Joy of Zentangle®Drawing Your Way to Increased Creativity, Focus, and Well-BeingBy Suzanne McNeill, Sandy Steen Bartholomew, and Marie BrowningLearn the basic theory of Zentangle with instructions and drawings for more than 100 tangle patterns. Also included are a gallery of projects for inspiration and stories from those who haveimproved their well-being through Zentangle.$24.99 • ISBN: 978-1-57421-427-7 • DO# 5398 144 Pages • November 2012

Zentangle® 7By Suzanne McNeill

Zendalas combine the inspiration of the Mandala with Zentangle art. Bring your

Zentangles full circle with 40 new tangle patterns and ideas for making these beautiful

sacred circles. Talented Certified Zentangle Teachers share their tips and designs for

using watercolors and circular stencils, making mini Zendalas on metal rim tags,

creating a Zendala spinner, or using the pre-strung tiles

from zentangle.com.$8.99

ISBN: 978-1-57421-361-4 DO # 3484 • 20 Pages

New Titles for Fall 2012/Winter 2013 from Design Originals

Making Jewelry with a French KnitterThe Easy Way to Make Beautiful Beaded AccessoriesBy Carol PorterThis new book offers an easy, fun way to learn to use the versatile French knitter – a small round knitting loom that has been around for centuries, but is now available to the modern crafter at a low cost. You’ll develop advanced skills with this amazing tool as you combine beads with yarn, stretchy cord, monofilament or embroidery thread to create simple yet elegant jewelry and accessories.$8.99 ISBN: 978-1-57421-363-8 DO# 3486 • 16 Pages August 2012

2

Gel Pen DoodlesBy the Editors of Design OriginalsPersonalize everything with gel rollers and milky pens. Create temporary tattoos, secret notes, paper airplanes, cootie catchers, and decorate notebooks, sneakers and journals.$9.99 • ISBN: 978-1-57421-430-7 • DO# 5401 48 Pages • February 2013

Awesome WoodletsWooden Cut-Out Projects for Every Season

By Margaret RileyUsing the pre-cut wooden shapes from your local craft store,

you can help your children make these fun projects. Great rainy day activity!

$8.99 • ISBN: 978-1-57421-354-6 DO # 3477 • 16 Pages

Awesome Foam CraftQuick and Easy Kids’ Projects

By Margaret RileyFun crafts for children to make from sheets of foam. Clear photos, supply lists, easy-to follow instructions and patterns all eliminate

the guesswork and make it easy to guide children through the process or let them do it themselves.

$9.99 • ISBN: 978-1-57421-352-2 DO # 3475 • 32 Pages

Crafting Fun From the #1 Pinewood Derby PublisherBuilding the Fastest Pinewood Derby CarSpeed Secrets for Crossing the Finish Line First!By Troy ThorneThis complete guide to building a winning car offers designs and techniques from established Pinewood Derby authority, artist and scoutmaster Troy Thorne. $14.99 ISBN: 978-1-56523-762-9 136 Pages • November 2012

Getting Started in Pinewood Derby

Step-by-Step Workbook to Building Your First Car

By Troy ThorneLearn how to get started building Pinewood

Derby race cars, as you follow Dash Derby through 7 easy steps. No woodworking skills are required - just patience and the desire to

have a good time!$9.99

ISBN: 978-1-56523-617-2 • 96 Pages

Pinewood Derby Workbook & LogbookBy Troy ThorneKeep track of your derby car building progress, as you enjoy using this colorful journal to log your activities and preserve great memories.$7.99 ISBN: 978-1-56523-734-6 32 Pages

Also Available:Pinewood Derby Designs & PatternsThe Ultimate Guide to Creating the Coolest CarBy Troy ThorneExpert advice for advanced racers on how to build a jaw-dropping, prize-winning custom car.$12.95 ISBN: 978-1-56523-341-6 128 Pages

3

Crazy-Cool Duct Tape ProjectsFun and Funky Projects for Fashion and FlairBy Marisa PawelkoGet inspired to craft your world with these stylish and imaginative duck tape creations. Celebrity crafter Marisa Pawelko shows you how to cut, rip, layer and fold colorful duct tape to concoct fantastic fashions, school supplies and room decor. The author shares 24 of her best customizable duct tape ideas, with step-by-step instructions and how-to pictures.$17.99 • ISBN: 978-1-57421-424-6 DO#5395 • 128 Pages November 2012

Simply Paper CuttingHand-Cut Paper Projects for Home Décor,

Stationery & GiftsBy Anna Bondoc

Learn to hand-cut colored paper into bold patterns and stunning designs for your home, without the limitations of

expensive paper cutting dies. Artist Anna Bondoc shows how to use an X-acto knife like a drawing instrument to create

everything from stationery to home decor.$19.99 • ISBN: 978-1-57421-418-5 • DO# 5389

144 Pages • October 2012

Simple Beginnings: Soldering JewelryA Step-by-Step Guide to Creating Your Own Necklaces, Bracelets, Rings & More By Suzann Sladcik WilsonJewelry artist Suzann Sladcik Wilson provides step-by-step guidance on basic techniques, illustrated with hundreds of color photos that show how to make your own beautiful copper foil soldered jewelry.$14.99 • ISBN: 978-1-57421-416-1 DO# 5387 • 96 Pages

Scrapbooking for Home DecorHow to Create Frames, Boxes, and Other Beautiful Items from Photographs and Family MemoriesBy Candice WindhamThis book takes your scrapbooking experience to a whole new level, with 13 unique projects for turning family photos into beautiful pieces of home décor. You’ll discover new ways to mix media with basic craft techniques to proudly display precious memories throughout your home. $19.99 • ISBN: 978-1-57421-411-6 DO# 5382 • 120 Pages

Simple Steps for Making Soldered Jewelry | 3

Suzann’s Sensational Soldering Tip

Once you have glued all items to your piece of

background paper, use the shovel end of your

beading tweezers to help flatten and smooth the

glued pieces. This will keep the finished piece from

getting wrinkled and lumpy as the glue dries.

