Raphael Argento

Sketch

2011-07-08T19:27:00.000-07:00

Um esboço que fiz a partir de uma estátua de Michelangelo

técnica: lapiseira sobre papel

Crash! in Festivals

2011-05-20T07:40:00.000-07:00

So, Crash! is in Festivals: I will update with the ones it's concurring:
Crash! em festivais:

26º Festival Internacional de Cine en Guadalajara - http://ficg.org/sitio/ - March 25 - April 1st - 2011
3PO Tellus World Ski & Snowboard Festival - http://www.wssf.com/ - April 15-24 - 2011
West Virginia Mountaineer Film Festival - http://www.mountaineerfilmfest.org/ - April 30 - May 1st -2011
Festival Internacional de Filmes Curtíssimos - http://www.filmescurtissimos.com.br/ - May 6-8 - 2011
The Gadabout Travelling Film Festival - http://gadaboutfilmfest.com/ - Oct 8-9 - 2011

And now on television: (July 28, 2011 on Knowledge Network)
E agora na TV: (28 de julho na Knowledge Network)

Caricature

2011-03-04T20:05:00.000-08:00

A caricature I draw and painted in photoshop. (click on image to see it bigger)

Uma caricatura que desenhei e pintei no photoshop. (clique na imagem para ver ampliada)

The Making of Crash! - Part 4

2011-03-02T18:00:00.000-08:00

"Animation is passion"
Steven Taylor

Yes, that was one of the most incredible things I heard at VFS from Steven Taylor, a very experienced animation teacher. He was in one of our class just talking about animation and his career, when suddenly he started this speech. It was a very emotional speech where he was telling us about his career in animation and how his great passion is just to bring these characters to life. And it was really good to see him after more than 20 years of animation telling that for us, a class of students being introduced to the animation world. And I personally think that's what happens when you do something that you are really passionate in your life: you just want to do that because you love it.

For me it was the most amazing moment when I did a simple test with my character doing a small jump. It was like bringing it to life. Those who created a character and have seen it animated know what I am talking about. It is the great moment when those hundreds of vertices move are not more a mass of bits, but something really alive:

Now it comes the funny part when everything is ready to animate, all scenes planned, all characters rigged and the environment and the props are ready to fly.

This entire movie was done in 5 weeks and each week was scheduled to corresponded to a phase of the animation project. Of course I didn't wait until the next week to do the next steps. Every time I finished one phase I immediately started another. This would give me more time to fix the errors I would probably have during the process.

One point of my work process is the organization of the work. For me it is a kind of a personal sense of working. I like keep things as organized as possible and inside this organization I will have the freedom to experiment inside this organization I proposed to myself. So firstly I made an schedule to my work. I knew when the animation was due to so I adapted the production phases to my schedule.

The other point in this project it was that at VFS we had the weekly reviews that were meetings were all the class and the instructors were together and they screened our progress and gave us feedbacks and these were the most important meetings because with these we were able to fix the problems in our animations and the story.

Thumbnailing

Animation to me starts with research and planning and that's why I start with thumbnails of my shots after watching the storyboards and seeing what is the general "feeling" of the scene:

Thumbnails are good because they allow me to plan the scene before I start to animate it and they save a lot of time because in most cases they allow me to know where I came from and where I need to go in the process.

This stage was also how I started to understand my glass movements. I decided to treat him in the same manner as the flour sac exercises I did on VFS. So his upper body would be considered one bouncing ball and the lower body another bouncing ball. This gave the regulations of my glass movements I was defining what he could or not do with his body.

Setting the cameras with my animatic:

To do an animatic is the first phase of this short film production: It is with this animatic, that I placed the cameras based on the 2d animatic done before:

First problems and solutions:

First thing I learned when I had to do this project: scale is the most important thing in 3d. I started well, importing cuppy into Jack´s scene and modeling them proportionally. BUT I forgot to import them into the environment scene and model it in the proper scale... So, when I finally imported my character in the scenario what happened?

Later on I scaled the scenario and everything was ok...

Posing (3 poses)

All my scenes they start with 3 main poses. The first golden pose is the one that tells the story, the one that sell the scene to the audience. The other ones are those which are going to begin the scene story and finish it. These three poses they must sell all the context of the story and frequently I have them planned before I start one shot. In my opinion drawings work as a planning for the scene, but this is not a rule, many animators just go directly to the 3d software and do their poses on it.

