeH lldisateefeeuluTn wl ouh tastfdtrAref lgg roUneoatwisicslbdnau ae Perd s skRca rf iclyamdaoEnrs w ouvyphE touird mg.a SsseFuoaaeait s wmndri hROBrdnrt sseetli e ik a,eag ho E ltvttc dussetu seftrVreienNhou tbie ieees xoc t sEwes ilr leosospsntpon e.wa Reuash ud1o p tr.bcndbrrta s0h alL euhtoetTtdai 0rs apiiAt nieont oedb-osl c pheod 1Y gl ianue dotoneeesa2vitoSk cgngtolh5se yciwo r engipu eeke runhoitri ndin.alrte np isad aehttp i.tmtAd n menyou thhivtrtonA stdsrcoheie heemixop t dtee lde wsoifrit orbncoiaod oea ouenohtgunlir s nhmeggtnliseii. actdnl a_tg ade it h .nneniiid onna dsh dgnnt ed. t 112 7/12/10 8:54:04 PM FFRREENN pp110000--112255 ttrraannPssiittiioonnass__..iinnddndd 11e1133ls identify key technical TgsawmFswothrcu ofoeeaes earuoilrtcern lleenocd eestar teou naiasraaarnneedi ennlndcrsf.dsde edsee Otefu r pdlaiefdeasnvot lnnc e.sew ltacidotdroaii leto .ag phacc nieopd dhrsf eno aldc otadiore anwart uxnteecestt aultm raielnfrsiroersae e rmsktda o e s a tt sho77 //e 11 22//1100 88::5543::0053 PPMM
aspects of the painting
2Sruspetna.trl ariaoMnertkttfiioiienOnnnsggeNs ,d hh wO aeispinCltpishndHe c wmdeRe si otOdtthnhaeMionebfi crElntiesheh hre wSot haoKmpe uaEbe limdTan t stCoabiincniHeng e c.tsm iomT hamheesep slsptoeoeess dit wtw aioeenesnrdaet. ak sk btterlhiuspechtm t vuv aralaeglutsuee eri n. a Btnhodel d 3Ofgcilhe.nl eanL daneA grinanYeel Is cwNc olo aGllaloto eyrDrrse prOow ansWilt.ee httN tbte oIi g wNt hhbITeirleu I“A sclheLosa lCotvrironO kbgLel eoOsnp.R dpTiSnoh grist”u dnmiictoitedaset e,f dot hrt ehc eoa lrotris t 6PfStpAlAhiifohg eu il.iramepr lhlsoLbepn athitorge tlrI ua ssvtrGodisrito oecf aHh uutrbolnioeianlrnaTrldcs lu dgclcIc e m kNtf irotsnoowe oiGm anlnaisit taa ehct hpplTegti.er tlii e eloeHta lTaliaam e nnh Ewsit gsreeeowm eoS anfiarbmfnotrtCet suaet,rb ooE eir ilhrcnrayd Nueatoit finhsrncfE zmoetdehgoyocde i ln eooatwuptegnvrhtctamsd veheefs i rr rdomb a doohb synimianasnrp dmiitzt n hg hatvesteehhenaadcrnte crie alnt iiteao,.gleoe .ruhad e.s ts a. s
FFRREENN pp110000--112255 ttrraannssiittiioonnss__..iinndddd 111100 77//1122//1100 88::5533::0536 PPMM FFRREENN pp110000--112255 ttrraannssiittiioonnss__..iinndddd 111111 77//1122//1100 88::5543::0003 PPMM
FFFFRRRREEEENNNN pppp1111----7777 pppprrrreeeelllliiiimmmmssss____....iiiinnnndddddddd 7777 2nd Proof JToitbl eN:o H: CowPJ 0T7o1 D0r-a1w4 &/ 4Pa2i6n9t Fantasy Buildings : 27902 TUBS 7777////11112222////11110000 11110000::::22227744::::00002255 PPPPMMMM
FFRREENN pp88--5511 iinnttrroo ttoo aarrcchh__..iinndd 1dd s t88 Proof JToitbl eN:o H: PoJw0 6T1o0 D-2ra8w / & 4 2Pa6i9n t Fantasy Buildings : 27902 TUBS 77//1122//1100 1122::5533::3322 PPMM
1

CHAPTER
I
NTRODUCTION
A
TO RCHITECTURE
This is intended as a basic introduction to
architecture, as seen through the lens of
the fantasy artist. Details, history,
methods, features, and construction are all
discussed from the point of view of the
artist who wants to understand the
architecture from a visual perspective, in
order to create his or her own fantasy
worlds and buildings in a more
convincing, realistic, and believable way.
FFRREENN pp88--5511 iinnttrroo ttoo aarrcchh__..iinndd 2dd n d99 Proof JToitbl eN:o H: CowPJ 0T7o1 D0r-a1w4 &/ 4Pa2i6n9t Fantasy Buildings : 27902 TUBS 77//1122//1100 1122::5533::3355 PPMM