4

4 Glue the ephemera. Select one of

your items from Step 3. Using a

paintbrush, cover the entire back surface

with decoupage glue.

5

5 Attach the ephemera. Take the item you glued

during the previous step and align it over your

background paper. Press it in place. You can choose

to center the item or place it in any other manner you

desire. Repeat Steps 4 and 5 to glue any other large

items to your background paper.

6

6 Attach any small items. If you would

like to add some small elements

to your design, like the small pieces of

paper I incorporated in my pendant, use

beading tweezers to hold the item as you

apply glue, and then use the tweezers to

position and place the glued piece.

SIMPLE BEGINNINGS: Soldering Jewelry45

3 | Simple Steps for Making Soldered JewelryBasic Soldered PendantOnce you learn how to make a basic soldered pendant, you’ll be

able to solder almost anything. Pendants make great focal pieces

for necklaces and bracelets and can be scaled down for use in

earring designs. And remember that you can use almost anything

you can get your hands on in a soldering project!

Tools and materials: ❑ Soldering tools and supplies (see

page 39) ❑ One 16- to 18-gauge jump ring

❑ Two identical glass pieces ❑ Decorative or colored paper of

choice (background) ❑ Assorted ephemera ❑ Damp sponge ❑ Craft scissors ❑ Marker or pen ❑ Tweezers ❑ Paper

❑ Paintbrushes ❑ Decoupage glueThe author used these products for the project.

Substitute your choice of brands, tools, and materials

as desired.

1

1 Trace the glass. Place one of the glass pieces on a sheet of decorative

or colored paper of your choice. Using the marker,

trace the shape of the glass onto the paper.

2

2 Cut the background. Using small, sharp craft scissors, cut just inside the

lines you drew during Step 1. The cutout will become

the background for your jewelry component.

3

3 Assemble your ephemera. Gather the

assorted ephemera, photos, or other

items you would like to use to assemble

your jewelry component. For this project,

I used the image of a butterfly, two small

pieces of paper with a word printed on

each one, and some tiny paper hearts.

Assemble the jewelry component

SIMPLE BEGINNINGS: Soldering Jewelry

44

Also Available:Official Duck Tape® Craft Book15 Easy Duck Tape ProjectsDuck Tape comes out of the tool box and into the craft box with 15 fun projects for creating a variety of useful objects, including a book cover and a wallet.$8.99 ISBN: 978-1-57421-350-8 DO# 3473 • 20 Pages

Five Minute Quilt BlocksOne-Seam Flying Geese Block Projects for Quilts, Wallhangings and Runners

By Suzanne McNeillThe flying geese quilt block is a traditional favorite and now with

Suzanne McNeill’s clever technique, quilters can make each square in only 5 minutes. Learn how to create quilt blocks with only one seam

and how to piece the blocks together to make 12 great projects, from table runners to wall hangings to traditional quilts and more.

$18.99 • ISBN: 978-1-57421-420-8 DO# 5391 • 64 Pages

All My Love and Thanks to QuiltsArt Quilts Created by Keiko GokeBy Keiko GokeThe most intriguing quilts in the world today are being sewn in Japan. Contemporary Japanese quilter Keiko Goke creates wonders of irregular piecing, as she fuses asymmetrical patterns with adventurous colors in beautifully balanced quilts. Keiko shares her award-winning artistry with you as she shows how to cut, piece, and stitch her stunningly original designs. $24.99 • ISBN: 978-1-57421-425-3 • DO# 5396 • 116 Pages

Zen-sational Quilting: Butterflies with ZentangleQuilt Pattern by Suzanne McNeillButterflies inspired by Zentangle® flutter across the blocks in this fun-to-make quilt. Free-motion quilting combined with optional colorful applique will get your creativity flowing. Complete instructions and simple patterns show how to turn normal into fantastic with basic Zentangle® free-motion quilting. Includes 4 quilt patterns and full-instructions.$12.00 • ISBN: 0-023863-008099 • DO# 0809

Crazy Christmas StockingsBy Beth Oberholtzer and Lynn SommerLearn how to combine fabric scraps to create 7 holiday stockings in the crazy quilt style with this easy-to-follow guide featuring a variety of projects.$8.99 • ISBN: 978-1-57421-360-7 DO # 3483 • 16 Pages

Flatten out the seam allowances like this.

Iron the seam allowances.

Lay out the nine blocks and decide the placement.

Sew the nine blocks together.

The overall impression can change depending on how the blocks are arranged. Sew it together and it’s done.

17

Chapter 1: Made Without a Pattern My ‘Trad’

First, prepare 4 3/4" (12cm) squares of the fabric you plan to use for the center of your piece, and put them on your cutting mat. Cut four or five pieces at a time (make nine squares).

Prepare some roughly cut triangles. I used 36.

The square is in the middle with four triangles on top. Keep the colors in mind while laying out the pattern.

Use a rotary cutter to trim the extra fabric. Make nine blocks.

Once you’re happy with it, sew the a triangle onto each of the four corners of the square.

Making a rob peter to pay paul Quilt without a pattern

16 All My Thanks and Love to Quilts

Five-Minute Quilt Blocks 45

Prairie Points

Make sections, cut each one 4" apart.

Cut from the folded edge to a point 1 ⁄8" from the raw edge.

4"4"

4"4"

Folded edge

Fold Prairie Points as shown.

