The new Ilustrar magazine just arrived with a special issue on Sketchbooks from several good artists. It`s in Portuguese, but the images are universal The cover is one of my marker/pen sketches. Download the free PDF www.revistailustrar.com
A nova Revista Ilustrar está no ar com um especial sobre Sketchbooks, A capa é um dos meus sketches feitos com marcadores e canetas. Baixe o PDF free em www.revistailustrar.com
Hi, there are 2 new places where you can find my art for sale. Bluecanvas http://www.bluecanvas.com/schaal and Urban Arts http://www.urbanarts.com.br/perfil-artista/eduardo-schaal/
Olá, existem 2 novos lugares onde voce pode achar minha arte para venda. Bluecanvas http://www.bluecanvas.com/schaal e Urban Arts http://www.urbanarts.com.br/perfil-artista/eduardo-schaal/
I will have soon more art to be published in both sites.
Em breve mais artes serão publicadas em ambos os sites.
In 2005, social medias were just in their very beginning, Blogs and Foruns were very popular and Facebook was almost unknown to the World at that time. CgTalk (now CGsociety) was the main CG, both 3D and 2D, source of information and networking and the worldwide art challenges they promoted were very popular.
The XXVII Challenge Master and Servant happened between March and May of 2005. Thousands of participants from everywhere, nice prizes, some very famous judges and a chance to promote your artwork worldwide, not bad at all, so I decided to try.
One of the main rules of these challenges is that you have to post your work in progress and reach some milestones before submitting your final piece. People could comment on every post, sometimes that was very useful to see the reactions about your on going project.
I was very busy working at Trattoria Filmes, in Sao Paulo, as the art director for the CG departament, so I had to spent just my very few spare time on the Challenge.
And definitely was a challenge to reach the milestones and the final deadline. A lot of work happening at the company plus the challenge, means no sleep at all in the last days before May, 18, the deadline.
My idea about the Master and Servant was totally related to a very common situation for a professional artist, being slaved by his artwork and the bad lifestyle that comes with it, attached to the work in a way that you are chained to your dues and your characters, your creations, that command you in every level.
I took the decision to go for a white canvas background, in a homage to Norman Rockwell`s self-portrait and at the same time to have something more graphic, less based on the mood of the environment and more on the idea and in the main character expression and pose.
Talking about the character, the artist, he is not based on me, visually speaking, but my essence is there My good friend, Weberson Santiago, also an award-winner illustrator, was my model for the pose and lighting references, as he was just about 21 years old in 2005, I made up the character looking much older based on other references for aging him.
The idea to repeat the artwork in a loop came in the final stages and I thought, – That`s gonna work! And that for me, that was the extra 10% that made the piece more solid.
I was very happy with the final decision, with the 5th runner-up in a contest with such a high quality final entries and top level artists like Bobby Chiu, Goro Fujita, Matt Dixon and others.
After the contest this image became my signature, my big hit, the “Smoke on the Water” that will be always in my portfolio. It was physically published in the Painter artbook (with a Honour mention), as the cover of Digital Designer (a famous Brazilian CG magazine) and in the UK online magazine 2d Artist. Also appeared in the splash screen for the Corel Painter X software in 2007.
So here, my entire process from 7 years ago and some extras.
First rough sketch – Photoshop
Character study – Pencil and pen
Pencils, Pen and Corel Painter.
In the middle way I was still deciding about the secondary characters and elements but I had to start rendering out the main elements.
Flat Color Pass – Painter and Photoshop
More secondary elements defined.
Painter and Photoshop
Rendering the main character in Painter
The render for the secondary elements – Painter and Photoshop
Everybody sees a face on the pizza slice. That was not intentional. The grease stains in the pizza box were rendered using the watercolor engine in Painter.
70 % of the job done
An angry tinny character and my layer structure in Photoshop Cs2
More details rendered and the loop idea, repeating the drawing inside the drawing.
A quick analysis of my composition.
Some Easter Eggs
A Full Res detail never published before – click to see the large version.
And the final piece from 2005
The 2011 Bolo Commercial, a 3 minutes full-HD and Full-CG film that Vetor Zero has produced for Liverpool, a department store in Mexico. This is the second film that the Sao Paulo-based production house delivered for the same client, the first one in 2010 and now this one with more characters, dozens of environments and a more complex script to accomplish in a 7 month time-frame period.
In this project, I was responsible for the CG Art Direction, Color Keys, Matte Paintings, Ocean and Sky effects and some compositing work.
Guilherme Rizzo was the CG supervisor, the amazing, Manuhell and the mastermind, Marcelo Souto did an incredible job in the pre-production period taking care of character designs, environment planning and storyboarding. Also, the very talented Dalton Muniz and Ricardo Riamonde joined the team, helping with dozens of matte paintings and texture work .