(obviously, these are not the same poses as above, just an example)

Breakdowns

When I finish my main poses I insert some breakdowns between them just to see how the character is going from one pose to another one. At this point I am not animating in the correct scene time. I usually insert a pose every 10 frames setting a key to all the controllers in these frames. I just want to have an overall feeling of the poses before I start timing them in the next step. That's why my drawings work so fine to me. I usually follow them to create my pose. But I am not stuck to them. If I feel I need to change a pose because it is not so good as it is in the drawing I will change it.

1st pass, 2nd pass, 3rd pass, 4rd pass...

And then I started the animation passes. At VFS we were instructed to do the character´s movements first and when it is done we would start the lip-sync and facial animation. And it was how I started to do this, but not exactly in this way. Due to my animation is so concentrated on the facial expression of Cuppy, at many times I just mixed body and facial animation together, so I would have more control over his movements.

And some changes that I did in the animation during the process made me change my workflow as well. Some scenes were more complex so they took me more time to finish while others were pretty simple and I could finish and polish them firstly.

The other important point it was that during the process the story changed a bit and every shot had a different time at the end of the movie. Below it is possible to see them (not the changes in the story, but the changes in the shots times). And all these things happened due to my general inexperience in animation, mostly in timing and spacing. For some action I was expecting to use 300 frames on them, but when I started the animation I realized that I would need half of it because they are fast actions.

Rendering

When all the animation is done I started to render all the scenes. At this point I do some adjustments to my scene. As I told, my environment was illuminated by the senior instructor, but in some scenes I needed to create some extra lights to focus the audience attention to my character and to fade some parts of the movie that I didn't want my audience to look at.

Crash! had some special steps related t its render. First my main character was a glass and glasses are transparent. I also wanted the eyes, the teeth and the tongue to be seen only when his cavities were opened not during all the time (my early renders showed me that it was really awkward when you could see these parts through it). Look the example below of my first render test:

Nice no? So what should I do? After a talk to the senior instructor he showed me a way to render a separate pass that would only show the internal parts with a Maya trick called black hole which is present in the Lambert material (pay attention. It is really hard to notice the differences the two images) :) :

Every single scene in this project had also its own lighting and shading, accordingly to the cameras, character's positions and movements and its relation to the scenario, so I could say that I had one lighting per scene.

Putting everything together (Composing)

And after rendering everything in passes is time to put everything together, and do some adjustments to the scene colors and add some depth of field to them. Particularly I don't like to show my renders as they get out of Maya's oven. I like to do some icing in the cake, so, I fixed some lighting and colors directly in after effects:

Some adjustments were done later on by Rob Wood, on his calibrated monitor.

Audio:

After the animation was ready I sent it to the sound designer (Nathan Gokhool) who did the audio for the my movie and was later on fixed by the sound editor (Matt Thomas). The only point here is that some scenes for sure are much better done when you'll animate to the audio not the opposite, like the bouncing of the glass on the floor, but even when you don't do like this a good sound editor can sync the sounds with the animation.

The final Movie:

Some funny stuff:

What is animation without having some fun?
Sometimes you just want to concentrate and for me animation is concentration. I love the silence and peace to work:

Even if I have to be a little enphatic for that...

Making of: Part 1 - Part 2 - Part 3 - Part 4

Fun with a tablet

2011-01-28T00:42:00.000-08:00

Digital drawings and paintings I did just for fun with my tablet.

The Making of Crash! - Part 3

2011-01-24T01:40:00.000-08:00

Environment Project:

To make the environment I started the same way as the other parts of the project: finding references on internet and making some sketches, just to get the feeling of being inside a bar (and naturally I went to some bars in Vancouver to see how they work):

With all my references in my hands I decided to sketch a little bit the environment before modeling it:

Then with all planning done it was time to start the modeling of the bar's environment:

And its objects that would populate the scene:

The environment almost populated:

Later on I did a study to decide where to place my lights and how it should be the overall look of the bar before the lighting and texturing step:

The final texturing with all its UV's and my initial lighting (not so bad but that was later on changed completely by Greg Berridge, our senior instructor and one of the best lighters I have ever seen):

And the final lighting (by Greg):

And that was the environment production process.