Press each point into a triangle.

There should be 1 ⁄8" from the bottom of the prairie point to the raw edge.

Sew the binding to the quilt using a 1 ⁄4" seam, sandwiching the prairie points.

Turn the binding to the back and hand stitch in place.

Note: The prairie points will turn outward when the

binding is pulled to the back.

This is a view of the quilt edge from the front.

Position and overlap TWO Prairie Point strips along the side of the quilt.

Offset and overlap the points as shown.

Pin in place along the border of the quilt (with right sides together).

Trim away excess length.

Sew a 1 ⁄8" seam along the edge to secure the points.

Prairie Points Border

OPTIONAL:

Cut 4 strips 41 ⁄4" x 74"

(2 for each side).

Cut 4 strips 41 ⁄4" x 54"

(2 for the top and 2 for the bottom).

Note: The pieces are cut a little longer

than needed to allow for centering the points

as desired. Simply trim away the excess after

pinning the points border to the quilt.

Fold each 74" and each 54" strip in half

longwise (with wrong sides together) to make

strips 21⁄8" wide.

Draw a line every 4" along the length to

make sections.

Refer to the Prairie Points Diagram.

Make a cut on each line. Begin the cut

from the folded edge to a point 1 ⁄8" from the

raw edges. DO NOT cut the sections apart completely.

Cornerwith

1 layer

Cornerwith

2 layers

Raw edge

41 ⁄4"

1 ⁄8"1 ⁄8"

1 ⁄8"1 ⁄8"

Folded edge

Raw edge

Quilt

Binding

Quilt

5391 Five-Minute Quilt Blocks_P1 5/1/12 3:50 PM Page 45

20 Five-Minute Quilt Blocks

5391 Five-Minute Quilt Blocks_P1 5/1/12 3:50 PM Page 20

Five-Minute Quilt Blocks 21

Wind Energy

pieced by Donna Arends Hansen - quilted by Sue Needle

Prairie Points border by Donna MJ Kinsey

Spinning pinwheels energize this quilt with movement and design. Imagine

the time you’ll save putting this together with the speedy 5-minute geese

technique and the fun you’ll have creating a quilt with an earth-friendly intent.

This great design is perfect for any color palette.

instructions on pages 42-45

5391 Five-Minute Quilt Blocks_P1 5/1/12 3:50 PM Page 21

4 F o x C h a p e l p u b l i s h i n g

5F o x C h a p e l p u b l i s h i n g

Crochet UndercoverQuick-and-Easy Hats for Your Little SuperheroesBy Cony LarsenThis book contains instructions for creating 12 adorable crocheted hats for your little superheroes. All necessary illustrations and step-by-step text are included so you can craft a great hat.$12.99 ISBN: 978-1-57421-432-1 DO # 5403 • 40 Pages September 2012

Sew BabyCuddly and Cute Bibs, Blankets, Booties, and MoreBy Choly KnightThis book shows how to make charming and useful hand-made gifts for new parents and baby showers. You’ll learn to make imaginative craft items in the popular kawaii style, evocative of highly successful children’s anime characters. Eighteen easy-to-sew projects cover all of the basics that babies need for their first few years of growing. Projects range from very easy to intermediate, so they’re simple to understand and come together quickly.$19.99 • ISBN: 978-1-57421-421-5 • DO# 5392 128 Pages • March 2013

Hip KnittingStylish Projects for the Absolute BeginnerBy Astor TsangLearn to knit the easy, fun way with this new book. From scarves and sweaters to hats and dolls, the author’s simple and witty instructions make it a cinch to learn the ropes. Six fashionable projects and simple instructions make this book irresistible for anyone interested in taking up this enjoyable and rewarding hobby.$12.99 • ISBN: 978-1-57421-426-0 DO# 5397 • 64 Pages • January 2013

Zentangle® Card Decks for On-The-Go Zentangle Fun!Following on the success of her best-selling books, Sandy Steen Bartholomew introduces three new Zentangle card deck sets, packaged in a beautiful case so you can take them anywhere! Each set features 40 cards with original tangle patterns, plus 9 instruction cards that form a mind-bending puzzle on their backs. A deck of blank refill cards is also available, perfect for designing original patterns..

Yoga for Your Brain™ Zentangle® Card Deck: Series 1By Sandy Steen Bartholomew$9.99 ISBN: 978-1-57421-356-0 DO # 3479 December 2012

Yoga for Your Brain™ Zentangle® Card Deck: Series 2By Sandy Steen Bartholomew$9.99 ISBN: 978-1-57421-357-7 DO # 3480 December 2012

Yoga for Your Brain™ Zentangle® Card Deck: Kidz EditionBy Sandy Steen Bartholomew$9.99 ISBN: 978-1-57421-358-4 DO # 3481 December 2012

Yoga for Your Brain™ Zentangle® Card Deck: D.I.Y. Tangle CardsBy Sandy Steen Bartholomew$9.99 ISBN: 978-1-57421-359-1 DO # 3482 December 2012

Design by S. Bartholomew - Zentangle for Kidz!

Alps

Design by S. Bartholomew - Yoga for Your Brain

Annee

Design by S. Bartholomew - Zentangle for Kidz!

BTL Joos

Design by S. Bartholomew - Totally Tangled

Bannah

Design by S. Bartholomew - Zentangle for Kidz!

