SCIENCE FICTION ARTIST IN-DEPTH INTERVIEWS

DigitalArtLIVE.com

FANTASY PORTRAITS ISSUE

KEVIN B MCBRIARTY

REBECCA ELSEY

TWENTY-NINE
MIRJAM MAY 2018

VUE ● TERRAGEN ● POSER ● DAZ STUDIO ● REAL-TIME 3D ● 2D DIGITAL PAINTING ● 2D/3D COMBINATIONS
 https://digitalartlive.com/events/
2
 CELTIC TREASURES
Includes FREE SEATS
Saturday 26th and Sunday 27th May
Can’t make the live webinar? Register and we’ll send you the HD quality recording
(paid seats only)
20:00 BST (London)/12:00 PDT (Los Angeles)/15:00 EDT (New York)
In this workshop John Haverkamp will unlock Celtic artwork showing you the pattern lan-
guage, the historical materials and techniques originally used. Taking advantage of PBR,
he’ll use Substance Designer and Substance Painter, explaining the graph view and nodes
along the way.
1. Discover the pattern language of early Germanic and Celtic ornaments
2. How did they do that? Uncovering historical materials and techniques!
a. Repousse
b. Engraving
c. Casting
d. Carving
e. Enamelings
f. Inlay
d. Niello
3. Why clay?
4. Polymer clay construction techniques
5. Preparing the clay relief photo in Photoshop
6. Learn Graphs and Nodes in Substance Designer
7. Exporting maps and publishing to .sbsar format for use in Substance Painter, modeling
programs with the substance plugin, and realtime engines.

Presented by John Haverkamp

3
 https://digitalartlive.com/events/
4
 COMPLETE LIGHTING GUIDE
For DAZ Studio : Scene and Portrait Lighting
Presented by Esha
HD Recordings Included with Registration

When we experience lighting in the “real world” it tends to just well—happen! Without much ef-
fort from us, the sun rises, we flick a switch, or we open the curtains and there we have it, light!
We may put some thought into where we place a lamp, how we angle the blinds, or where we
aim a torch, but much of the time our experience with light is generally a passive experience.
Things are different in the 3D graphics world, where we’re wanting to maximize a scene that we
have carefully set up. It’s to optimise the elements of mood, a character’s expression, the tex-
tures and objects or certain areas in the scene.
With effective lighting you can make your 3D models really stand out!
There are a number of deep-rooted 3D lighting standards, and the type of scene usually deter-
mines which one is most appropriate.
Esha, a long standing published artist at DAZ will guide you through the lighting maze. She’ll ap-
proach each 3D lighting paradigm consistently with a first webinar exploring realism for scene
lighting and a second session going into depth on portrait lighting to make the most of your 3D
characters!
For the Scene course:
Learn how to light outdoor environments and indoor scenes. Master the Daz Studio Environment
Render Modes and how to tweak them.
For the Portrait course:
Light your digital portraits like professional photographers do in real life. Learn how to translate
photography tutorials into 3D rendering environments.

Presented by Esha

5
 SHARE YOUR EXPERIENCE
SHARE YOUR CREATIVE STORY

We are actively looking for artists or content creators who would enjoy the
opportunity of teaching other artists in a live setting.
Would you like to work with Digital Art Live as a partner in presenting some
of our live webinars? We’re particularly looking for artists and content
creators with DAZ Studio and/or Poser in mind.
Use the link below to submit your application and we’ll get in touch!

https://digitalartlive.com/presenters

6
 Front Cover:
“Crown” by
Mirjam of the
Netherlands.
Read Mirjam’s
interview, later in
this issue!
Headpeice is the
“Melidae Crown”
by Anna
Benjamin and
Mary Williams.
THE FANTASY PORTRAITS ISSUE

CONTENTS
OUR LIVE
WEBINARS!
―― 02

EDITORIAL
―― 09

MEETUP
―― 10

BACK ISSUES
INDEX
INTERVIEWS
―― 46
―― 12 ―― 30 ―― 52
CONTESTS
KEVIN McBRIARTY REBECCA ELSEY MIRJAM
―― 50
We talk with Kevin about Rebecca talks about how Mirjam delights in making
GALLERY childhood art training, his DAZ Studio runs on a female fantasy portraits,
disappointment in college budget PC, kit-bashing 3D and she has developed a
―― 66
art, and his discovery of content, and the low-light style full of rich
IMAGINARIUM the power of 3D software. importance of details. shadows and soft glows.

―― 82 DAZ | PHOTOSHOP DAZ | PHOTOSHOP DAZ | PHOTOSHOP

“As a young child I would “I often imagine [finishing “For a long time I was
set me off across town a 3D render is] similar to trying to develop a style
with my bike and $10 the way a sculptor feels that felt natural and
every Saturday morning, when they stand back comfortable. I think that
to take private art and look at their work. is really important [that
lessons. While all the It’s not always what the your style feels natural],
other kids were sleeping I viewer sees, but the because otherwise the
studied drawing, hidden and subtle details style is difficult to stick
sculpting, painting...” that make a render.” to.”

7
MAGAZINE PODCAST
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Subscribe at digitalartlivecom Subscribe to the Podcast feed

LIVE
Join our live webinar-based
workshops for digital artists.
digitalartlive.com

Credits for pictures, from top left: Detail from “Celestial”, by Rebecca Elsey; detail from “Nocturna” by Mirjam;
Detail from “Naginta v3.0”, by Kevin McBriarty. All artists are interviewed in this issue.

Paul Bussey Dave Haden

Editor-in-Chief, Conferences Editor and magazine layout
[email protected] [email protected]

Copyright © 2018 Digital Art LIVE. Published in the United Kingdom. No part of this publication may be reproduced, stored in a retrieval
system or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise without the prior written
permission of the publisher. No copyright claim is made by the publisher regarding any artworks made by the artists featured in this magazine.

8
EDITOR’S LETTER

WELCOME...
“
It's been 20 years since 3D first arrived in problem, as artists will, and much hard work was
the mail. Or, more precisely, since chunky done with getting skin looking realistic in 3D
cardboard boxes arrived on people's renders. But it’s arguably taken us 20 years to
doorsteps. Each box carrying a precious cargo of find ‘The Stairs of Cirith Ungol’ and to make the
Poser 3.0 CD-ROMs, a door-stop sized printed slipperly and vertiginous climb out of that ‘uncanny
manual and a licence-key card. Amazingly there is valley’ of the 3D face and hair. But perhaps we
no precise shipping-date online for Poser 3.0 — the shouldn’t be too hard on ourselves — considering
Internet forgets much, even at Archive.org. But a that even the big Hollywood studios took decades
deep-dive into Google turned up an in-depth review to find their way out. Just a few years ago they
from Germany (April 1998, avAtaR eZine, “Test were still making cringe-inducing ‘uncanny valley’
Bryce 3D und Poser 3”), and this suggests Poser 3.0 faces, as seen in the likes of the dire Tintin movie.
probably shipped in May 1998. More certainly, the
But many still portrait renders can now make you
famous Poser Forum Online was first established in
do a double-take: ‘is it real or is it 3D rendered?’
June 1998 and then grew exponentially.
Increasingly, you’re not quite sure. The veteran
By summer 1998 users had their hands on the first 3D artist might be able to tell, after some moments
really usable Poser version, with the familiar and of considered thought. But it’s not always
much-loved user-interface it still has today. Phil immediately obvious, especially when the picture
Clevenger of MetaCreations had successfully was made by someone who has mastered the
transferred to Poser 3.0 much of the unique user- software and knows about lighting. Equally, we’re
interface from MetaCreations’s popular Bryce 3D starting to see a similar drift toward having ‘3D
landscape software. The company then enlisted that looks like 2D’, moving toward a point where ‘is
Zygote to provide a huge bundle of add-on 3D it drawn/painted or 3D rendered?’ may also be a
content for Poser. There was nothing else like it, frequent question.
and by Christmas the ‘street price’ of Poser 3.0 was
Of course we’re not quite there yet, but the ‘once
£179 in the UK — a bargain even at 1998 prices.
upon a time’ fantasy of making convincing portrait
The new Poser software proved a great success,
art with computers is definitely coming true. To
and the price fell as the volume of sales rose. By
extend my earlier ‘The Stairs of Cirith Ungol’
1999 the online archives show: that Poser 3.0 was
allusion, we are standing at the top of the stairs
being listed at just $119 U.S.; that flagship artists
after a hard climb, but still have to face the great
such has Larry Weinberg had shown what was
‘Shelob’ — which is hyper-critical public
possible with the software; and that it was being
discernment. The public will demand more and
very well-reviewed even in magazines at the
more of its 3D art in the coming years, especially if
upmarket end of the industry. The mass-market
it’s paying. But it’s no longer a fantasy that even
desktop 3D art revolution was well underway.
amateur artists will be able to reach such heights,
How far we’ve come in just 20 years. But… the given the range of software we now have available.
face. For so many years there was that ‘uncanny
valley’ effect for the face and the eyes in 3D DAVID HADEN
renders, which made many shudder on seeing the Editor of Digital Art Live magazine.
renders and talk of ‘doll-like’ eyes and ‘unconvincing [email protected]
expressions’. Artists found various ways around the

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9
 TOLKIEN
Use new Charpentier fon

10
Picture: with thanks to Tejvan Pettinger.
 MEET THE TEAM, AND YOUR
FELLOW ARTISTS!
We have a splendid opportunity to
meet the Digital Art Live team, our
magazine readers and digital artists, at

nt
the New Bodleian (Weston) Library of
the University of Oxford.
Starting in June, this venue will host
the major free exhibition: Tolkien:
Maker of Middle-earth. The world's
foremost Tolkien archive is being
matched with rare items and art from
other collections, to present a ‘once in
a generation’ show of original Tolkien
items in the city where Tolkien wrote
The Hobbit andThe Lord of the Rings.
A wealth of Tolkien’s own artwork and
original designs will be on show.
OUR SCHEDULE
11.30am meet outside the venue. We will
be carrying seven spare printed tickets for
1pm entry — but you should not rely on
these, and you should first try to book
your own personal 1pm or 1.30pm tickets.
11.50pm we go for a quick light lunch and
chat in one of the nearby cafés, or inside
the venue if they have a suitable café
(purchase your own snack and drinks).
12.50pm we assemble at the exhibition
entrance ready to start our 1pm tour of
the Tolkien exhibition. We anticipate that a
full appreciation of this large exhibition
may take about an hour or slightly more.
2.30pm informal break.
3pm informal chats continue. We will try
to book a 3.30pm group tour of Exeter
College, Tolkien's ancient Oxford college
(very nearby, in Turl Street).
5.30pm. Depart for the train station
(about a half mile walk from the venues).