Making of: Part 1 - Part 2 - Part 3 - Part 4

The making of Crash! - Part 2

2011-01-06T15:06:00.000-08:00

Jack designs and development:

Jack was the drunk guy of my story. My main idea it was to create an antagonist to Cuppy, but I didn't wan't it to be really bad (actually in my first idea he was really bad but I changed during the story development).

So, again I decided to research before starting the development of Jack but unfortunately I can't post the pictures of drunk guys I found on the internet and on bars here in Vancouver, but I know if you're looking for drunk guys that it is pretty easy to find it on facebook and on Google (and many times we have some friends that really serve as reference for us).

These were my first Jack sketches:

Later on we were asked to create some facial expressions for reference on blendshapes:

And then the model sheets and some color tests:

From this point in the project the development is almost the same as it is for Cuppy, my glass character, but here I used Jason Osipa's Stop Staring book again as reference and other sources from internet, including stop-motion faces I found in sites like this.

Again I did some research and I was also helped by Justin Tan, our teacher assistant at VFS, Paul Tanner, our modelling teacher and Greg Berridge to model Jack's topology correctly. The first thing I did it was importing Cuppy into the scene so I could have the exactly proportions between the two characters when inserting them into a scene:

After the modeling phase I started to create the UVs and textures for this character, and this included the displacement map for the hair and the beard, that I developed in Mudbox:

The important thing here about these textures it was their size. Some of them had more resolution than others because in my scenes I would need really close shots in Jack's face but I don't have many shots with his pants. So it was useful to overload Maya with high-res textures all around.

For the rigging I decided to use an auto-rig (the animator friendly rig) and made some adaptations to it to fit my character needs (the head control).

The next stage was the preparation of the blendshapes for expressions, and once more I used Jason Osipa's book but with not so many blendshapes because my character wouldn't need blendshapes for all facial expressions, only few that would fit the story needs.

And some Driven Keys to control these blendshapes, and I think this is one of the greatest options Maya has, because you don't need to be a programmer to make these simple things inside it (but you need a good teacher to show you how to make it...).

And then Jack, ready to animate:

Making of: Part 1 - Part 2 - Part 3 - Part 4

The making of Crash! - Part 1

2011-01-02T12:14:00.000-08:00

So, i decided to post here the production process of my short animated "Crash". The entire project took me the 6 months I was attending Vancouver Film School and it was done with many other assignments, so I don't consider the total time completion of this short the entire 6 months.

The Idea

Every animation must start with an initial premise, a reason for the character to act, something that guides the entire production of the movie: the idea.

When I arrived at VFS I kinda of have an idea, but it was not so developed. It was something about a glass (or a bunch of them) that wanted to escape from a kitchen because every night one of them had their life taken from them by a drunk guy (Jack) that used to (as many drunk guys) break them. Then I made a few sketches just to show the senior instructor my idea.

After presenting it to him we discussed about it and after some thinking we decided not to make the story in a kitchen, but in a bar.

The production process

The production process of this animation was divided in many steps that ran concomitantly: the story and storytelling development, the reference research, the props modelling, the environment and the characters development.

After many Maya and Visual Storytelling classes we learned how to create better compositions and how to create storyboards to guide our stories. That is also the phase where we show our ideas and these storyboards to our Animation Instructor, Steven Taylor, who orients us through the confection of these storyboards and guided through the characters designs.

This is also the phase where I started to create a rough plan of what I would for the next phases of the project. The storyboards started to show what I would need for each scene, I started to model the bar, the characters and the props that would be used in the animation. And organization is the key word for everyone who wishes to work with animation because at this time I had to organize everything in order to have all the parts ready at the time for the next phases of the animation project.

Cuppy designs and development

Firstly I researched some references on the web and did some sketches from real life just to get the initial shapes of the characters (you can see above only three of my references, but actually I had more than 40 of them only for the glasses):

Then I started to design lots of shapes and expressions directly in my sketchbook just to have the best options that would fit my character needs and to experiment with the character's shape deformations and also to know how I would create the rig and the 3d model later on.

One book that was really useful in the next process, the modelling, it was the Jason Osipa's Stop Staring, in which I've learned a lot about facial modeling and topology for facial expressions. This great resource was really useful because I was able to make the proper facial deformations and expressions later. The other great help I had to model these characters came from Greg Berrigde (my senior instructor) and Paul Tanner (modelling instructor) who helped me a lot with my glasses topologies questions.