Awdry

Design by S. Bartholomew - Yoga for Your Brain

Ballenchain

www.BeezInkStudio.com

Design By

Tangle Name

Design by S. Bartholomew - Totally Tangled

Bauer

6 F o x C h a p e l p u b l i s h i n g

Steampunk Your WardrobeEasy Projects to Add Victorian Flair to Everyday FashionsBy Calista TaylorCrafters and do it yourself-ers will use this book to infuse the popular Steampunk style into their wardrobes with easy and inexpensive techniques for making garments and accessories.$19.99 • ISBN: 978-1-57421-417-8 • DO# 5388 104 Pages

Steampunk FashionThe Ultimate Sourcebook to the Modern Victorian StyleBy Elelyn KrieteIn this inspiring sourcebook for Steampunk fashion, you’ll meet the professional trendsetters, designers, artists, and writers who are influencing the growth of neo-vintage style.$22.99 • ISBN: 978-1-57421-419-2 • DO# 5390 128 Pages • February 2013

How to Draw and Paint AnatomyCreating Life-Like Humans and Realistic AnimalsBy The Editors of ImagineFX MagazineUnderstanding anatomy is the foundation of great art, and this superb collection of workshops from some of the finest artists around the world will enable you to bring your art to life. The accompanying CD includes videos of anatomy drawing in action and high-resolution art files.$27.95 • ISBN: 978-1-56523-716-2 112 Pages

Masters & Legends of Fantasy ArtTechniques for Drawing, Painting & Digital Art from 36 Acclaimed ArtistsBy the Editors of ImageFX MagazineGet inspired by the legends of fantasy and sci-fi art, including H.R. Giger, Frank Frazetta, Chris Achilleos, Boris Vallejo, Julie Bell, and many more! Includes a DVD so you can watch and learn using workshop files, videos, brushes, hi-res images and more.$27.95 • ISBN: 978-1-56523-719-3 208 Pages

© 2012 Fox Chapel Publishing Company, Inc.Not to be sold separately

If you’re having difficulties using the disc interface or content, please

visit our support website at www.futurenet.co.uk/support

Visit our website and upload your art to our galleriesWWW.IMAGINEFX.COM

{chapter 2} Easy Basics

4 Join the chains. Join the two lengths of chain

on each side of the pendant. Add a nut, gear, or

filigree piece before closing the jump ring.

5 Attach the clasp. Cut 2 lengths of chain each

approximately 3 1/4" (85mm) long. If a longer necklace

is desired, make these pieces of chain longer. Attach

one length of chain to each nut. On the free ends of

those two chains, attach the necklace clasp.

6 Add some embellishments. Embellish the

necklace with charms, pearls, and beads. Use jump

rings to attach the embellishments. Steampunk Your W

ardrobe

27

� Chain (at least 24" (610mm) total, more if a longer neCklaCe is desired)

� filigree pendant

� Jump rings

� Various Charms, pearls, or beads

� 2 nuts (gears or small filigree pieCes will also work)

� neCklaCe Clasp

� 2 Jewelry pliers

� bead reamer

Steampunk Charm NecklaceUsed in combination with the right components, a

simple chain can be transformed into a Steampunk

Charm Necklace. The metal chain gives the piece

an edgy look, while the filigree on the pendant

adds a touch of Victorian style. Add more chain

to make the necklace longer, or alter the design

by adding extra charms, pearls, or beads. It’s the

perfect way to add a subtle hint of steampunk flair

to any outfit.

MATERIALS AND TOOLS

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24

2 Sketching the ideaOnce the idea has been approved, I start sketching. For this I use a small canvas and a squashed round brush to block in my basic shapes. I use a grey

colour palette to see how I can achieve the most readable layout. This is one of the most important stages, because once you decide which layout works best, your entire colour and lighting scheme will be based on it. I decide to use this layout, because it has the strongest readability and leads the eye through the picture very well. There’s also a nice balance to it. 3 Creating the colour paletteNow that I’ve decided on my layout, it’s time to introduce colour.

I always search online for colour inspiration and in this case it was

a collection of holiday photos, where a misty atmosphere provides

depth and a desert-like mood. I pick some of the colours I want in my

illustration by using the Eyedropper tool to create my own palette. I use

these colours to turn my greyscale layout scribble into a colour guide.

4 Adding detail to the drawingNow comes the part in which I make a more detailed image to work from. With my chosen layout in mind, I go back to the drawing board (or should

I say, the Wacom tablet!) and make a line drawing of the illustration. Because I don’t have a great knowledge of dinosaurs, I once again search online

for some reference imagery. After I’m done with the drawing, I create a new layer underneath it and set the mode to Multiply. This enables me to block the colours in without erasing my line art.

5 Blocking in the coloursWith my colour sketch and my palette within easy reach I begin

to block the basic colours underneath my line art. I use a thick brush

for this. Naturally, the smaller the details in my drawing become, the

finer my brush needs to be.

6 Texturing the dinosaursAll my colours are now roughly in place, so I can now start to refine my dinosaurs. This is the most time-consuming part, due to the large amount of beasts I’ve decided to introduce in the scene. To achieve a realistic skin texture I vary

my brushes in strength, size and form, and avoid using sharp-edged brushes. For the leathery skin I use a customised Photoshop brush, which you’ll find on the DVD. During this step I regularly

zoom out of the image to check that it’s still readable. A good layout should be recognisable even if it’s the size of a postage stamp.

mood swingOnce you’ve finished your illustration and you want to change the whole mood, simply duplicate the layer and play with your colour channels. By erasing the top layer with a soft brush and low flow you can achieve soft colour gradients. You also can change your highlights this way.

select colouralt (PC & mac)

This enables you to pick colours in your image,

without having to selectthe Eyedropper

tool first.

Legends

72 Masters & Legends of Fantasy Art

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7 Real-world texturesI need some animal textures for my dinosaurs: crocodile and elephant skin seem to fit the bill. I drag the texture sample on top of my illustration and by

changing the channel layer to Soft Light I blend the texture in, taking care not to change the colour tone. I use a soft Eraser to remove any sharp edges. Yes, it would have been easier to work from the background to the foreground, but it’s just a mistake that needs to be dealt with now, and learnt from for future projects.