PLEASE BOOK NOW!

https://digitalartlive.com/event/tolkien-maker-
11 of-middle-earth-digital-art-live-meetup/
We talk with Kevin McBriarty about his
early childhood tutoring in art, his
disappointment with art college classes,
and the revival of of his creativity
through discovering 3D artistry and the
possibilities of DAZ Studio.

DAL: Kevin, many thanks for taking the time to

do this in-depth interview with Digital Art Live.
KM: I’m humbled and flattered by your interest
in my work, and by your contacting me for an in-
depth interview. Fantasy and fantasy art has
been an escape for me, since a young age. I’ve
always dreamed of creating fantastic images of
mythical creatures and people. 3d imaging
allows me to bring my dreams to life — and
many more dreams that I had ever imagined
when I was a boy.
DAL: Yes, I think that’s one of the great things
about fantasy, in that at its best it can give
individuals the ability to tap into the wider and
interwoven imagination of the group, and at the
same to time to tap into poetry of real history
and landscapes. But to start talking about your
art, I must congratulate you first on your very
stylish control of light and shadow in many of
your pictures. The outdoor ‘sunlight pictures’
also have excellent lighting. Have you trained in
that, in terms of studying traditional art and/or
photographic studio set-up or movie/stage
lighting? Or does it just come naturally?
12
 Picture: “Taranis” V. 1.2.

KEVIN MCBRIARTY

USA

DAZ | PHOTOSHOP |
CARRARA | ZBRUSH

WEB

13
KM: Thank you. All the training I received was can bring to their creations. Lighting can make
prior to college years. As a young child my or break a 3D piece, and a good foundational
parents ‘saw something in me’ and set me off understanding of basic lighting and framing skills
across town with my bike and $10 every can take a piece from ‘interesting’ to ‘incredible’.
Saturday morning to take private art lessons.
For the past couple of years I have found that I
While all the other kids were sleeping in late, or
enjoy using light as a medium. The balance or
watching Saturday morning cartoons on TV, I
imbalance of light and shadow on a piece can
was peddling my bike across town to study
have a dynamic effect on the emotion of a piece,
everything from drawing to sculpting to painting.
especially portraits.
I did this until I reached high school where I
enrolled in every possible art related class that I DAL: You mentioned weaving. Did you go on to
could fit into my schedule. Jewellery making, study at college, and did you take similar
photography, graphic arts, traditional art... courses there that fed into your creative talents?
anything to be creative. I know that Chicago always had a very strong
reputation in the arts, since the 1910s if not
DAL: Right, so the training started early for you.
before, especially via the Art Institute — which
Was there anyone special you helped develop
trained generations of traditional artists and
your talents, in those early years?
illustrators — and others for over a century. Did
KM: My private art instructor, who also you get on the educational path in the city,
happened to be one of the many teachers I had which led to such places?
in high school. He was the most influential figure
in developing my skills. I had spent virtually
every Saturday morning with him and his family “As a child I spent virtually
in his home — painting, drawing, sculpting and every Saturday morning with
at one point even weaving. Yes, weaving — not
my favourite experience! my art tutor and his family in
He would push me to ‘reach outside my comfort
his home — painting,
zone’ through-out my learning. Ultimately he drawing, sculpting and at one
was the one who pushed me to sign-up for a point even weaving. Yes,
photography course in high school. He felt I
needed to have a basic understanding of light, weaving — not my favourite
shadow and depth to help me see the world in a experience!”
different light (pun intended, his joke not mine).
Once in high school he pushed me further. There
KM: My college was extremely brief, actually. My
were projects that others would work on for
path only included a single course at the local
ages, but he had me completing those projects
community college. I enrolled in a Graphic Art
years earlier at his kitchen table. He always
course for a semester. The course did not
managed to find things to challenge me and
challenge me, and I quickly lost interest.
keep me interested in creating.
There was a long period where I walked away
DAL: That sounds like a great start. And then
from creativity and stopped virtually all types of
photography became a big input, in terms of
artwork. It started shortly after completing that
feeding through into you 3D skills. Would you
one college course.
recommend 3D artists take a short course in
that, to help boost their lighting and framing DAL: Wow, well that’s something for younger
skills? readers to remember. The power of certain types
of lacklustre art college and course to kill
KM: Taking that first photography course set the
creativity. Although, looking through any recent
foundation for me, later in my development of
issue of contemporary ‘fine-art’ magazines such
3D art. I would recommend a budding 3D artist
as Modern Painters will have much the same
to invest in a basic course, at least, to develop
warning
14 effect! /Laughter/
their understanding of lighting and the power it
Picture: “Wadjet” V. 1.0.

15
KM: I became frustrated and my focus moved when I discovered this new medium it was
away from art. I held onto all my traditional art liberating. The tools that are out there are
supplies, and dabbled here and there, but the incredible and there is virtually no limit.
flame faded. I had never considered digital art,
DAL: How exactly did you get started in 3D art?
and of course where I was at that point it still
Did you go through and try various software, or
only existed in movies as the early CGI. But
go straight to DAZ Studio?

“Some 3D artists feel postwork is

cheating. I am not here to agree
or disagree, I simply feel it is
another tool that helps me make
what is in my head a reality. In
some cases, the initial render is
far from what I expect, but is not
a total loss. This is where
Photoshop becomes my
workhorse — and can save an
image from ending up in the
trash bin.” RAW RENDER
16
KM: I was looking for a method to build my own pieces, I planned to simply use it to pose figures
reference material, that would allow me to to be used as a references in support of my
create pieces without having to employ a live traditional painting process. I quickly learned
model. Doing some searches online I was with some practice and experimentation this was
introduced to 3D-rendering. Initially I had no a powerful medium. So much so that it
intention of using the software to create finished eventually replace my traditional art supplies.

AFTER PHOTOSHOP
17
I dabbled with Poser early on, but found DAZ art with DAZ? How did you overcome these
Studio provided me with a more familiar difficulties?
‘feeling’ and work flow. For a period, though,
KM: The largest barrier for me was actually in
I dove head first into Carrara (also by DAZ).
the hardware limitations. I was using a basic
DAL: Yes, for readers who don’t know it, it’s computer when I started out, slowing my
sort of DAZ Studio’s ‘big sister’, although not learning curve and increased my frustration.
marketed as such these days. Very powerful, Not to mention having to learn how to
able to use all DAZ and Poser content. Also manipulate ‘fake’ lighting limitations. I
modelling capabilities. marvelled at what other artists were able to
achieve early on. The realism some were able
KM: At the time I found the render speeds to
to capture was inspiring.
be better and to provide me with a better set
of lighting options. During my use of Carrara I I began to learn what my tools were capable
began to embrace texturing and effectively of and what I needed to improve them. 3D
using shaders. Carrara introduced me to 3D imaging can be an expensive medium to work
modelling and options to manipulate existing with, between some of the software and the
prop geometries. hardware that is needed to get the most out
of all the software... not to mention content.
It wasn’t until Reality renderer plug-in came
onto the scene that I start to be drawn back
to DAZ Studio. Then the first of the Genesis
line of figures was released and DAZ Studio
“What I enjoy most about
again became my go to software of choice. creating 3D images is
The things one could do with this ‘new’ allowing the viewer to write
character was staggering. One figure could be
shaped into so many options, the possibilities
their own back-story for the
were virtually endless. piece. I try to focus on
About the time I returned to DAZ Studio creating an image that
from Carrara I dabbled in texturing. For me allows the viewer to
DAZ Studio was a perfect fit to experiment
with texturing. I spent months at a time
question what is happening
creating modified textures in Photoshop and off camera, or what brought
applying them to props and figures in DAZ the subject to the place or
Studio. I am not sure any were worthwhile
enough to share, but I learned more and point they are in the image.”
more about the software in the process.
DAL: And then they added iRay… Yes, that’s true. People say: “Well you digital
KM: Now that iRay is a core part of Studio I artists don’t have to buy the art supplies, the
would be hard pressed to walk away from tubes of paint, the brushes, the sketchbooks.
DAZ Studio… just from a content investment And you just use free software”. But they
point of view. don’t figure in all the costs involved. Plugins,
third-party software tools, content from
DAL: Yes, and with the Scene Optimizer
stores, the desktop and its upgrading with
plugin even those without ninja graphics
things like graphics cards, the electricity that
cards can get relatively speedy 3000px
uses. It would be interesting to see a creative
pictures from iRay. You’ve mentioned the
industries economist student do a paper
attractive features of the software, but what
comparing the two sets of costs, per output.
were the initial barriers you found, as you
So you went for the hardware upgrades
started out with the learning curve in digital
needed for DAZ Studio and iRay?

