Computer Arts Projects #138 /July 2010
In July 2010 in Computer Arts Projects issue 138,
my illustration "Gokim mind" to an article "Technique masterclass" has been published,
in which I have told about the key moments in creation of my works.
"From concept through to completion, six pro illustrators share
the intricacies of their individual styles with Mark Penfold"
/
"Balance striking, angular compositions by starting in mono,
then adding colour."
1. Colour
Although colour plays a big role in the work of Sergey Sbss,
he starts his projects in monochrome and allows the structure
to form before picking out and applying colour.
This gives him the freedom to fully experiment with different colours.
Gokim Mind started in yellow and developed as Sbss tried different palettes.
2. Process
Like Fernando Volken Togni, Sbss starts his drawing process
using simple shapes with straight lines
- “often a triangle or rhombus” - which he develops until
they take on a personality of their own.
By adding or removing elements, he gradually begins to identify
his subject. “I find it’s a bit like faceting a diamond,” he explains.
3. The angle
Each shape in this image has a 45° angle.
“I mainly used large and small triangles, adding diamond shapes
and distinct lines to give an elegance to the final form,” he explains.
This angular consistency ensures that the image maintains
its sense of purpose, and aids the dynamism of the piece,
constantly moving the viewer’s eye from one shape to the next.
4. Repeating patterns
Once a harmonious composition started to emerge,
he continued to add more geometric elements, building detail
and incorporating the occasional flourish into the piece.
“I’ve been trying to create geometric letters
and insert them into my work.
By chance, the letter ‘S’ appears twice in the upper part
of the image,” he reveals.
5. Outlines
Sbss often uses outlines to create his work,
but decided to omit them from the creative process for Gokim Mind,
deeming them too restrictive.
As a result, he was able to develop the individual forms seen
in the piece freely and openly.
He could also maintain their internal dynamics to create the “lighter,
smoother and deeper” piece that he wanted.
6. Software
In general, Sbss creates most of his work in Flash,
employing simple devices such as the Line and Oval tools
to draw his shapes, and the Gradient tool for backgrounds and shadows.
He finalises his work in Photoshop using different filters.
“Reduce Noise gives the image a subtle roughness and realism,
while the Unsharp Mask adds crispness,” he says.