9 Tackling the Ark Looking at the illustration, I‘m not happy with the shape of the ship and so I start to adjust its form while I colour the exterior. I employ a brush with blunt edges to give it a more lived-in feel; some rusty metal textures come in useful here. I find an interesting excavator arm for the legs of the ship – I think this works really well. I paint over the photo so that it fits in with the rest of the ship, not only in colour value but also in shape.

8 Making environment adjustments After finishing the last dinosaur, I have a chance to fix my earlier mistake. I use the Lasso tool to separate my dinosaur layer from the background, making it easier for me to work on the different

parts of the illustration. I have a relatively busy foreground so I keep the sky and ground very simple. It’s tempting to put more detail into your image, but remember that it has to be clear enough to lead the eye of your viewer.

10 Taking time offIt’s time to have a break and freshen up my point of view. After staring at the same image, it becomes more difficult to focus and see the whole picture.

11 Going into detailSo, after I’ve had my break and a fresh look at the painting, I begin tackling the details. I realise that adding

a few more dinosaurs and one more ship would give more depth and scale. Because both elements are on separate layers, I can simply duplicate them. I also make a winged dinosaur brush, which means

I save time when painting a flock of pterodactyls in the distance. They’re another way to suggest that the rescue operation is taking place on a large scale.

12 Adjusting mood and lightingI’m almost done with the illustration and the time is right

to introduce some atmosphere and depth. I want to give the whole

setting a bigger scope. So, in the case of the ship in the background,

I reduce its values and contrast slightly. I also take the colour of the sky

and put it very gently and softly on another new layer, which I place

between the foreground and the background on top of everything.

I’m doing it carefully so as not to lose my highlights.

13 Making finishing touchesEverything is in place now and I can flatten the image. Now it’s

time for a few touch-ups here and there. For this I use the Blur tool to

take away some of the hard edges. That’s it... And it’s almost the image

I had in mind at the start of the project.

select allCtrl+a (PC) Cmd+a (mac) Why bother with the

Marquee tool when you canuse this shortcut to select

the whole image?

Workshop Sci-fi storytelling

73

Masters & Legends of Fantasy Art

7I need some animal textures for my

dinosaurs: crocodile and elephant skin

Real-world textures

9Looking at the illustration, I‘m not

1212 Adjusting mood and lightingI’m almost done with the illustration and the time is right

to introduce some atmosphere and depth. I want to give the whole

Adjusting mood and lighting

8 adjustments After finishing the last dinosaur, I have

13Everything is in place now and I can flatten the image. Now it’s

time for a few touch-ups here and there. For this I use the Blur tool to

PhotoshoPdino Brush

I treat this brush like a stamp, which means that I don’t have to paint the flock of pterodactyls over and over again.

I use this brush for the steam and the smoke, and also for the dust from the dinosaur march.

The name says it all: I use it for painting thecolour of the dinosaurs’skin, before I add the real-world textures.

smoke

skin

Masters & Legends of Fantasy Art

Legends

Paint an homage and tell a storyPeter oedekoven tips his hat to the great Chris Foss

and suggests why the dinosaurs suddenly disappeared…

Paint an

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he first thing you create isn’t on paper or on your computer screen, but in your head. It’s the idea. There’s

no point spending an hour, a day or even a week perfecting an image when it doesn’t grab the viewer’s

imagination. You can paint the most detailed environment, the

most skillfully rendered creature, but if it’s unable to tell a story or

convey an idea then you’ll have wasted your time.Of course, to put your idea either down on paper or up on the

screen, you must be able to visualise it. That’s why the most

essential tool – beside your software – is your drawing skill. You

need to be able to draw to transform your idea into something

of value. The drawing is the foundation upon which your finished

piece of work will be based. No doubt there’ll be lots of changes

made during the process of painting, but in the end you’ll create

something that you’re happy with, and will inspire the imagination

of the viewer.

For this homage to Chris Foss I don’t want to paint just a standalone “Foss-like“ spaceship, but instead integrate it into a complete scene. In this workshop you probably won’t find the best way to do such a task. It’s just the way I paint, and should be taken as an example that with every image you create, you’ll be confronted with fresh challenges, which in turn require new solutions. Remember that mistakes can help you

to become a better artist. There’s that old adage: learning by doing. Learning doesn’t happen from the failure itself, but

rather from analysing the failure, making a change and then trying again…

1 The ideaAs I said in the intro, for me painting’s all about telling a story. So the

assignment of presenting an homage to Chris Foss narrows it down to sci-fi and spaceships. After some brainstorming and doodling I come up with a few ideas. The strongest one, for me, is of the alien spaceship that’s arrived to evacuate the dinosaurs before a catastrophe befalls the Earth.

Workshop Sci-fi storytelling

t

© 2012 Fox Chapel

Publishing Company, Inc.

Not to be sold separately

If you’re having difficulties using

the disc interface or content, please

visit our support website at www.

futurenet.co.u

k/support

Visit our website and upload

your art to our galleries

www.imaginefx.com

Formulaic figure drawing systems

involve using abstract rhythms or, as

shown above, interlocking shapes, to

construct the human body. Those

shapes can then be built upon and

fleshed out for a full human figure.

Figuring it out:

two ways to draw

Learning to draw the human form can

be a daunting prospect for any fledgling

artist. Therefore, it’s important to know

what methods are available to you. The

two approaches to figure drawing that

I feel to be distinct are the observational

approach and the formulaic approach.

