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Catalog
The core techniques of digital painting: colour theory, light, composition, brush control and rendering. Worked examples take you from a blank canvas to a finished piece, at whatever pace suits you.
How a character is built: silhouette, proportion, costume, expression and the design decisions that make a figure readable at a glance.
Designing places: landscape, architecture, atmosphere, scale and the visual logic that makes an imagined world feel like it could exist.
The working methods behind production concept art: reading a brief, thumbnailing quickly, iterating on feedback, and presenting a design clearly enough to be built from.
Line, form, proportion and tone, worked through with the kind of steady, repeated practice that builds a reliable hand.
Washes, wet-in-wet, glazing and lifting, and the control of water and pigment that watercolour asks for.
Working in acrylic: layering, blending in a fast-drying medium, texture, the use of mediums, and mixing colour that stays true as it dries.
Oil painting in depth: underpainting, fat over lean, glazing, alla prima, palette control and bringing a picture to a considered finish.
Taking a character from a design sheet into a finished illustration: pose, staging, lighting, colour and telling a story in a single image.
Designing creatures that convince: real anatomy as a starting point, silhouette, scale, texture and adaptations that look like they evolved.
Panels, pacing, perspective, inking, tone and lettering, and how a page carries a reader from one moment to the next.
Design for movement: model sheets, expression and pose libraries, colour scripts, and keeping a character consistent across every shot.
Typography, hierarchy, grids, colour and layout, and how the arrangement of a few elements decides what a reader sees first.
Building an identity: marks and logotypes, colour and type systems, visual tone of voice, and the guidelines that keep it consistent.
Single-image persuasion: focal point, scale, contrast, image and copy working together, and designs that read from across a room.
Designing for screens: social formats, motion-ready layouts, thumbnails and banners, and carrying one idea across many sizes.
One-, two- and three-point perspective, constructed form, ellipses, and sketching buildings and interiors that sit correctly in space.
The figure from the inside out: skeleton, muscle groups, gesture, proportion and foreshortening.
Likeness and surface: skull structure, feature placement, the planes of the face, and rendering skin, hair and eyes convincingly.
How a picture is arranged to be read: focal hierarchy, movement, negative space, value structure and the choices that give an image meaning.