18
 Picture: “VR 2016” V. 1.1.
19
KM: Yes, when iRay was added to DAZ Studio I invested in
some hardware upgrades. There was also a learning curve
with lighting, shaders, render settings and times but not as
significant as those I was challenged with using 3Delight
and old hardware.
DAL: Yes, there are now a good range of light present and
‘virtual studios’ on the stores, which can help things along.
But to step back a moment, you said that you chose to use
the Reality plugin for DAZ Studio, I think?
KM: Yes, I chose to use Reality, when I found that 3Delight
— DAZ Studio’s basic long-standing render option — did not
meet my needs. The primary reasons for me using Reality,
and not diving right into iRay, was my lack of understanding
of iRay and the hardware limitations of my original system.
Reality was part of my development and learning journey,
my work would not be what it is today without my
experience with Reality.
Replacing Reality for iRay was then a natural progression for
me, and has given me little reason to look back. Both
provide phenomenal results, but I prefer the built-in
interface DAZ Studio has created for iRay.
DAL: How did you find wrangling the iRay shaders?
KM: The biggest draw to iRay, for me, was actually the
amount and depth of iRay shaders that provide click and
play ease. I now have a rather extensive library of iRay
shaders but I find myself using less than 20% of what I
have. There are two types of content I have a weakness for,
iRay Shaders and Figure Poses, those, to me are bread and
butter. I have gigabytes of both, poses and shaders.
DAL: Yes, I saw some excellent packs of metal/armour and
fabric shaders recently, for iRay. Poses, too, are an
overlooked niche in the content market I think, and one
which hasn’t yet been eroded/flooded by people having their
own home-studio motion-capture via Kinect etc.
How long does it tend to take you to setup and frame a
scene with the lighting, would you say? Do you do the
lighting afresh for each picture, or do you have saved files
in which the lighting is all set up as you like it?
KM: The initial lighting set-up I use for my indoor renders
are based off a saved file, and that contains over 15 lights
or light sources in it. I have found a lighting set-up that
works for me and which affords me almost limitless options.
I rarely move the position of any of the lights in it, but I
regularly adjust the intensity and temperature to cast the
right amount of light and emotion.
DAL: Is that also the case with your very attractive outdoor
pictures? 20 Picture: “Not from Kansas” V. 1.0.
KM: My outdoor lit pieces start with the figures, props,
landscapes and posing, and the lighting is added after and
are unique to each piece. I have had pieces take longer to
render than set-up and pieces that have taken several
days of set-up before accepting a final render.
Framing of a piece is initially rather quick for me. I
generally have an idea in my mind before loading a figure
or prop into a scene of the framing I have in mind.
Unfortunately, the best laid plans don't always work out.
Once I am happy with the point of view on a piece, I
render it larger than the final piece more times than not.
The final framing or cropping is done in post work.
DAL: Yes, often one can get rid of a high number of
fireflies in the picture by rendering to say, 4800px and
then taking it down in Photoshop to 3600px or suchlike.
The interpolation smushes away most of the fireflies.
KM: Some pieces that have taken days to set-up, to get
the texturing just right, adjust and set lighting and then
render up to 24 hours — they can end up being cropped
into a tenth of the original size of the full render... not to
mention the post work time invested.
This is one of most appealing parts of 3D rendering for me,
the ability to modify the original idea without having to
scrape a canvas clear or grab a new sheet of paper or
block of clay. Change a pose, move a camera, change a
texture, add a prop... all within minutes.
DAL: Yes, and one can also render in layers, with a bit of
thought, and then mask each of them. Foreground,
middleground, characters, background, sky. And then
you’re free to play with each in Photoshop. Dropping in a
new sky, for instance, and giving the background some
depth haze.
But back to portraits, which is the theme of this issue.
One of your most recent Gallery posts is a terrific demon
with a “before and after” view. Showing the raw render
and the picture after postwork. That’s a lot of very
impressive postwork on show, there! What other software
do you find especially useful in making your art, in terms
of the postwork?
KM: Photoshop has been there for me since early on as a
postwork tool. Some 3D artists feel postwork is cheating. I
am not here to agree or disagree, I simply feel it is
another tool that helps me make what is in my head a
reality. In some cases, the initial render is far from what I
expect, but is not a total loss.
This is where Photoshop becomes my workhorse and can
save an 21
image from ending up in the trash bin.
Picture: “Not the Horny She Had
in Mind” V.1.2.

22
23
Photoshop has become an integrated part of my distracts the mind of the viewer from the usual
process. It offers unlimited power to make magic “oh, it’s nice but it’s still a 3D face” thought.
happen, and I sprinkle that magic in one form or
As such, the idea lifts the face out of “the
another across almost every render.
uncanny valley” and the mind accepts it as if it
Every time I use Photoshop I learn something was really photoreal. It’s one of the very few
new, a new shortcut, new technique or a new pictures I’ve seen do that when you first see it.
option that was there all along that I missed. Could you tell the readers more about how the
picture came about and was made?
DAL: I’d certainly deep software. Yes, I agree
on the perpetual learning. I’ve been at KM: Actually this image came together almost by
Photoshop for more than 20 years now and I’m chance. My goal was to create a piece that
still learning. How long did all that postwork evoked a sense of surprise on the character’s
take, for the demon picture? face. While posing the face I began to develop
the title, “Not the Horny She Had in Mind”. Once
KM: I was blessed with this piece, I used a
I added the horns the rest fell right into place.
Photoshop Action created by an artist at
The early morning, just woke-up look of the hair,
GraphicRiver named Sevenstyles, and that
the subtle hint of an open lingerie helped to pull
performed much of the hard work. The action
off the ‘story’ of a girl waking up with horns she
took minutes to run but I spent a couple of
did not have the night before.
nights adjusting the light levels, colours and
effects… about six hours in total plus render
time.
“… one of most appealing
There are so many amazing artists out there
that share their skills, SevenStyle is one of them
parts of 3D rendering for me,
and he has a talent for making actions to is the ability to modify the
completely transform an image. I feel the magic original idea without having
happens after using his actions, the adjusting
and tweaking is what makes both Photoshop and to scrape a canvas clear or
SevenStyle's actions so tremendously powerful. grab a new sheet of paper or
DAL: And do you create back-stories for the block of clay. Change a pose,
characters in your pictures? If you do so as move a camera, change a
you’re making the picture, do you think that
doing so adds to the resulting picture? texture, add a prop... all
KM: What I enjoy most about creating 3D
within minutes.”
images is allowing the viewer to write their own
back-story for the piece. I try to focus on
creating an image that allows the viewer to Getting the camera angle right proved to be
question what is happening off camera, or what harder than I expected. My base lighting file was
brought the subject to the place or point they not cooperating and forced me to move my
are in the image. Some of my most recognized standard lighting positions to keep them out of
or commented on images are those that tell a the reflection of the mirror… which altered the
story allowing the viewer to fill in a back-story lighting angles… that in-turn changed how the
that relates to them. shadows fell on the face, that changed the
effectiveness of the expression. I found myself
DAL: I see. Now let’s turn to a specific picture.
saving this over several days and going back to
The picture “Not the horny she had in
it with fresh eyes before completing the final
mind” [seen on previous pages] is a super
render.
concept and very expertly realised. There’s
something about the power of the concept that DAL: Thanks. Who influences you, these days,
either in terms of visual or ideas?
24
Picture: “Springs Elite Guard” V. 1.2.

25
Pictures: “Naginata" V.3.0; "For Hire", V.1.2.

26
27
KM: I am influenced or better yet inspired by too fancy and is tucked in a corner of the
Greek artist AS-Dimension-Z (Anestis Skitzis), basement of my home.
with his ability to bring realistic human textures
DAL: Ah, so... no windows in a basement!
to life. As well as the work done by
BlackTalonArts (Mel) at DeviantArt, her lighting KM: I have an area for working on traditional art
and texturing is exquisite. Outside of the 3D and projects, with the heart of my workspace
world, Boris Vallejo, Larry Elmore and Micheal being my computer and its dual monitors. It is
Whelan continue to astound and influence me. comfortable and out of the hustle and bustle of
my everyday… my lil’ place to get away.
DAL: Who are your favourite “must Wishlist!”
content makers on the 3D stores? DAL: What are you working on at the moment?

KM: I have several of these. Favourite pose KM: I am currently exploring ZBrush. I just
content creators include Danie & Marforno (DM). installed it on my computer and have begun
Danie & Marforno capture the most realistic yet watching some tutorial videos. I have always
simple poses possible. I use their work as much been amazed at what artists are able to create
as I can as a base, tweaking and adjusting fit my with 3D sculpting software and felt it was time to
vision. give it a try.
I want to continue exploring both fantasy
portraits and modern day portraits that evoke
“I am currently exploring emotion, but I am being more and more drawn
ZBrush. I just installed it to expanding my sci-fi portfolio. Not only aliens
on my computer and have and imagined creatures, but how day-to-day life
might be in our future.
begun watching some
tutorial videos. I have DAL: Fascinating. We wish you well with that.
What would be your “dream commission”, if
always been amazed at someone popped a note on DeviantArt inviting
what artists are able to you to work on ‘something big’ and get paid
create with 3D sculpting commensurately?
software and felt it was KM: I have always been interested in fantasy
time to give it a try.” book cover-art and I think it would be fulfilling to
give that a try, or even 3D content promotional
imaging. Getting to do some of the first renders
of new store content has a certain appeal as
Favourite architectural content creator is Stefan
well!
Morrell (aka Stonemason). His work is second-to
-none, I only wish I used more of it. Everything DAL: Ok, thanks for this in-depth interview. We
Stefan creates is content gold. wish you all the best with your future art and
career.
My favourite clothing content creator is Aeon
Soul, for their ability to create pieces/sets that KM: Thank you, again, for this tremendous
are interchangeable with one another — that opportunity to share a little bit of me with your
aspect of their work is worth every penny. The readers. This has been a wonderful experience
work and detail they put into their content is and humbling honour to have others recognize
unparalleled, not to mention the ability to use in my work.
a variety of genres, from sci-fi to medieval.
DAL: Thanks. A question we often ask is: what’s
your studio like, and especially — what’s the Kevin B. McBriarty is online at:
view from the windows?
https://kmcbriarty.deviantart.com/
KM: I have a very humble ‘studio’. It is nothing

28
 Picture: “Autumn Free Faery”, V.1.0.

29
Digital Art Live visits South Africa, to talk
with graphic designer Rebecca Elsey. We
discuss how DAZ Studio can run on an
budget PC, kit-bashing to make unique
‘new characters’, the importance of
adding detail to renders, and much more!