Observational drawing has its origins in

the sight-size methodology, which trains

the eye to view a subject with accuracy,

placing the object and the drawing side by

side for comparative analysis. Plumb lines,

levels, a fixed point and a measuring line

are used to help the artist in understanding

dimensional and spatial measuring.

Observational drawing is a complex

process that requires a great deal of

reference material to accompany the words

to be fully explained. In this part of our

anatomy workshop, I’m going to take a

detailed look at two of my favoured

methods of formulaic drawing.

Formulaic figure drawing uses abstract

rhythms or interlocking shapes – basically

design concepts – to build on. Once these

formulas are memorised by drawing from

life, you have a set of tools to recall,

enabling you to design from your

imagination if you wish.

It’s important to have a solid

understanding of both approaches if

you truly want to be free as an

artist. Observational

drawing sharpens the eye

and mind to capturing a

likeness without using

abstract concepts;

formulaic drawing gives

you a set of tools to

develop both from life

and, more importantly,

from your mind’s eye.

Observational drawing in

practice, using a pencil to

measure the body’s dimensions.

There are two distinct approaches to figure drawing:

observational and formulaic. It pays to master both…

On the discFind a video and

sketches in the

Drawing Intro folder

inside Human Anatomy

Ron LemenCOUNTRY: US

See more of Ron’s work

at his website

www.studio2ndstreet.com

19

Part 1 Basic forms

CREATING BASIC FORMS

How to Draw and Paint Anatomy

f you want to illustrate stories

or book covers, design

conceptually for games or

draw storyboards, it’s vital to

grasp the foundations of representational

art. With most stories you’ll come across

involving people, it’s important to

understand how to draw the human

figure, both in a static pose and in action.

There are several techniques for drawing

the human body, all leading to

a similar goal: a three-dimensional,

realistic figure. While it’s not necessary to

be an expert on anatomy to produce

illustrations, the more knowledge you

have, the easier it will be to solve

problems and reach clear-cut solutions

for any drawing you make.

What you lack in the foundations of your

knowledge will show up in your work – in

other words, the lack of understanding of

certain key principles will be all too

apparent in your finished piece. An artist’s

style can be reflective of their lack of

understanding just as much as it can be

a showcase for the total sum of their

knowledge. Avoid that trap.I

18

Human anatomy

CREATING BASIC FORMSImprove the way you draw figures by learning easy ways

to establish the underlying structure of the human body

PART 1

How to Draw and Paint Anatomy

Photoshop for PhotographersEverything You Need to Know to Make Perfect Pictures From The Digital DarkroomBy The Editors of PhotoPlus MagazineGet more out of Photoshop and master the digital darkroom with these tutorials from leading experts. A free DVD allows you to try out new techniques using original source image files. $27.95 ISBN: 978-1-56523-721-6 • 216 Pages

Black & White Digital PhotographyThe All-In-One Guide to Taking Quality Photos and Editing Successfully Using PhotoshopBy The Editors of PhotoPlus MagazineImprove your black and white photography techniques with our easy-to follow guide to taking better images with you digital SLR. You’ll learn from the pros with eight master lessons, twenty step-by-step Photoshop projects, and all of the hi-res source photo files you need to complete each project.$27.95 ISBN: 978-1-56523-718-6 • 192 Pages

The Complete Digital SLR HandbookMastering Your Camera to Take Pictures Like a ProBy The Editors of PhotoPlus MagazineThis guide teaches you everything you need to know to get the best from your digital SLR. It demonstrates how to master advanced controls to take full control of the photographic process. Video tutorials and original hi-res source files are provided on a companion disk. $27.95 ISBN: 978-1-56523-717-9 • 192 Pages

Camera skills

2011 B&W Photography Made Easy 51Black & White Digital Photography Made Easy 51

Camera skills

Camera skills

50 B&W Photography Made Easy 201150 Black & White Digital Photography Made Easy

Camera skillsCamera skills

12Tired of the same old mono conversions? Here are a dozen

ideas to improve your black-and-white shots in an instant

Steps to Brilliant

Do you see the world in black and white?

Of course not; it’s brimming with colour

and saturation. Could you imagine a

world without colour? Thankfully, you don’t

have to, but look around for a moment and try

to picture your immediate surroundings as

nothing but tones of grey.

If you’re reading this indoors then that

should be rather easy to do, but can you

imagine a field of rich red poppies or a swathe of

woodland bluebells in mono? No – your mind

instantly rejects the concept. Removing the

colour from bluebells and poppies is far from an

enhancement, but in other photographic

environments the medium does nothing but

transform the ordinary into the extraordinary.

It’s important to remember that

photography began in black and white. But

rather than being thrown onto the scrapheap,

like mountains of black-and-white TVs in the

1970s, the arrival of colour hardly made black

and white obsolete. As we now rely on

sophisticated computer equipment to

processes images, the ability to switch

mediums has never been easier, but unlike most

tasks in the digital age, the concept isn’t simply

about pressing buttons. The photographer

must learn to truly see…

Dav

id C

lapp

99

Using Photoshop

Original shotMatt Henry

98 Photoshop for Photographers

Using Photoshop

1Start Instant slimmingWe’re going to start with an old trick to slim our model a touch

– not that she needs it, but just to show you how it’s done. Open

retouch_start.jpg from the Liquify folder on your DVD in Photoshop

and duplicate the original Background layer by pressing Ctrl-J. Next

press Ctrl-T to initiate a Free Transform. In the options bar at the top

of the screen type 97% in the Width box and hit Enter twice.

2Crop out the left edgeWe need to crop out the left edge of the shot, where the chair now

looks skewed – the right side is fine because it’s just white background.

Press C for the Crop Tool, zoom in using Ctrl and + and line up the

bottom-left edge so you don’t lose more than you have to before

extending the crop around the picture. When you’re happy, hit Return.

