+$When learning extreme perspective绘画技巧+$, it is often a good idea to borrow some methods from3D艺术+$. Here, I am going to depict a dynamic racing scene between two speeder bikes in the back alleys of Tatooine. Because I'm keen to use an extreme perspective I do a rough thumbnail sketch and then pose a couple of free, simple speeder bike 3D models, using ZBrush.
+$Then I do a quick render without any sharp light sources in Keyshot after setting up my camera. This gives me a good head start with the perspective and composition, and acts as a base for the whole digital painting process.
+$Now I jump into Photoshop and start blocking in the alleyways. I use different photos from Morocco, and use the Free Transform tool to adjust their positioning.
+$I build up my scene around a one-point perspective, and to strengthen my perspective even further I place the two speeder bikes coming from my vanishing point. This not only adds an extra level of depth, but gives my scene much more dynamism and speed.
+$From this point on the whole process involves painting to develop the scene, and the details. During this stage I make an effort to introduce as many overlapping elements as possible, because this helps the viewer understand what’s going on in different areas of the composition.
+$Creating a simple 3D scene to block in a more extreme perspective can help when creating action-oriented artwork. Even if you're not a 3D expert, play around with royalty-free models and set up a couple of lights and a camera to quickly try out more interesting compositions. I do exactly this with the two speeder bikes.
+$02. Fill The Background
+$I use some photos to composite the background together. I also paint in the two figures on the speeder bikes and establish the positive-negative space ratio.
+$This describes areas in the image that either contain visual information or are relatively empty. It helps me to direct the viewer's eyes more effectively.
+$03. Final Details
+$My goal is to create an impressionistic storyboard frame from one of the films. To this end, I try to keep the style rough and painterly and cover up most of my photo textures, using brushes that emulate oils and acrylics. I enhance the detailing around the two figures and bikes, which strengthens my focal areas.
+$Mark works on projects for film and game companies. His past clients include Lucasfilm, Time Warner, Weta Workshop, Eidos, Applibot and Fantasy Flight Games. 这篇文章最初出现在ImagineFX+$magazine Issue 129.