I always make a plan before I start to create something in 3d. Sometimes it is only a simple sketch and many others it is detailed drawings that can help me in thinking the stages of the 3d work. So, for this glass I did a brief drawing showing the basic topology for the edge loops and the mesh...

...and then I started the modelling of the mesh, which was based on a cylinder, until the end of the process of creation of the correct edge loops for the facial expression.

And then I came the question? Can a glass be rigged? How it could deform properly and keep its characteristcs? After some rigging class and ideas discussion with Greg I started rigging my glass like a spine and after many other problems with deformation he came with a great solution for my glass: a rig that deforms not the mesh itself but a lattice, and then this lattice deforms the geometry (it seems simple but it is not... and painting weights on it was really hard).

Ok! It is rigged! May I start to animate it? The magical moment when your character gives his first step (or a small jump to a glass but a great pass for a future animator :) ):

Yes, it is the most magical moment... But it was not concluded... After that I would need facial expressions, and I got them with a lot of modeling work and a... ...few bunch of blendshapes (later on I needed more and I added them):

And then voila! Facial expressions ready to go:

Of course this is not a straight ahead character development. I had many backwards and forwards during all stages of its process and the most important thing to me during this process it was the feedbacks I received from other students and from VFS Staff, that helped me to take the right directions.

Making of: Part 1 - Part 2 - Part 3 - Part 4

Animation Demo Reel

2010-12-29T02:11:00.001-08:00

Click on the picture to see the animation demo reel

Infographics

2010-12-19T14:31:00.000-08:00

Some infographics I did while I was working for TV Globo.

tecnicas: 3ds max, photoshop

Crash

2010-12-19T04:46:00.000-08:00

The animation I developed as my final project at VFS.

Essa foi a animacao que eu desenvovi como projeto final na VFS.

tecnica: Maya, photoshop, After Effects

Contact Info

2010-12-09T02:14:00.000-08:00

e-mails:

raphaelargento@gmail.com

contact@raphaelargento.com

correio_lista@yahoo.com.br

skype:

raphaelargento (skype)

phone numbers

(+1) 778-323-6579 (Canada)

(+55) 21 2475-6115 (Brazil)

About me:

I am an Animator and Designer. My career started in 2001 when I was accepted as a student of the Industrial Design undergratuate course at the Fine Arts School of the Federal University of Rio de Janeiro (UFRJ). In this School I learned the basics of Design and Illustration.

But my real interest was always the animation and technology so I decided to learn 3d and Animation.

During the course I was oriented by professor DSc. Celso Guimaraes who taught me a lot about Virtual Reality and introduced me in the Technology Center at (UFRJ). There I was able to attend some classes in their Masters course and these new skills helped me in finding my first internship at TV Globo.

During this internship I learned a lot about motion graphics and animation and my professionalism, team work commitment and skills were recognized by my managers who offered me a position as Illustrator in this company when my internship ended. A few months later I graduated in the Fine Arts School.

As an Illustrator I worked with real-time graphics, motion graphics and character animation always with a growing interest for animation in which I was helped by the experienced team members of the cast. The most important thing to me in this experience it was the fact that all of us were generalists and all of us worked always as a team in order to give the work the necessary quality to be broadcasted. And this experience of sharing the knowledge and skills always offered me and the team the opportunity to grow together.

In 2007 I was accepted in the Masters Course at the Superior School of Industrial Design of the University of the State of Rio de Janeiro, and begin to develop my dissertation on motion graphics until 2009 when I graduated.

I worked for TV Globo until January 2010, when I decided to move to another company of the same group: Globosat.

In Globosat I was hired as a Digital Designer and worked with real-time graphics for their channels, mainly their Sports Channel, SporTV, among a large team of many talented designers whom I could share the knowledge I acquired during my last years in the broadcasting industry and learn a lot from them about design, motion and animation.

During my contract with Globosat I was accepted in the Digital Character Animation Course at Vancouver Film School and I decided to move to Vancouver to embrace my real life passion: Animation.

Some illustrations I did for my animation

2010-12-08T02:46:00.000-08:00

tecnica: photoshop

Cuppy

2010-10-28T19:06:00.001-07:00

tecnica: Maya

HE LIVES!!!!

2010-10-26T23:37:00.000-07:00

1st term review

2010-10-18T19:13:00.000-07:00

My first term review, done a few months ago here on VFS. Click on the image to go to the video.

Tecnicas: lapis sobre papel, Maya.