How to...Professional retouching techniquesAdjustment layers and layer masks are the key to advanced

portrait retouching. Learn how to unleash their full potential WHAT YOU’LL NEED Photoshop CS or aboveWHAT YOU’LL LEARN How to reshape the body using Free Transform and

Liquify; how to clean up skin using the Healing Brush and Clone Stamp;

how to smooth skin with Gaussian Blur and lighten it using Curves; and

how to remove unwanted colour using Selective Color

IT ONLY TAKES 30 minutesWith fashion and portrait retouching, the devil really is in the detail;

you might want to enlarge the eyes a little, remove a few spots,

lighten the skin, or even reduce the size of the feet! It’s all work that

requires you to get up close and personal, not something you can

accomplish with a quick sweep of the brush at 50% zoom. And this

is what makes the use of layers and layer masks crucial: if you make a

mistake, you can easily delete or edit the layer and have another go.

Do that same work on the original background layer and you might find,

20 minutes down the line, that you’ve got a wonky arm, one eye bigger

than the other and skin that looks like a Botox accident. It’s not until

you see all the elements working together that you can really decide

whether something looks right or needs a little tweak here and there –

which is easily done when everything sits on separate layers.

In this project, we’ll cover subtle body slimming and reshaping, skin

smoothing and colouration, and background lightening, all on different

layers. If at any point you feel one of your alterations isn’t quite right, a

little tweak is a cinch!

On the disc Try it yourself! Start image and video on the DVD

Digital SLR Crash Course

8 | The Complete Digital SLR Handbook

YouR digital SlR explainedThe Canon EOS 500D is a typical digital SLR. Controls identical or similar to

the ones described here can be found on Nikon and other makes, too…fROm THE fROnT

Image Stabilizer switch

The lens’s IS (Image Stabilizer) is designed to stop blur caused by camera shake (which is especially noticeable when you’re zoomed in on a distant subject. Nikon IS lenses have a similar VR (Vibration Reduction) switch.

Built-in microphone Cameras such as the Canon 500D and the Nikon D90 can also record video. Sound to go with it is recorded through a microphone like this (though it will also record camera handling noises like the zoom ring being rotated!).

Depth of field preview buttonBy pressing here, you can get the camera to stop down to the lens’s current aperture setting. You can then preview how much of the shot will be in focus by looking through the viewfinder or by checking the Live View display.

Red-eye reduction To stop the flash bouncing off the subject’s retinas and causing glowing red eyes this lamp will emit a burst of light to make the subject’s pupils shrink before the flash is triggered. The lamp also acts as a handy self-timer countdown indicator. focusing ring

In Auto Focus mode this ring rotates until the camera has focussed on the subject. In Manual Focus mode you can rotate the focus ring with your hand to focus on a specific subject. Zoom ring

Rotate this ring clockwise to zoom out for a wide-angle view. Rotate it anti-clockwise (counter-clockwise) to zoom in for a close-up on your subject.flash button

When shooting using the Creative Zone or manual modes you can tell the built-in flash to pop up by pressing here.focus mode switchLeave this set on AF (Auto Focus) if you want the camera to control the focussing. Flip the switch to MF (Manual Focus) when you want to control the focus yourself. In MF mode you can still use the AF points in the viewfinder to tell you when the subject is in sharp focus.

Get more from your digital SLR

The Complete Digital SLR Handbook | 9

Aperture/Exposure Compensation button

On Manual mode hold this button down and turn the Main dial to open or close the aperture. In some other modes (like Aperture Value) you can set the camera to open up or close down a stop using this button and the Main dial.

Af point selectionPress this button then rotate the Main dial to select which Auto Focus point the camera will use. It also enables you to zoom in on a shot when you play it back on the camera’s LCD.

AE Lock button This button enables you to lock the camera’s exposure once you’ve taken a reading of the scene’s lighting. You can also use it to zoom out of a shot when viewing it on the LCD in playback mode. It also lets you focus the camera when using Live View.

Live View Press here to display what the camera will capture on the LCD screen. Most new D-SLRs have a live LCD function, which saves you from having to look through the viewfinder.

Cross keysThese cross key buttons allow you to navigate through the camera’s menus and sub-menus. You can then press the Set button to choose a specific menu setting. Nikon calls these buttons the Multi-selector. Each button also acts as a shortcut to popular functions like WB (White Balance) or AF (Auto Focus).

Self-timer This cross key button lets you change the camera from Single shooting to Continuous shooting mode (or change the self-timer settings).

Playback button The Playback button enables you to review the shots that you’ve captured on the camera’s memory card.Erase button

The universal trashcan symbol lets you delete the file you’re currently viewing on the camera’s LCD screen.menu buttonClick here to access a vast array of menus and sub menus so that you can alter the way it behaves to suit your requirements. This button lets you access and change the Quality settings for example.

Built-in flash When there’s not enough available light to capture a decent exposure, your digital SLR’s built-in flash can pop-up to shine some light on the situation. In some modes, you may need to pop it up manually. If there’s not enough light for the camera’s Auto Focus to function the flash unit can also produce a burst of light to help, called an AF-assist beam.

Shutter button Press this button all the way down to capture a shot. Press it half way down to focus and take an exposure reading of the scene’s lighting. Also press here to wake the camera up after it has gone into sleep mode.

main Dial Rotating this dial enables you to manually set the camera’s aperture or shutter speed. It’s called the Command dial on a Nikon.