DAL: Rebecca, welcome back to Digital Art Live.

RE: Thank you very much. It is a pleasure to featured
here.
DAL: We first encountered your work when you kindly
gave us permission to show three of your cyber-portraits
in the Gallery of our Tron tribute magazine issue
(‘Cybertronic’, #14), and many readers will especially
remember your wonderful “Digital Life” picture to be
found there. That picture was a fine melding of
cyberpunk science-fiction and fantasy themes.
Your DeviantArt gallery shows quite a progression from
your early digital sketches of 2008, and then again from
2013 where your first 3D work starts to appear. Are
you pleased with the progression in 3D that you’ve
achieved in the last five years?
RE: Yes, very much so. I had actually been playing
around with 3D for quite some time before that, but it
was only in 2013 that I really started to ‘get the hang of
it’ and felt confident enough to post my work online.
Since then it has really been a matter of ‘practice makes
perfect’. Every render teaches me something new, and I
feel that I am still improving and that I will continue to
do so. I imagine that there will be a vast improvement
in my work in another five years time.
DAL: What challenges did you have to overcome along
the way, to make 3D art at a high level, and how did
you tackle those problems? 30
 Picture: “Kitsune”

REBECCA ELSEY

SOUTH AFRICA

DAZ STUDIO |
PHOTOSHOP |
GRAPHIC DESIGN |

WEB

31
RE: The obvious one is always ‘PC trouble’. way and I love it for that. The thing that ‘seals
Luckily I’m quite the geek and could usually fix the deal’ though, is how you can bring fantasy to
whatever problems my PC had. Having said that, reality. It is one thing to have a 2D drawing of a
though, I do not have a particularly high-end PC. character, but it’s another to have them in
But I make do and simply have patience and movable, posable, full 3D. I often imagine it’s
deal with long render times. I have left my PC similar to the way a sculptor feels when they
rendering for days on many occasion, sadly it’s stand back and look at their work. It’s not
just something I have to put up with. always what the viewer sees, but the hidden and
subtle details that make a render. I always try to
DAL: Yes, we’ve all been there. Thankfully the
add little details so make it as believable as
software is now vastly more stable that it used
possible, I’m not necessarily going for true
to be. Did you have to upgrade, then?
photorealism but I want the render or character
RE: Well, the price of computers parts (graphic to be believable, if that makes sense.
cards specifically) are just unaffordable here in
DAL: Yes, that’s very perceptive. The mind must
South Africa. Although I could save up for one I
pick up on details, as well as the basic outlines
simply could not justify the expense, there are
and forms, which adds to the initial
simply better places that money could go.
understanding of the picture. Even if such
DAL: Yes, and once installed they do suck details are only noticed later, or not at all. In
electricity, often via needing a new power-supply the study of photography they have the idea of
unit (PSU) to run them. Which also costs, drip by ‘the punctum’, the small emotionally-weighted
drip over a year. Which is why plugins in like detail that you often miss on first viewing, but
Scene Optimizer for DAZ Studio are so welcome, when you do see that detail it tends to re-
enabling everyone to make iRay renders. configure your understanding of the whole
RE: Another challenge is time, I have a high- picture. In colouring black and white postcards
pressure job and work long hours. — which I’ve been doing a lot of recent, re: local
history — I’ve noticed that all the little niggles
DAL: Ah, I see. So especially thanks for taking
and problems one sees on completing the
the time for the interview…
colorisation, they all vanish when you go back a
RE: I usually try to at least get one render done see it six hours later. The mind compensates,
on the weekends, but often have family events and ‘fills in’ — kind of like a mental auto-correct.
to attend and the likes. I would love to be able So I guess it’s a tension between getting the
to make full scene setups all the time, but a lot details right, but only ‘right enough’.
of my renders are character portraits only with
I take it that you’re enjoying the latest edition of
static backdrops. That’s because of time
the DAZ Studio software, presumably? What are
constraints, not only on setup but on the actual
some of the latest features (from the last 18
rendering side too — but I’m still fairly young
months or so) that you’re most pleased with?
and I imagine these are simply challenges that’ll
get over with time. RE: Well, of course, the word on everyone’s lips
is “dForce”! I personally adore cloth simulation;
DAL: Yes, there can be a lot of frustrations in
it adds a level of detail that cannot be achieved
3D, beyond simply the technical. But what about
through traditional morphing. As old and as
the enjoyment side of making pictures in 3D?
unfriendly as that was, I have used the old
What would you say keeps you coming back to
OptiTex Dynamic Clothing control in many a
making 3D portraits, and keeps it enjoyable?
render. Unfortunately I haven’t been able to get
RE: Well, I enjoy science and physics. Although I my hands on many of the dForce compatible
never studied science at a school level, I have outfits just yet, but I’ve used the super-easy
always found it extremely interesting. I love conversion on a couple of old items and I’ve
how much 3D has taught me about the way light seen some other artists so some very clever
and surfaces work — it’s ‘art meets science’ in stuff with it.

32 Picture: “Sorrow”.
33
The only thing that has stopped me using it is featured in the school offices, newsletters and in
again my poor old PC — the cloth simulations the yearbook. I would always doodle and, as in
can be painfully long. my early days on DeviantArt, fancied myself a
digital painter. But I soon lost interest in it, as I
DAL: What new things would you like to see in
started my working career.
DAZ Studio 5.0, when it eventually ships?
However being a graphic designer never really
RE: Oh please… DAZ Devs ‘hear my prayers, it is
satisfied my true creative need and I start
but a simple little request…’ All I really want
delving into 3D further, from there it just took
from a new version — an auto-save feature! I
off. I am completely self-taught, and simply
have lost hours and hours of work on many
learned as I went along. The DAZ community
occasions, due to just getting so involved in
and forums has a wealth of knowledge available
setting the render that I forgot to save.
to and people are always willing to share which
DAL: I seem to dimly remember that there’s a has been especially helpful.
plugin for that, though I could be wrong.
DAL: Yes, there’s wealth of training out there,
RE: To be a bit more wishful, I would love to see from webinars to forum tutorials. What was it
them continue the physics trend, with soft body that influenced you to take up 3D digital art?
and ragdoll physics for the characters and Was it just, like…: “Oh look, there’s a free copy
perhaps basic liquid simulations. of DAZ Studio, I’ll give it go…” Or did you spend
DAL: Great. Physics all rather passes me by, I time researching what was out there, and what
must say. Nice for animators, though. I’d prefer the options were?
more focus on tools to enable believable ‘hand- RE: Ha, ha, it was exactly that. My cousin had
drawn’ toon and natural media ‘painterly’ render actually given me a free copy of DAZ Studio and
output. To a level that will convince hypercritical at first I thought it bit like ‘playing digital dress
graphic-novel buyers that it was done by hand. up’ with Barbie dolls... But then I started to see
But who are the 3D content makers, the ones what others were doing with it and it blew my
you regularly pay attention to and ‘wishlist’ on mind, I did a few tutorials and I quickly
the stores, and what makes them special? developed a love for it. Of course over the years
I have tried different software packages as well,
RE: For outfits my absolute fave is Aeon Soul (a
unfortunately the good ones are costly. So I
two person team I believe), I adore their stuff.
always end up back at my dearest DAZ Studio.
Their designs are everything I love, sci-fi,
fantasy and awesome combinations of the two. I DAL: Yes, “Oh, it’s all just digital dollies…”. That
can honestly say they are the only content was the snooty ‘pro’ attitude we got a lot from
makers whose stuff I use ‘as supplied’. The level the Maya and Lighwave folks. For a long time.
of detail on their models and textures is top But one encounters that less and less now,
notch and worth the price. As for characters I though. Now it’s more like: “Ah, oh… OK, how
love Pixeluna, his/her sci-fi and fantasy can I quietly intregate this into the studio
characters are so different from most other workflow without the clients knowing…”
characters on the market. And it’s certainly become much more usable in
DAL: Thanks. What’s your background in art? the last three years or so. It still lacks in certain
Did you train, and if so how and where? Or are areas though, and I should say something in
you self-taught? favour of Poser, for balance in this DAZ-heavy
issue. DAZ lacks Poser’s excellent and easy real-
RE: I took traditional art at a high school level,
time toon / comic-book options. And also Poser’s
obtaining a distinction upon matriculation and
excellent and smooth export of scenes to Vue
then I studied the Adobe and Corel graphics
and Cinema 4D. Poser also has excellent
suites further as a graphic designer. At school
multipass render options, plus all the Python
level my painting and drawings were often
scripts, most of which are free.

