Squid vs. Whale by Mark Fairless

Mark Fairless created this great image in his own unique style as a fun personal project. Motion graphics designer by day, Mark says that sometimes he needs to forget about those keyframes and concentrate all efforts on just one frame.

“I’m often sketching things I’d like to create later on down the line,” he says. “This was one that I couldn’t wait to get started on. I’m really trying to push my ZBrush skills so I thought this would be the perfect project.”

Creatures of the deep

Concept art

The image was inspired by a number of films including Warlords of Atlantis, 20,000 Leagues Under the Sea, and even the films of Ed Wood.

Mark says that it was based on memories of the films that were perhaps “not too accurate”.

We certainly agree regarding the Ed Wood influence: we can’t even see one wire or a motor…

Brought to life

Mark used ZBrush and After Effects on the scene. “Obviously ZBrush created the main body of the scene but the compositing in After Effects really helped bring it to life,” he says.

“I find myself using After Effects over Photoshop for non-painting tasks simply because everything is live and easily adjustable, which is very useful when you’re experimenting.”

New to ZBrush

The process of creating Squid vs. Whale

As a new ZBrush user most of the difficulties came from getting used to the software, such as learning to create a ZProject so that all models and other elements always appear in the same place, crucial for multi-pass rendering.

“Using ZSpheres and later rigging them proved tricky at first, but once I got the hang of them I began to see the power of these tools,” says Mark.

What do you think of the Squid vs. Whale image? Leave your comment below, and if you’d like to see your work on the 3D World website, send us an email.

Check out Mark Fairless’ CGPortfolio

01 Do it for free

Nick Kaloterakis, Kollected: “Volunteering in a studio or acquiring some work experience while studying will expose you to people in the industry and shed some light on the reality of working in 3D.

“Beginning your career in a studio lets you experience so many facets of the industry and develop the skills you may need in the future.”

02 Price yourself correctly

Freelancers should consider joining the Association of Illustrators (in the UK) or the Graphic Artists Guild (in the USA).

Adam Benton, Kromekat Digital Media Design: “You’ll get accurate market rates for similar commissions. Don’t be tempted to take less for a commission just to get published. It’ll cost you in the long run.”

03 Get to know your potential employer

Keith Jeffery, Taylor James: “If you’re interested in joining a studio, look at their work and style, and then customise your reel and CV to show off your best and most relevant work.

“If you don’t have examples that are suited to the area the studio works in, it’s difficult to see how you’ll fit. And be honest about the skills you do have and those you want to improve.”

04 Learn the basics

More than any other 3D field, digital illustration requires strong traditional skills.

Chris Morris, CGI director at Giannini Creative Imaging: “Whenever I hire a new intern, I always ask to see their non-computer artwork. I want to see who they are as a creative person first.

“Learn the new technology but don’t tie yourself to it. Software and hardware will change, but a strong base of artistic skills will last a lifetime.”

05 Get ahead with advertising

Given that advertising is a key market for digital illustration, it’s surprising how many artists forget that they need to promote themselves properly. Good networking and use of the web are key.

Andrew Kerr, Dotnamestudios: “Sign up with all the ifreelance-type sites and start posting your work. Try to think where you’d look if you needed an artist, and then promote yourself accordingly.”

06 Invest in hardware

The size and relative complexity of digital illustrations can make them surprisingly processor intensive, so don’t be tempted to skimp on kit.

Adam Benton: “Get the most powerful hardware you can afford. When you do finally upgrade, keep the old machine as a render node or a fallback machine. And don’t forget about additional hard disks for regular backups!”

These expert tips first appeared as a longer article on digital illustration in 3D World issue 140. Click the link to find where you can buy the mag to learn more about the world of digital illustration, and how to get started.

Click the thumbnail to find out more and to buy issue 140 of 3D World magazine