ISO button Click here to choose an ISO speed for the camera to use. You can then use the

Main Dial to select a faster ISO speed to make the camera more sensitive to low light. You can also set the ISO speed manually by going through the menu system on most digital SLRs and many compacts.On/off switchTurn the camera off when not in use (though it will automatically fall asleep to save power after 30 seconds).

mode Dial Rotate this dial to choose a shooting mode. The camera will then set the appropriate aperture and shutter speed setting (as well as processing colour in different ways depending on the mode). There are Basic shooting modes for every type of subject (like Portrait or Landscape).

flash hot shoe mount

All D-SLRs enable you to mount a more powerful flashgun on top of the camera so that you can illuminate distant subjects (and perform more creative and effective flash-related shots).

ROunD THE BACK

On THE TOP

6 | The Complete Digital SLR Handbook

Digital SLR Crash Course

digital SlR cRaSh couRSeWords: Chris George (Future)

N o matter how long you’ve had your digital SLR, there’s always something to learn. And if you’ve just bought your first SLR, the

learning curve can seem impossibly steep. But it needn’t be a painful slog. In this feature we’ll help you get the most from your digital SLR by explaining some of the key creative controls, ensuring you get much better shots as a result.

Your digital SLR is a very clever and complicated device that is quite capable of

taking all the hard work out of taking great pictures. But although all you need to do is set up the shot in the viewfinder and press the shutter, what makes your SLR different from a mass-market compact camera is the option to take full control of the photographic process. You can decide how dark or light your pictures appear, for example, control the exact degree of focus, ensure that even the fastest-moving objects are frozen in time, or deliberately blurred for fantastic effect. The creative possibilities are endless.

However, to start taking control of your camera in this way you need to master its settings. So where, and how,

do you start with such a complex device?Relax. In this feature we’ll reveal how

you can go a long way to better pictures by mastering just three fundamental controls. Learn how to set the focus, aperture and shutter speed and you’ll not only avoid the obvious mistakes, but also start to get the results you want. So fasten your seat belts for our digital SLR crash course!

Whether you’re new to digital SLRs, or an experienced user looking for a

refresher course, you’ll find plenty of great tips in this major feature on

getting more from your camera. It’s time to get creative!

TAKE BETTER SHOTS TODAY!

Mai

n im

age:

Jess

e W

ild (F

utur

e)

The Complete Digital SLR Handbook | 7

Get more from your digital SLR

Words: Chris George (Future)

If you’re having difficulties using the disc

interface or content, please visit our support

website at www.futurenet.com/support

© 2012 by Fox Chapel Publishing Company, Inc.Not to be sold separately.

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1/12/12 2:39 PM

If you’re having difficulties using the disc

interface or content, please visit our support

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© 2012 by Fox Chapel Publishing Company, Inc.

Not to be sold separately.

ResouRce disc

© 2012 by Fox Chapel Publishing Company, Inc.

Not to be sold separately.

Get Creative in the Kitchen with These Crafty Cookbooks

Cake Pops, Cupcakes & Other Petite SweetsSweet and Simple Recipes to Turn Your Kitchen Into a Home Bake ShopDiscover how to combine pantry ingredients to make delicious sweet treats that go beyond ordinary vanilla and chocolate. Packed with fun kitchen-tested recipes, perfect for entertaining.$14.99 ISBN: 978-1-56523-739-1 • 120 Pages

Edible Party BouquetsCreating Gifts and Centerpieces with Fruit, Appetizers, and DessertsTurn ordinary treats into extraordinary displays using the easy step-by-step instructions for creating stunning fruit, appetizer, or dessert bouquets. Perfect for gift-giving or any celebration, these homemade edible centerpieces are easy-to-make, inexpensive, and beautiful.$14.95 ISBN: 978-1-56523-723-0 • 128 Pages

Spiked Desserts75 Booze-Infused Party RecipesRaise your plate and say cheers to the newest idea in cooking and entertaining - booze-infused treats! Already-delicious desserts are loaded with extra flavor when you add a hint of spirits to batters, frosting, and more. From martinis and daiquiris to grasshoppers and tequila sunrises, you can turn your favorite cocktail into an intoxicatingly delicious treat for your next adult party.$14.95 ISBN: 978-1-56523-722-3 • 136 Pages

7F o x C h a p e l p u b l i s h i n g

an Imprint of Fox Chapel Publishingwww.FoxChapelPublishing.com

1970 Broad Street East Petersburg PA 17520 U.S.A.

www.d-originals.com www.foxchapelpublishing.com

Phone: 800-457-9112 Direct: 717-560-4703

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Design Originals 1970 Broad Street

East Petersburg PA 17520 U.S.A.

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Use Pyrography to Enhance Your Craft Projects

The Art & Craft of PyrographyDrawing with Fire on Leather, Gourds, Cloth, Paper, and WoodBy Lora S. IrishThe art of pyrography can be worked on just about any natural surface, including gourds, leather, or cotton rag paper. Discover 35 amazingly detailed projects that explore this craft across a full range of inventive pyro media.$19.95 ISBN: 978-1-56523-478-9 • 144 Pages

Learn to BurnA Step-by-Step Guide to Getting Started in PyrographyBy Simon EastonCombining ready-made items like picture frames and gift boxes found at craft stores with the over fifty original patterns by Si Easton, this book makes it easy for the beginning pyrographer to get started in the craft.$16.99 • ISBN: 978-1-56523-728-5 96 Pages • March 2013

Woodbangles with Style KitIncludes three medium bangles, 5 step-by-step techniques, 24 patterns, and transfer paper.$19.99 ISBN: 978-1-56523-610-3

Or OrDEr DIrECTPhone – Toll Free: (800) 457-9112 • Direct: 717-560-4703Fax – Toll Free: (888) 369-2885 • Direct: 717-560-4702e-mail – Sales@FoxChapelPublishing.comonline – www.d-originals.commail – 1970 Broad St., East Petersburg, PA 17520