Walk Cycle

2010-08-18T15:09:00.000-07:00

Usando o Package Man

tecnica: Maya

mais exercicios de maos e bracos

2010-07-31T19:01:00.000-07:00

Mais exercicios de desenho de maos

2010-07-31T18:52:00.000-07:00

Segundo eles, isso vai ajudar na hora de criar o rig. Espero que sim...

tecnica: lapis sobre papel

Hands drawing assignment

2010-07-31T18:50:00.001-07:00

Dois (dos muitos) exercicios de desenho de maos aqui na VFS.

tecnica: lapis sobre papel

First Lighting Assignment

2010-07-20T22:11:00.001-07:00

Night illumination done with fakeosity!

tecnica: Maya

First Lighting Assignment

2010-07-20T21:20:00.001-07:00

Meu primeiro Lightning assignement (fakeosity) na VFS!

tecnica: Maya

Primeira modelagem na VFS

2010-07-19T12:58:00.001-07:00

Bem, esse foi o meu primeiro modelo feito no Maya aqui na VFS. Nao esta nenhuma brastemp mas ja e um bom comeco (eu acho), pra quem a uma semana atras nem sabia abrir o programa. Bem, enfim, e isso!

tecnica: modelagem no Maya

Planejamento de Cena: Personagem jogando vôlei

2010-05-27T13:14:00.000-07:00

O planejamento de cena acima foi feito para mais uma aula do Marionette da Melies, onde o personagem Georges, deve fazer algum esporte. No meu caso, decidi que ele irá jogar um vôleizinho.

técnica: lápis sobre papel

E o resultado final do box pickup

2010-05-23T17:30:00.000-07:00

O exercício do curso da Melies descrito no post anterior, finalizado!

técnica: 3ds max e personagem da Melies.

Planejamento de Cena - levantando um objeto pesado

2010-05-16T18:39:00.000-07:00

Este é um pequeno planjamento de cena que eu fiz para a revisão do exercício da Melies, cujo objetivo era fazer um personagem levantando um objeto pesado. Tentei fazer exatamento como eles indicaram na aula, com as várias inversões da linha de ação, e no final fiquei lembrando das aulas de modelo vivo do Bandeira, na qual ele falava sobre o equilíbrio. Daí tentei fazer uma balança do personagem com a caixa, compensando o peso da caixa que ele estava levantando com a inclinação para trás, fazendo assim um triângulo invertido nas poses.

Bem, enfim, foi um exercício bem gratificante.

técnica: lápis sobre papel

Ursos

2010-05-16T18:34:00.000-07:00

Quinta-feira eu estava dando aula lá na Veiga e um dos meus alunos, o Felipe Pinho, teve uma idéia excelente para uma vinheta usando ursos. Durante a aula eu estava mostrando a ele como ele podia fazer variações sobre o tema, embora o seu objetivo fosse utilizar um urso realista para o seu trabalho.

Em casa resolvi aprimorar uns esboços do ursos que fiz com base nas referências que ele pesquisou na internet e surgiram esses desenhos aí em cima.

técnica: lápis sobre papel

Desenho de rosto

2010-02-09T14:04:00.000-08:00

Estudo de rosto de perfil, baseado em fotografia.

técnica: photoshop

Retrato da minha prima Gabriela

2010-01-31T15:22:00.000-08:00

técnica: Lápis Pastel sanguínea sobre papel

Participação na Charge do Chico

2009-09-09T09:29:00.000-07:00

Essa foi mais uma animacao que eu fiz quando fazia parte da equipe da charge do Chico, no Jornal da Globo. Animei a primeira cena até o corte de câmera. As outras cenas foram animadas pela Fernanda Fiani e o Joao Carlos.

técnica: 3ds max

Essa é so pra dizer que fiz algo nesse mês...

2009-08-18T21:30:00.000-07:00

Essa foi feita quando eu estava esperando uma máquina vagar lá na emissora... Desenho baseado em foto.

técnica: só grafite e papel vagabundo

Modelo Vivo - Junho

2009-06-20T16:03:00.001-07:00

Técnica: Grafite sobre papel Canson

Modelo Vivo - Maio

2009-06-20T16:01:00.000-07:00

Técnica: Grafite sobre papel Canson

Estudo de Expressões

2009-05-16T20:22:00.000-07:00

Outro dia estava com mais um dos meus blocos de bolso e resolvi fazer uns testes de expressões...