34 Picture: “River Guardian”.

35
36
37 Picture: “The Faun”.
“I would love to
do tabletop RPG,
game manuals or
playing card
illustrations. Like
Dungeons &
Dragons or Magic
the Gathering.” 38
So, once you got into 3D art you obviously drew atmospheres and a certain magic about them,
and still draw a lot of inspiration for your art, you can almost feel the warmth from the sun in
from both fantasy and science fiction. What are “The Journey” or the coolness of the forest in
you favourite aspects or approaches in these “Unitaur”. They have an immersive quality which
genres, and who are your favourite creatives? happened by complete accident which means
more to me in a way. “Unitaur” started with an
RE: Hmm, it’s hard to say. I love RPG gaming
experiment of combining in DAZ Studio the G8
and I think a lot of my inspiration comes from
centaur and the unicorn for DAZ Horse 2, and
there, in terms of an influence from a genre. I
the character just turned out so stunning I had
also draw a lot of inspiration from music. But my
to place her in a full scene. While “The Journey”
characters almost ‘make themselves’, sometimes
started with all intentions of just being a
I will start with a basic idea in mind and other
landscape, but the atmosphere I created called
times I will jut load up a character I found
out for a wondering fantasy character.
interesting and just see where they take me. I
like to believe that I am a creative in that DAL: I really like your “The Faun” picture [seen
respect; my characters are reflections of me, my across previous pages], it’s a wonderful
ideals and my overactive imagination. I like to evocation of the spirit of fantasy, as well as
think that though I am influences by gaming, being an intriguing portrait. Could you talk us
movies and TV a great deal of my works are just through the making-of, please? From initial
straight from my head. planning and assembling content to the final
postwork?
DAL: I see. Yes, kit-bashing so make a new-look
character — or runtime bashing — can be very RE: I had just picked up HFS’s Fantasy Morphs
time-consuming. But you can end up with — one of my absolute favourite morph
something that no-one else has, and as you say resources. I was trying it out, playing with all the
the process can be very creative. It probably various dials. The idea to do a faun came to
helps if you have a 100Gb runtime to choose mind, after I did a bit of research and reading on
from, though! /Laughter/ Have you ever the general lore about fauns and satyrs I decided
considered using DAZ to illustrate some of the to take an “anthropological” view of creatures,
games you mentioned? Or books? with that I came up with the general idea on
how I wanted to represent the character, wild
RE: I would love to do book illustrations but
and tribal. As with all my characters I start with
more so tabletop RPG, game manuals or playing
skin textures and morphing, they need to
card illustrations. Like Dungeons & Dragons or
complement each other. I then add hair and
Magic the Gathering. To see my artwork feature
basic accessories — horns in this case. By this
on something like that would be a dream come
time the character has developed a little
true. The artwork on some of those cards and in
personality of their own, and posing and
the books is absolutely incredible — if they
selecting a complimentary outfit came fairly
displayed that stuff in art galleries I bet they
naturally. I instantly knew I wanted the
would have a lot more patrons.
character in the woods, with light pouring from
DAL: Yes, indeed. There’s going to be a lot more leaves and I added the last tree and grass props
kids in the world in the next 20 years, and that to finish the scene. From there it was just a
means there’s going to be a growing scope for matter of tweaking the HDRI light and adding
niche games like that. I wonder what an African any needed additional lighting. Lastly I play with
version of such RPG card-games will look like. camera angles and other render settings, and hit
That’ll be interesting to see. What is your own the render button. After that just some minor
personal favourite image and why? colour and brightness filtering in Photoshop, and
RE: It’s hard to choose just one. It would have a few ‘god rays’ and all done. It all just flows as
to be a 50/50 split between “The Journey” and I go along, I do very little planning on my actual
“Unitaur”. They both have the most beautiful works, apart from the odd image search here
and there for references.
Picture: “Celestial”. 39
DAL: I see, so... postwork in Photoshop is fairly from the comfort of my bedroom. My PC is setup
minimal for you, most of the time? Is that a on a large desk facing the large window with a
time thing for you, or is it just that DAZ renders beautiful view of my garden, the window catches
don’t really need it if correctly set up? the afternoon sun nicely and often catch a lovely
golden glow across my desk. My desk in
RE: I would say more so the latter, I feel that a
decorated with all sorts of little knick-knacks,
good render should hold its own and shouldn’t
such as figurines and other little statuettes of
require a ‘paint over’. I’m also a bit of a purist,
dragons, Pokémon, comic book characters and
in that I want my artwork to look like a 3D
even Lego men.
render. In the same way that a photographer
would only do minor filtering edits to their DAL: Sounds fun. And what sort of technical
photos, because they want to preserve what setup do you work with in the studio, these
they captured. days?
DAL: Ah yes, I think you may underestimate RE: As I mentioned earlier I don’t have the best
how much good photographers ‘really work over’ of rigs, just my trusty old gaming PC, with i7
their pictures. But I take your point. Processor and NVIDIA GTX750Ti graphics card, a
good pair of head phones and dual monitors.
RE: But with 3D too much postwork can often
give renders a ‘painted’ quality, which can look DAL: Yes, I’d say good wireless rechargeable
beautiful but tends to end up looking more like a headphones are vital for art or graphic design
photo manipulation or digital painting than 3D creation. Ideally with a wide frequency response
render. I feel if there is a clear distinction — which is a sort you can almost never buy in
between photo manipulation and actual bricks and mortar stores, unless they’re glitzy
photography, so should there be a distinction wired gaming headphones for boys, which look
between heavily post, worked renders and plain nicely ‘sci-fi’ but which have super-thin wires
rendered 3D artwork. For me it determines designed to stress-break after six months. But
whether you are more of a skilled digital painter Phillips wireless I can recommend. They keep
or 3D artist. changing the product number every 18 months
but basically the wireless ones to get are at
DAL: I understand. Do you make back-stories for
about the £120 price mark and with a 17-23,000
some of you pictures?
Hz frequency response or wider. You really have
RE: In my head, yes, but they never make it to to dig into the PDF product manuals though, to
paper. I’m not the best storyteller to be honest, find out what the frequency response is. Even
of late I have been doing some Dungeons and Amazon doesn’t tell you that stuff.
Dragon character portraits which I am
Anyway — I got sidetracked there! — I read that
thoroughly enjoying, taking someone else’s story
you work as a Graphic Designer, near the large
and descriptions and interpreting them is way
South Africa city of Johannesburg? Do you find
more fun. The same works in reverse, I much
that you can keep your DAZ artwork seperate, or
prefer to let people interpret my characters
does some DAZ work find its way over into
themselves, inspire them to come up with their
commercial work for clients?
own ideas about the character. I may have had
one thing in mind, but I often receive comments RE: Unfortunately I’m no longer doing graphic
interpreting the character in a completely design full-time, I got promoted to Executive PA
different light, which I always find very to the CEO of the electronics company I work
intriguing. for. But I still do the company adverts twice a
year, and have convinced my boss on a few
DAL: I see. What sort of studio environment do
occasions to let me do a sci-fi themed render for
you work in, and what’s the view from your
the basis of the advert.
window?
DAL: I see.
RE: I wish I could call it ‘a studio’, but I work

40 Picture: “Mechanical Angel”.

41
RE: In fact “Digital Life”, the picture which you planned, which can demotivate you further. So I
previously featured in the magazine’s Gallery, really feel it’s better to drop it a start on
was originally made for such a venture. Sadly I something new once you’re rested or feeling
don’t get to be half as creative as I would like to inspired again. I have tons of unfinished works
be in my job. because of this; even the greatest artists of all
time left a lot of stuff incomplete.
DAL: A pity. There are of course an increasing
number of options today, for digital talent, for DAL: Yes, it’s important not to ‘force things
people who can move and work from anywhere. through’. Or you risk just walking away from it
If you were to move to another country at some altogether and doing something else, and never
point, where might you like to go, and why? going back. You just get sick of it. What aspects
of your artwork would you like to improve on
RE: Canada for sure, it’s a stunning country with
next? Or… what new subject matter would you
genuinely nice people, with all the benefits of a
like to explore?
first-world country without losing its untamed
wilderness. My mother grew up there and I do RE: At this moment in time I’m really trying to
have family there, so it’s also a logical move. work on my lighting skills, lighting can ‘make or
break’ a render. It also has a lot to do with
DAL: Good choice. I hear that a lot of the
render times, so I’m busy experimenting with
farmers in South Africa are considering the
what kind of lighting looks best but also doesn’t
Australian outback, with its traditional lifestyle
take a couple days to render a scene. As for
and worldview. But yes… Canada would be
subject-matter I’m fantasy and sci-fi junky and
good, although rather cool in the winters.
that will never change. But I would like to step
Who are some of other digital artists who inspire away from characters for a bit and do a few
you? Not necessarily just those working with architectural and landscape renders, simply
DAZ Studio. because I have not done any in quite some time.
RE: On DeviantArt: kadaj777; elianeck; DAL: Do you also have aspirations to get into
karismacgart and shibashake are all amazing 3D content creation and selling?
artists with very different styles. Your readers
RE: I actually gave it go a year or two ago and I
can find them all by adding devinart.com to their
learned a fair amount about 3D modelling.
names and plugging them into a Web browser.
Unfortunately a change in my career direction
DAL: Thanks. Have you found any useful left me extremely busy at work, and life in
techniques for getting over the ‘speed bumps’ general got the better of me, so that pursuit fell
that we all get on the road to creativity — the flat. It wasn’t a total loss as I have applied what
problems that arise from being ‘blocked’ or that’s I learnt in my renders, but it is definitely
‘it’s just not working’, etc. something I would like to look into again
RE: Always remember that just because you’re someday, hopefully when I have more time on
an artist doesn’t mean you have to be creative my hands
or inspired all the time. Everyone hits a block at DAL: Ok, great… well, thanks very much for
one time or another, rather than trying to ‘force taking the time to talk with us in this in-depth
it’, step away and go do something else for a interview. It’s been super!
while. Read a book, play a videogame or watch a
RE: Yes, and thanks to you too for the
movie or series, go out and have fun. You’ll
opportunity I really appreciate it.
either find the inspiration you’re looking for or
find another way to look at what you are trying
to achieve — a way that didn’t seem obvious at
first. Sometimes you just need to ‘take a break’
Rebecca Elsey is online at:
and reboot your brain and imagination. I find https://madamgoth.deviantart.com/
that forced work never looks or turns out as

42 Picture: “Snow Flake”.

43
Picture: “Moonlight Magic”.
44
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● Thomas Piemontese ● Suzi Amberson ● Lewis Moorcroft ● Paolo Ciccone
● Shane Bevin (‘Kachinadoll’) ● Rob Wildenberg ● Deane Whitmore
● Tutorial: How to ● Bob May ● ‘Tigaer’: ‘making of’ ● HiveWire: new Big
export a clean .OBJ ● Sci-fi in PC pinball ● Gallery: Future Cat for Poser
from Blender ● Steampunk gallery Oceans and Craft ● Gallery: Second Skin
● Index of past issues ● Imaginarium ● Imaginarium ● Imaginarium
● Gallery: Blender art

47
 YOUR
ART
HERE?

Issue 13 Oct 2016 Issue 14 Nov/Dec 2016 Issue 15 Jan 2017 Issue 16 Feb 2017
Spacewrecks (TTA) Cybertronic Mistworlds Future vehicles

● Vikram Mulligan ● ‘CG Artiste’ ● Chuck Carter (Myst) ● Syd Mead interview
● Xistenceimaginations ● ‘Keplianzar’ ● Cynthia Decker ● Vadim Motiv
● Craig Farham ● Jacques Pena ● Cathrine Langwagen ● Adam Connolly
● TTA series tribute ● TTA series tribute ● Ulco Glimmerveen ● Mark Roosien
● NASA’s rescue-bot ● Ugee 1910b pen ● Evolo competition ● UK’s Bloodhound
● Index of past issues tablet—in-depth review ● Index of past issues supersonic rocket-car
● Gallery: Space hulks ● Gallery: Neon and ● Gallery: Myst-like ● Index of past issues
wrecks, crashes ‘cyberglow’ artists digital art ● Gallery: “Vrooom!!”

