Gnoman Video: Feng Zhu Concept art design

In this video tutorial, he went through his process from thumbnails to sketch to overlay to colour.  He did both environments and character design, and went through how he goes about creating both of these things before he ever decides to make the final.  This is important both for composition and perspective.

Gnomon Video on Concept Art

Imaginative Illustration with J.P. Targete 1

Thumbnailing and Final Color Sketch

This video detailed a particular artist's approach to fantasy illustration.  Using traditional media such as prisma color markers, oil paints, and acrylic paints, J.P. shows how he blocks out and articulates figures and concepts.  

The following link will take you to the artist's video page.

http://www.thegnomonworkshop.com/store/product/179/Imaginative-Illustration-with-J.P.-Targete-1#.UIBQiG8xo40

"Moo Monster"

I also watched the "Moo Monster" character design Gnomon video. Cindy described it pretty well. The woman in the video shows her process of creating the "Moo Monster." I assumed the video would be an instructional of how to create the monster, but it it was more just how she created the monster. I thought her process was very strange. She began with drawing a bull - starting with the details. It was very odd to me to see someone draw a complete and detailed head and then move backwards, continuing to add details instead of roughing in the entire body before adding details. After she finished the detailed bull, she jumped to drawing a heifer-dinosaur combination. She drew the bull in order to get the correct structure, but then changed to a cow... which is a different structure.

Overall it was an interesting video. 

Gnomon video

Creature Design with Terryl Whitlatch- "Moo monster"
She designed a character and made different versions for different venues.  I wasn't thrilled with her process because she works from detail to detail instead of from vague to detail.  I feel like her process doesn't really help you keep proportions correct, which are, in my opinion, more important than detail.

Gnomon Workshop: The Techniques of Scott Robertson

I watched Scott's video on "Creating Unique Environments." As someone who has a lot of trouble getting started designing an environment, I am intrigued by an exercise that he uses to get started. Using markers (it can be charcoal, paint, or any other layer-able medium) he creates abstract spaces based on shapes. He doesn't have any plan about the content - he doesn't even focus too carefully on perspective - he just uses value and variation in scale to create the impression of atmosphere. He then layers several of these in Photoshop and plays around with different compositing methods to create more complex, interesting space and color palette. He then resizes the frame and moves the view around, frequently switching different layers on and off until he finds an interesting composition (he describes the process like finding images in clouds).

He ultimately goes on to overlay perspective lines and paint, slowly creating a story out of what he sees.

Creature Design with Terryl Whitlatch

This video was one in a series of creature designs. The "Moo Monster" seemed really entertaining to me at the time.

She did everything by hand with multiple layers of trace paper. In the beginning, for the study, sketches, and the starting drawing for the alien were all done with pencil and "ghosted" with a kneaded eraser. After she was satisfied with the alien's look she then moved on to using color.

She basically started with an anatomical study of the cow. Using references, she drew out bone structure, muscle masses, and even labeled her key elements. After she felt she had her study of the bull complete she then moved on to working on her alien.

For the alien she sketched out small thumbnails of her different ideas. Once she found an idea she was satisfied with she began drawing out a large detailed drawing of her alien/monster, making tweaks here and there. She makes multiple drawings of her monster at different views/poses before she begins adding color with copic and prismacolor markers.

While this was not digital, I think hearing and watching her process was very beneficial.

Gnomon Video: From Speed Painting to Concept Art

Well apparently I watched the same video as Justin but he already posted an excellent review that goes over it and its many application on this project. So I have another one for yall.

For those with an interest at attempting to try Concept Art with pen, marker, and paper the Techniques of Syd Mead is an excellent series. He goes very in depth with his entire process. The part that would be applicable to this project is the first two videos in the series in which he discusses composition.

David Levy: From Speedpainting to Concept Art

Summary:

This is a really cool series for environment painting
Levy starts by making brushes for the first 3 of 8 segments of the video, and then proceeds to use only those brushes to create several rough idea paintings, followed by a speedpainting that he systematically refines into a full on environment concept.

Notes:

• using size + opacity jitter at Pencil pressure gives you a quick way to mold depth in an environment
• Test your brushes on a non-grascrale gradient to see subtle effects more clearly
• Clean brushes by inverting them to ensure there's no left over noise around the brush
• Much of brush creation is about creating particles that can be flipped and randomized to make happy accidents
• Very often, brush testing just becomes painting, so create brushes often as a brainstorming exercise

Cover Summary

...From two basic brushes, David shows you how to develop your own library of custom brushes that will allow you to gain speed and efficiency during your speedpainting process. Beginning with examples such as mountains, forests and clouds, David then leads you through the creation of a concept art painting, from rough sketches to a final piece with environment, vehicles and characters. Using texture brushes, you will then learn to refine and complete the painting without losing the original dynamism and composition of the sketch...