Técnica: lápis sobre papel reciclado

Desenho de anjo

2009-04-30T22:41:00.000-07:00

Como é um tema que eu gosto estou postando aqui!

técnicas: lápis sobre papel e contraste no photoshop (sombras ao estilo do Bandeira, segurando o lápis de lado!) :)

Modelo Vivo 15 de abril

2009-04-27T08:48:00.000-07:00

Feito nas aulas de modelo vivo com o Bandeira!

Ralando e tentando melhorar o olhar e a técnica.

Técnica: grafite sobre papel canson

Louças Revoltadas

2009-04-10T19:32:00.000-07:00

Em breve em um animamundi perto de você!

técnica: 3dsmax para modelagem e photoshop para texturas

Personagem para animação

2009-04-10T18:53:00.001-07:00

Este pombo é o primeiro estudo em textura e iluminação de um personagem para uma animaçãozinha que virá em breve!

técnicas: 3dsmax para o modelo e photoshop para a textura

Cenário para animação

2009-04-10T18:49:00.001-07:00

Essa é um dos cenários que estou fazendo para uma animaçãozinha!

Técnicas: 3ds max, Photoshop para as texturas

Ilustração inspirada no art nouveau

2009-03-19T20:50:00.000-07:00

Tentei fazer aqui uma ilustração com aquela molduras estilo art-nouveau do qual sou um grande admirador...

técnica: lápis sobre papel para o esboço e photoshop para colorização

Sobre piratas 3

2009-03-06T20:23:00.000-08:00

Mais um pouquinho sobre o mesmo tema...

técnica: lapiseira(grafite) sobre papel

Sobre Piratas 2

2009-03-05T05:59:00.001-08:00

Mais uma ilustra sobre piratas...

técnica: lapiseira sobre papel.

Sobre Piratas

2009-03-04T21:52:00.000-08:00

Ilustra Sobre Piratas - 1

técnica: lapiseira sobre papel vergê.

Auto-Retrato

2009-02-14T10:33:00.001-08:00

Auto-retrato, feito como exercício de percepção.

técnica: Bastão de sépia sobre papel canson

Retrato da minha mãe

2009-01-23T10:54:00.000-08:00

Esse foi um dos treinos com o livro "Desenhando com o lado direito do Cérebro", que ensina técnicas de percepção visual, e o resultado final me agradou, então estou postando aqui o retrato da minha modelo e mãe.

técnica: pastel sobre papel canson

Retrato

2008-12-14T20:53:00.001-08:00

baseado em uma foto de revista.

técnica: lápis sobre papel

Retrato do meu irmão...

2008-11-27T19:21:00.000-08:00

Retrato do meu irmão feita em 27 de novembro, enquanto ele jogava no computador (com ele parado foi beeeem mais fácil...)

técnica: lápis (4B) sobre papel canson.

Mosquinha amarela

2008-11-25T18:20:00.000-08:00

Tá, moscas não são amarelas... Mas como nem tudo é perfeito, aqui vai uma mosca que acabou ficando de guarda no dia de sua folga... :)

técnicas: Lápís sobre papel e pintura digital

Sei lá, apenas desenho

2008-10-25T08:34:00.000-07:00

técnicas: Lápis sobre papel e pintura digital

Estudo em guache

2008-10-10T08:15:00.000-07:00

Estudo de desenho em guache.

técnica: guache sobre papel canson

Mais um estudo

2008-08-27T08:18:00.000-07:00

Sem nenhum compromisso, só pra pintar mesmo.

técnicas: Traço a lápis e pintura no photoshop

Finalista - Animamundi Celular

2008-07-01T21:20:00.001-07:00

Pois bem, minha animação "Breve história de uma gota" foi selecionada para o animamundi celular!
http://www.animamundi.com.br/cel_galeria.asp?ano=2008&cod=546

técnica: Flash na veia

Estudo para uma gueixa (em andamento)

2008-05-11T15:35:00.000-07:00

Esse é uma das minhas ilustrações em andamento, cuja técnica utilizada foi apenas o photoshop, desde o esboço inicial até a texturização e sombreamento. Atualmente tenho realizado estes estudos para conseguir ter um domínio maior sobre a utilização do computador como ferramenta desde a concepção até a finalização da ilustração.

técnica: Photoshop/tablet