A FREE MAGAZINE

YOUR YOUR
ART ART
HERE? HERE?

Issue 17 March 2017 Issue 18 April 2017 Issue 19 May/Jun 2017 Issue 20 July 2017
Movie magic Vue 2016 special issue Sci-fi comics Digital clothing

● Greg Teegarden ● Barry Marshall ● Patrick Gyger ● Kim Schneider (‘Arki’)

● Tobias Richter ● Vue 2016 R2 review (leading sci-fi ● Melissa Moraitis
● Phil Dragash ● Anaor Karim museum curator) (‘BlackTalonArts’)
● ESA’s Moon Temple ● NASA’s tunnels ● Georges Peters ● Marvelous Designer
● Scott Richard ● W.P. Taub ● Arne Cooper 6.5—in-depth review
● Index of past issues ● Index of past issues ● RoboSimian ● Jepe
● Gallery: the spirit of ● Gallery: Nature ● Index of past issues ● Index of past issues
the cinema Grows on You! ● Gallery: comic-book ● Gallery: Future Fashion

48
 YOUR YOUR
ART ART
HERE? HERE?

Issue 21 August 2017 Issue 22 Sept 2017 Issue 23 Oct 2017 Issue 24 Nov 2017
Ecofutures Lighting for effect Gateway to space Abstracts in sci-fi

● Hal Tenny ● Joe Pingleton ● Neil Blevins (assets ● Andy Lomas (The
● Frank Little ● Davide Bianchini artist at Pixar) Matrix, Avatar)
● Organics in pulp art ● Characters in the ● GrahamTG ● Erwin Kho
● Linda Granqvist public domain ● Arthur C. Clarke ● Alastair Temple
● Index of past issues ● Lee (aka ‘Conlaodh’) ● Oshyan Greene ● Gallery: ‘At the borders
● Gallery: visions of ● Index of past issues ● Gallery: Arthur C. of abstraction’ in
the ‘ecofuture’ ● Gallery: characters Clarke tribute science fiction art
● Imaginarium ● Imaginarium ● Imaginarium ● Imaginarium

Interested in being interviewed in a future issue? Please send us

the Web address of your gallery, and we’ll visit!
[email protected]

YOUR YOUR YOUR

ART ART ART
HERE? HERE? HERE?

Issue 25 Dec 2017 Issue 26 January 2018 Issue 27 Feb/Mar 2018 Issue 28 April 2018
Dynamic posing To the skies! Giant monsters Future oceans

● Jaki Blue ● Kevin Conran (Sky ● ‘Sanskarans’ ● Artur Rosa

● Tasos Anastasiades Captain movie) ● Simon Beer ● Matt Nava
● Brian Armieri ● Alois Reiss ● Jean-Marie Marbach ● Samuel de Cruz
● Sugary Ashes ● Airships over Venus ● John Haverkamp ● Future oceans timeline
● Index of past issues ● Vladimir Yaremchuk ● Index of past issues ● Index of past issues
● Gallery: World of ● Index of past issues ● Comic strip ● Evola mini-gallery
Wearable Art ● Gallery ● Gallery ● Gallery
● Imaginarium ● Imaginarium ● Imaginarium ● Imaginarium

49
 YOUR YOUR YOUR
ART ART ART
HERE? HERE? HERE?

Issue 29 May 2018 Issue 30 June 2018 Issue 31 July 2018 Issue 32 August 2018
Fantasy portraits Alternative history Abstract characters Design for videogames

● Kevin McBriarty
● Rebecca Elsey Are you interested in being interviewed in a future issue of the
● Mirjam
● Index of past issues magazine? Or presenting a webinar for our series? Please send
● Gallery: fantasy the Web address of your gallery or store, and we’ll visit!
portraits
● Imaginarium [email protected]

Part of the National Space Society’s International Space Development conference:

2018 theme: “Space Travel: Putting People into Space”.

50
In collaboration with NASA and Boeing, SciArt
Exchange presents the major Project Mars
Competition: your chance to tell the story of
human exploration of deep space. Make a video
film or poster showing the next step in human
exploration beyond Earth orbit, and have it
judged by a mix of top movie-industry talent
and NASA astronauts. Over $20,000 of prizes.
Enter by: 31st August 2018.

http://projectmarscompetition.com/ 51
Mirjam from the Netherlands talks about her
work with DAZ Studio, how the female figure
and face are especially suited to art, and how
she develop a distinctive style based on dark
tones, shadows and glows.

DAL: Mirjam, welcome to Digital Art Live magazine.

Many thanks for taking the time to do this in-depth
interview with our free magazine.
MJ: Hi, my pleasure and thank you very much for
wanting to interview me. I feel honoured. I have
never done an interview before, so I'm very excited.
DAL: I see. OK. Let’s start at the beginning then. How
did you start off, in terms of initially learning how to
be creative? Was it at school, or later? Did you train
with an art school?
MJ: When I was younger I always liked to draw, but I
was never really good at it. It never came out the way
I ‘had it in my head’ and that was quite frustrating. I
never went to an art school, simply because we could
not afford it. I started working when I was aged 15.
Busy with my job and with growing up, are lost my
interest for quite some time. It all started again when
I was in my early thirties. I bought my first high-end
laptop and started videogaming. That's how I was
introduced to the new computer graphics. I loved how
fantasy was being brought to life using a computer.
So, at some point, I was searching the Internet for
more information on the subject and a video on
YouTube caught my eye. It was a video about DAZ
Studio. I installed the free software and started
exploring. I was really really happy, because I found a
way to make pictures without holding a pencil or
paintbrush!
DAL: I see, so did you then research what else was
available, or just your first choice?
MJ: Yes, DAZ Studio was my first choice in software. I
didn't test other software. I started with DAZ Studio
and never stopped using it. 52
 Picture: “No Escape”.

