The making of Joel Carlo Speed Runners
As a multimedia developer currently residing in Denver, Colorado, Joel Carlo is enjoyed his professional career as an artist for over the last 14 years, which has included work in both traditional and digital media, web design, print, and motion graphics for broadcasting.
Joel concept illustration ‘Speed Runners’ was as a personal project. At the time, he was involved in creating a series of illustrations based on science-fiction themes and ‘Speed Runners’ was a direct result of his multi-platform experiment, and the inspiration of Speed Runners coming when he had the opportunity to attend the Gnomon Workshop, where artists Barontieri and David Levy shown the process for creating their incredibly dynamic concept art.
The process is began with the illustration, with experimenting in different ways to design generic ship models in ZBrush using a technique created by a user named “SaltaPiedras”, of the ZBrush Central forums. This technique involved the use of texture masks which could be used to create deformations based on hue (Fig01, Fig02, Fig03 and Fig04).
Then he took this process one step further by exporting a high resolution render of his illustration into Photoshop where the illustration process would take place (Fig05). Joel began playing with ideas for the layout and decided to have the ships hovering over a desert-like environment with a backdrop of a decayed city skyline (Fig06 & Fig07).
After the layout and colour palette are all set in place, Joel began working on the decayed city. Because he wanted to concentrate focus on the ships, the city background was created using simple brush strokes and kept details down to a minimum (Fig08).
His work on painting the ships was a bit of trial and error. After cutting out the ships and placing them in the scene, he wasn’t completely satisfied with how they sat in the composition (Fig09).
Using the Photoshop’s ‘Free Transform’ tool, Joel playing with the size of the ships.Using the perspective lines as a guide, he accommodated the angle of the ships, then duplicated the ship layer multiple times and began playing with the layer properties. Colours were painted in several stages using Multiply mode on separate layers, and painting opaquely directly on the ship layer (Fig10).
The final details, as you can see below, were incorporated with the creation of swirling cloud formations and lighting effects.
Via: JoelCarlo.net.
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