MIRJAM

NETHERLANDS

DAZ STUDIO |
PHOTOSHOP

WEB

53
I knew about other programs, like Poser or be called your ‘sense of shadow’. In
Zbrush, but I never tried them. I like DAZ “Moonchild”, for instance [seen right]. It's more
Studio’s concept of free software. It is much normal for a commentator to focus on use of
more accessible for people to try it out without light in an artist’s work — but I think one of the
spending hundreds of dollars first. most interesting things in your pictures is that
the light is often constrained to certain glowing
DAL: As an absolute beginner there must have
points, and there are all these multiple ‘shades
been some problems you had to overcome, in
of shadow’ that are ‘at play’ elsewhere in the
learning to create digital art? And what
picture.
solutions did you find, along the way?
Of course it does help the viewer to see all
MJ: At first I really didn't know what I was
those, if one sees the pictures full-screen and in
doing. I just wanted to make digital images. I
a dark environment. And that takes a few
was very impatient and didn't want to waste
minutes for the viewer’s eyes to adjust, so they
time reading about the program and watching
can really appreciate the picture. Do you
tutorials. But I quickly realized that that
consciously work at bringing out those subtle
approach would not take me anywhere. So I
tonal values in the picture, or is that something
searched the Internet for tutorials and read
that happens more instinctually when you set up
posts on forums about every question or
the lights for a scene?
problem I had. And so I slowly started to get to
know the program. You have to learn how things MJ: Ever since I started making 3D pictures I
behave, things that are so self-evident to others. always admired artists who had developed a
Things such as light and shadow, depth, point of style of their own. A style so distinctive that,
view etc. I created an account on DeviantArt and when looking at an artwork, you instantly knew
saw lots of beautiful 3D art from other artists. ‘who made it’. For a long time I was trying to
You can learn a lot by looking carefully at other develop a style that felt natural and comfortable.
people's art. I think that is really important, otherwise the
style is difficult to stick to. As for my sense of
DAL: Yes, I find a useful way to start into
shadow, I love the way you describe it, and I
analyzing a picture is to mentally ‘count the
think in my case it comes naturally. I had never
layers’ from foreground to background.
thought much about it until this question!
MJ: And if you have questions about making
/Laughter/
artwork you can always ask the artist ‘how they
did it’. Most of the time they will answer your I think it's a very good question because it made
question. Also the forums on Renderosity and me think about where it is coming from. It's not
DAZ Studio are very helpful. that I don't like light, but I do find bright light
unpleasant. Sure I love going outside when it's
DAL: What do you especially enjoy about
summer and sunny, but only with some good
working with DAZ Studio, in its latest version?
sunglasses on. So… being in the shade or ‘dark’
MJ: I really like the iRay render engine and is kind of natural to me. My living-room isn't
dForce simulated cloth engine. Both contribute very bright and when it's in the evening and it is
to a lot of realism in images. iRay renders light dark I don't have many lights on. I really like
in a very natural way. That makes it possible to candlelight or dimmed lights. Just enough light
play with lights or shadows. I haven't used to see. Same goes for my images, I don’t like
dForce much yet but I really think it's a great them bright. I like to work with lights in a way
addition to the software. Finally, some natural- that they light up a part, the part where I want
behaving cloth! I hope we get a lot of dForce it to be lit in a very subtle way. Using lights like
hair too in the near future. Because I see a lot of that makes you discover things when you look
beautiful hair at the stores, but it does not more closely. I also think it creates a certain
behave as naturally as it should. atmosphere. An atmosphere that I personally
DAL: In your work I especially like what might like a lot.
54 Picture: “Moonchild”.
55
56
Pictures: “Skull Queen” and “Salome”.
57
DAL: Great, it certainly works. What
would you say are the key main
themes in your work, in subject
matter, that you keep returning to?
MJ: Fantasy, fantasy and fantasy!
Wings, magic, horns, bones and
skulls, warriors, angels and demons,
witches, elves, I love them all. As a
child I loved fantasy characters and
magic. Reading fairy-tales and
watching fantasy movies. That never
changed and my love for fantasy
continued to grow. Especially with
the CGI these days in movies and
the software to create wonderful
fantasy art. I really get inspired by
TV shows such as Game of Thrones,
Penny Dreadful, The Shannara
Chronicles, Sleepy Hollow etc. And
movies like The Lord of the Rings
and The Hobbit and games like
World of Warcraft or Diablo.
DAL: Ah yes, a Diablo-alike is one of
my favourites: Titan Quest.
Although I hear great things about
Divinity: Original Sin II which I have
a copy of cued up and ready to play
— once I get a 160,000-word
scholarly book on Tolkien ‘out the
door’ this summer! To what extent
do you plan a picture? Can you
could talk readers through the
process of making a picture like the
recent “The Bone Collector”, please?
MJ: It’s not really a plan, I think. It
all starts with the mood I'm in, or a
certain feel I want to give the
image. From that mood I pick the
character. In this case I wanted her
to look fierce but still a bit sweet.
Someone you should not
underestimate. From there I choose
the armor and apply the pose. Then
I start to build the scene around
her. It's not that I have planned in
advance what the scene should look
like. The only thing I knew I wanted
to use were bones, lots of bones.
Adding them to the scene, the name
of the image popped into my head. 58
59 Picture: “Roar”.
I like using TV show or movie references as lights in a way that accentuates parts that cast
names for my images. When everything is into shadows or parts that catch light. The female
place only then do I start picking lights. I use face is perfect for portraits too. Love those high
environment lights, but I always put the cheekbones, long lashes and big eyes!
intensity very low, because I don't want the
DAL: You mentioned clothing. Who are your
environment too bright. A front spotlight and a
favourite content makers on the DAZ/Poser
left and right rim light, nothing more. The rest of
stores? And what keeps you coming back to
the light in the scene comes from emissive
them and putting them on “the WishList”?
props. I love using emissive props to make a
scene come to life. They have a subtle way of MJ: I think there are a lot of high-quality content
lighting a scene. creators these days. But of course I have some
favourites. For poses, props and scenes I really
DAL: Yes, and there some nice sets of iRay
like Danie & Marforno. They have a very unique
emissive light shaders to be had, these days.
style I really like a lot. They have a bit of a
MJ: After checking the scene for flaws I adjust medieval, druid and witch style but sometimes
the render settings and let it render in iRay until very modern too. Perfect for a lot of my renders.
it is finished. In Photoshop I adjusted the colours Items from them are always on my wish list.
a bit and added the name and logo and voilá, Same goes for Faveral and Polish.
done! It can take up to a few hours before it's
ready for the final render. Loads of test renders
in between, and adjusting things when needed. For me females are more
DAL: I see, thanks. What are your favourite versatile to render than men.
tools for postwork on the nearly finished picture? They have beautiful curves
MJ: I always try to make my render so that I and are more sensual. These
need as little postwork as possible. I use curves are perfect for playing
Photoshop for postwork only if needed. I kind of
suck at using Photoshop, so most of the time I with lights and shadows. […] I
only use it for adding a name and logo or some like using lights in a way that
magic effects with brushes. Sometimes I adjust
accentuates parts that cast
colour a bit or lighting/shadows if needed. I do
like the NIK Tools plugin for Photoshop, because shadows or parts that catch
you can enhance an image very easily without light. The female face is
needing some serious skills.
perfect for portraits too. Love
DAL: You focus mostly on females in pictures,
those high cheekbones, long
and only very occasionally a male. And there are
many aspects shown. What aspects of ‘the lashes and big eyes!
female’ — as a subject matter for pictures —
interest you the most, and why?
For characters I have a couple of favourites. I
MJ: For me females are more versatile to render really like characters from P3design. They have
than men. They have beautiful curves and are great skin textures and same for the eyes. They
more sensual. These curves are perfect for render very naturally. And of course
playing with lights and shadows. Tough or Maddelirium, great textures and characters.
sweet, thick or thin, good or evil they always ADSI and Silver make lovely characters as well.
look amazing. They look good in every outfit you And Mousso, for great morphs and good skin
put them in. Also the majority of quality content textures. Absolutely ‘wish-list worthy’.
is made for females too. I think the torso of the
For clothing I love Aeon Soul’s content. Great
female is most interesting for me. It looks good
looking clothes with extremely detailed textures.
from whatever angle you see it. I like using
60
Picture: “Crown”.
61
Pictures: “Guardian Angel”; “Doing Time”; “Maple”. 62
63
A very gifted artist(s). Lilflame, Sveva, drive and thus only has a 1200px version of
Bobbie25, Sarsa, Arki, Strangefate, RPublishing, something they made. Talking of ‘space’, what
Rhiannon, Damage Inc... the list is endless. They is your studio like?
all have their own style and great eye for detail.
MJ: Actually I don't have a studio or a desk. I sit
Instant ‘buys’ and ‘definitely wish-list’ content.
on the couch with my laptop on my lap and my
When it comes to hair I use hair from Out of mouse on the armrest. That's how I work! The
Touch and AprilYSH most of the time. It looks TV is on the left so I can watch TV when I want
natural, it comes with lots of morphs and I like to while I work. It's nice to change focus every
the hairdos a lot. Also great wish-list candidates! now and then. And my boyfriend is always on
the other couch on the right watching TV. It's
DAL: Which digital artist communities do you
nice to change focus every now and then. Plus I
use and recommend (on-line or off-line) and
can still have a conversation while I'm working.
how have they helped your work?
DAL: Right. I see that you’re in the South part
MJ: To be honest I only have a DeviantArt
of the Netherlands. Does the landscape or sky-
account and sometimes I put my renders on
scape there influence you at all, would you say?
Renderosity and the DAZ gallery. So I don't have
much comparison. I don't think I have enough MJ: No, not really. We live in a normal street
time to maintain multiple accounts to be honest. with terraced houses. But not very far from
I have a full-time job and work long days. So I'm where we live you have a forest and a few
happy if I can finish one or two renders a week. castles.
I do like DeviantArt a lot. Loads of talented
DAL: Sounds good. Have you been tempted to
artists and more important, I really think it's a
look at other software, such as Vue, or 2D digital
friendly community. You can find tutorials and
paint tools such as SketchBook Pro, to your
always ask an artist. Plenty of groups you can
toolkit? Perhaps to help to widen out the
join too.
landscape and backdrop elements in your work?
DAL: Yes, though the DeviantArt Groups are not
MJ: Not yet. If I want to develop more skills in
always as active as one might hope, and a great
using software like that it will be Photoshop first.
many are moribund. Perhaps they now need a
I do think Vue is very nice software to create
50 x paid ‘niche themed Group’ moderators/
fantasy landscapes. So maybe in the future.
curators, now that they’re in new ownership.
DAL: What aspects of your artwork would you
What three tips would you give to those who are
like to improve upon next?
just starting out with 3D digital art. Mistakes to
avoid, but also habits to cultivate? MJ: Even better use of lights and shadows. Using
dForce to add more realistic movement to a
MJ: Take the time to get to know the software
render. Learning how to use Photoshop better,
you are working with. If you need to know
to enhance a render or add something extra.
something Google it or look on YouTube or the
various 3D user forums. DAL: Ok, thanks so much for this in-depth
interview with our free magazine. We wish you
Practice, practice and practice. Only by
all the best in the future.
practising a lot you will become better. Don't
give up and stay critical. MJ: My pleasure and thank you for giving me the
opportunity. All the best to you too!
Save your work! Every single time! From base
render, to Photoshop file and final render. You
never know if they every need anything for an
Mirjam is online at:
interview.
DAL: Very true. It’s always disappointing when https://mirriejam.deviantart.com/
an artist has ‘deleted for space’ on their hard-

64
Picture: “The Bone Collector”.
65
Digital Art Live magazine presents a choice gallery of fantasy portraits.
Enjoy: robot knights on strange horses; halflings battling spiders;
wood-gods; carousing dwaves; sharp-suited lions; fading dryads and
budding plant people!

Taliesin II

I was a prince in disguise: Then I administered, to my enchanter,

He, who enchanted me, the stroke of a greater enchanter.
placed me in hot metal ties. Now I am free; a skilled bard, worthy of praise.
I was called Red Enamel’s Glory; my and a spirited, fluent, reciter.
chest-jewel a destroyer to enemies. My voices climb with the Eagle.

I was a bolt in the thunder: I set in order a nook in hilly Merion.

I would shed blood to stop a host. I enchanted a fair-sized simple creature
I drew blood to avenge Kymror; driven to that mountain top.
Daring the fight against the sons of the Lost. Avagdu he is, and we ride now together
Their blood filled the tidal reaches. down upon the bright dales of Cim.

— adapted from Taliesin, 6th century

Welsh translated by J. G. Evans.

66
Picture: “Taliesin II” by Mutinate, UK.

BEAUTY

POWER

NATURE

STORIES

67
68
 Picture: “It’s a Dangerous Business, Going
Out of Your Door...” by Mutinate, UK. A
69 high-res print is available at DeviantArt.
 Pictures: “Nebula forest”
by Nassima Amir
(France); “Smiling Elf” by
Kkadaj777 (Tia Marie
Maze, USA), Daz Studio.
70
71
 Pictures: “Story time” by Spartank42
(Kenneth Sofia, Philippines); “Keeper of
the Forest” by Simon Beer (Switzerland),
72 made with Poser and Photoshop.
73
Pictures: “Dwarf Rodric”; “Lando”;
and “Wood-elf Ecil”, all by Taonavi
(Park Jinwoo, South Korea).

74
75
76
Pictures: “Drops” by Grim Red
(Ruth, UK); “Usurper” by
Echidnaean (Jules, USA).

77
Pictures: “Dryad before Winter” by MorgaineleFee; “Astral Tribe” by Lapec; “Lion” by Stahlber.

78
79
80
Pictures: “Fern Diva” by
MichaelF77 (Michael
Frank, USA); “Bionika
Ikebana” by KitsuneRyu
(Alex Vas, Russia).

81
Movie: Solo.
Released 24th & 25th May 2018.
For many devoted fans, the new Star
Wars franchise has rather outworn its
welcome. Can the new ‘young Han
Solo’ movie remove the sour taste
left by last December’s Star Wars:
The Last Jedi and the messy Rogue
One? Let’s hope so, because Solo: A
Star Wars Story may be the last
chance many older fans will give to
Disney. The omens for Solo were
initially not good — a ‘messy’ shoot,
many re-shoots, and then movie
heavyweight Ron Howard had to be
brought in as Director to rescue the
cludgy edit. But the cast and
dialogue are apparently top-notch,
and the trailer strongly suggests that
it should be decently entertaining.
The UK cinema release is on 24th
May, and 25th May in the USA.

Our pick of the most inspirational art, science and sci-fi. Make your imagination LIVE!
82
83
 Picture: VNV Nation play live at Cologne, Germany.

Music Album: VNV Nation Comics: The Green Hand and...

A free science-fiction concept album — this Many 1970s readers of Heavy Metal magazine
one is a bit of an experiment, here at Digital will remember Claveloux’s marvellous 56-page
Art Live magazine. We’ve created a public “Off-season” as one of the all-time classics of
‘playlist album’ on Spotify, which you can comics, a surreal tale featuring two private
listen to for free via the Spotify service. VNV detectives aboard an experimental train. This
Nation—Selection is a carefully selected and book collects ‘the best of the rest’ of her strange
sequenced selection from the work of comics stories, drawn from her French books La
leading electronica band VNV Nation, so as Main verte (1978) and Le Petit Legunie (1980),
to make that most rare of things — an all expertly translated and re-lettered in
optimistic science-fiction concept album. Claveloux’s lettering style. The new book’s
This ‘fan-edit’ album runs to 54 minutes and contents are: The Green Hand / The Black
ten tracks. The album opens with an Grass / The White Night / Blue Funk / Purple
overture of scene-setting instrumentals Sideshows / No Family! / The Little
before launching into tracks featuring the Vegetable… / The Ninny and Her Prince
sublime vocals of Ronan Harris. The focus is Charming / Stupistory Number 1 / A Little Girl
mostly on the strongest electronica found in Always in a Dream / The Tale of Blondie... /
VNV’s output, and the idea is that each track Underground Chatter. There is also a new
is a step along a timeline toward the future. interview at the end of the book. As such, this
The album ends as-if with a requiem for the isn’t the long-awaited one-volume English
last person who could remember living in reprint of “Off-Season” (Morte-saison in French
‘the old world’ of the past. in 1980) — but presumably if it sells well we
may see that small masterpiece circa 2019.
https://open.spotify.com/
84
Graphic Novel: Downward to Earth Non-fiction: A Future Remembered
Some of the best science-fiction art of 2017 Any new Syd Mead book is always welcome,
was found in the graphic novel reworking of and this one is the autobiography of the
Robert Silverberg’s novel Downward to the master of future-design and envisioning! His
Earth (1969/70). This is now out in a two- book is titled: A Future Remembered:
volume graphic novel from Humanoids, Autobiography of Syd Mead Part 1 and it
which radically reworks the original 256 page contains Syd’s personal life story, as written,
novel and squeezes it into 100 pages. The illustrated and designed by the original 'Visual
novel was a 1960s take on Conrad’s famous Futurist' himself. Syd writes that this is
novellette Heart of Darkness. Anti-hero intended as a special treat for his fans, friends
Eddie Gundersen returns after the wars to and followers alike. For those who are unsure if
his backwater planet of Belzagor. Much has this is a re-issue or not, be assured that this is
changed, but Eddie finds work leading a a new book, released in early Spring 2018. It
scientific expedition into the vivid contains never before seen photos of Syd's life,
ecosystems of the still-unexplored parts of from childhood through his long career as a
the planet. The book was written in the ‘free futurist designer.
love’ era and as such the adaptation has
Note that this signed soft-back book is not to
some melodramic ‘love-interest’ and
be found on Amazon or in bookstores — it is
swearing among the scientists, but the
only available through direct mail-order sales
wealth of Avatar-like art of alien
from Syd’s own website and costs $75 plus
environments and flora makes it worth the
shipping.
price. If you want the original novel without
the graphic novel’s radical changes, there’s http://sydmead.com/a-future-remembered/
an unabridged audiobook to be had. 85
Hobbiti Gawain to the graphic novels
Until 3rd June 2018, Helsinki. 9th June 2018, Machynlleth, Wales.
Currently running is an exhibition on Tove MOMA Machynlleth, in mid Wales, presents
Jansson’s illustrations for the Swedish/ “From Gawain to the Graphic Novels”. The
Finnish edition of The Hobbit. The show is at study day will focus on links between art and
the Vantaa Art Museum Artsi near the capital mythic narrative and will be led by Olivia
Helsinki, in Finland. Janson was of course Ahmad of The House of Illustration. The day
the artist famous for creating the Moomins, will also feature talks by artists, illustrators,
and the full range of her original Hobbit and publishers. The event is paired with a
illustrations are here on show for the first gallery exhibition of the screenprints made by
time. Her work illustrated the translation, Clive Hicks-Jenkins for a special Penfold Press
called Bilbo: en hobbits aventyr (‘Bilbo: a edition of Simon Armitage’s modern-
hobbit’s adventure’) and were in a looser language adaptation of Gawain and the
style than her highly-worked Moomins art. Green Knight (on show until 23rd June
2018). Gawain is the famous West Midlands
https://museot.fi/exhibitions/
medieval dialect poem which J.R.R. Tolkien
worked on for most of his working life.
Pictures, from left, across double-page spread: The venue is near the coast of mid Wales, on
Detail from a Tove Jansson illustration of Gollum, the southern edge of the Snowdonia National
for The Hobbit. Park. The best train route appears to be
Detail from “Crown of Leaves” screenprint by Birmingham to Shrewsbury and then on
Clive Hicks-Jenkins. through the Welsh mountains to the coast at
Aberystwyth — but ensure you’re on a
Detail from a Jackson portrait by Kehinde Wiley.
stopping train that makes the Machynlleth
Logo of the Museum of Science Fiction, a stop just before it reaches Aberystwyth.
nonprofit museum to be based in Washington,
D.C., USA. http://moma.machynlleth.org.uk/
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Michael Jackson: On the wall Escape Velocity 2018
28th June – 21st Oct 2018, London. 25th-27th May, Maryland, USA.
“Michael Jackson: On the wall”, will be a ‘Escape Velocity: From Imagination to
blockbuster art show at the National Portrait Reality’ is a major three-day event from the
Gallery. It will celebrate the “rude, kitsch, Museum of Science Fiction and its partners,
and hilarious” art that the pop star Michael "featuring over-the-horizon technology and
Jackson inspired from the early 1980s panels on hard science and pop culture". The
onwards, and which soon made him a ongoing aim of the event is: ‘To create a
considerable influence on the rise of kitsch center of gravity where art and science are
and celebrity in the art of the 1980s and 90s. powered by imagination’. The location is
Some of the most interesting portraits of Maryland — which is on the east coast of the
Jackson drew on and reworked long-standing USA, and by American standards of distance
iconography found in devotional and is fairly close to New York. The 2018 event
aristocratic art, confirming that such expects around 3,000 attendees and has
approaches still have power. The exhibition already announced talks from the designer of
will also be a celebration of the star and his the Halo videogames, from space developers
many innovations in pop videos, dance, such as John Elbon of Boeing, and major
fashion and music. The show is billed as a science fiction authors such as David Brin and
“landmark exhibition” that will draw from Greg Bear. Plus a 2001: A Space Odyssey
public and private collections around the 50th Anniversary Special Program. The
world, but also as one that will also be taking theme for the Friday of the event will be
“an entirely new and quite radical approach” “How science fiction inspired exploration
— so expect surprises! Although tickets are achievements”. The event also has much to
expensive, demand is likely to be high at peak interest younger attendees, with things like
times and as such early booking is advised. hands-on junior science workshops and a
Costume Competition and Fashion Show.
https://www.npg.org.uk/whatson/michael-
jackson-on-the-wall/exhibition https://escapevelocity.events/
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 Are you interested in being
interviewed in a future issue of
the magazine? Or presenting a
webinar for our series? Please
send the Web address of your
gallery or store, and we’ll visit!
Back cover: “Automaton”
by Cean Herzfield. [email protected]

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