Most of the matte painting work, about 40 shots out of 60, on this project were done in a 2.5D approach, painting over basic 3D models and re-projecting the painting back onto the 3D scene in Maya.
Here, some of my color keys, a Paris matte painting and a shot breakdown
CG DIRECTOR Guilherme Rizzo
ART DIRECTOR Eduardo Schaal
MODELING Alex Liki, Bruno Saber, Danilo Enoki, Filipe Lopes, Luis Elias, Rafael Ghencev, Rafael Martinez, Rafael Segnini
RIGGING Aline Lima, Richard Maegaki, Viviane Adade
ANIMATION Helio Takahashi, Marcio Nicolosi, Guilherme Gubbert, Jason Tadeu, Marco Trandafilov, Vagner Dias, Alexandre Martins, Adrianus
TEXTURES/MATTE PAINTING Eduardo Schaal, Dalton, Ricardo Riamonde
SHADING/LIGHTING Guilherme Rizzo, Marinho Pereira, Mauricio Pirilo, Roberto Maki
ADDITIONAL SHADING Tiago Dias
FUR/HAIR LOOKDEV Guilherme Rizzo, Ricardo Riamonde
OCEAN FX Eduardo Schaal
PARTICLE/FLUID FX Christian Lucas, Guilherme Rizzo
COMPOSITING Guilherme Ferreira, Maisa Mendonça, Rafael Martinelli
ASSET/RENDER TOOLS PROGRAMMING Giovani Meneghel, Paulo Nogueira
I am living in LA, California for the next 6 months, skipping the rainy season in Sao Paulo and getting used to the city, how everything works here and happy with a not that cold winter this year.
I am here for a 2 term with 6 disciplines each, at Gnomon School of Visual Effects. All this is part of my training to be accepted as an instructor at Axis School of Visual Effects in Sao Paulo, a job that I was hired about 3 weeks before coming here. Axis is a join venture between Saga and Gnomon to bring high-end training in Visual Effects and animation for Brazilian and South-American students, It is a really important moment in the CG area for Brazil and I am proud to be part of it.
So far, my experience here is being really cool. A lot of things to practice in character design, environment design, anatomy, cinematography, storyboarding and more cool stuff and definitely will be a huge improve on my skills as a traditional and digital artist.
The Instructors at Gnomon are really nice people and very talented professionals, some of them deeply inserted in the core of Hollywood visual effects studios.
So, no new artwork for now, but I will post some sketches really soon.
Eu finalizei recentemente uma capa para um romance de fantasia de Ricardo Maciel dos Anjos editado pela Scipione.
A idéia incial, proposta pela editora de arte Marisa Martim, era a de focar nos ambientes da saga e não nos personagens.
Com isso em mente, preparei alguns sketches bem soltos, tentando visualizar a escala desse cenário, a cidade de Amak’Tok, sede do continente, situada no Vale das Rochas, com as suas casas construídas nas pedras em primeiro plano e as gigantes torres no horizonte.
Pesquisei um tanto de arquitetura clássica e moderna do oriente médio, as mega torres das cidades asiáticas e casas construídas nas rochas encontradas em diversas partes do mundo.
Essa parte inicial de pesquisa é fundamental para dar um peso e solidez aos conceitos, torna-los mais coerentes e verossímeis, mesmo sendo uma imagem de fantasia.
Aqui a arte finalizada, os sketches iniciais, o desenvolvimento do desenho ja com uma chave de cor, a pintura em andamento e um detalhe dentro do Photoshop.
I recently completed a cover for a fantasy novel by Ricardo Maciel dos Anjos published by Editora Scipione.
The initial idea, proposed by the art editor Marisa Martin, was to focus on the environments of the series and not the characters.
With this in mind, I made some very loose sketches, trying to visualize the scale of this scenario, the city of Amak’Tok, headquarters of the continent, located in the Valley of the Rocks, with its houses built on rocks in the foreground and the giant towers in the the far background.
I researched a bit of classical and modern Middle East architecture , the Asian towers from mega-cities and houses built on rocks found in various parts of the world.
This initial phase of research is essential to give a weight and solidity to the concepts, makes them more consistent and believable, even being a fantasy image.
Here the art finalized, the initial sketches, design development, already with a color palette, the painting in progress and a detail from within Photoshop.
No final de 2010 eu produzi alguns concepts bastante realistas em tecnica de digital matte paintings, para uma campanha de Bradesco Seguros. Para os concepts eu utilizei fotos de locação, feitas pela produção da Mixer, pintura digital e elementos que produzi em 3D, as ferramentas foram Photoshop CS5 e Vue Infinite 9.
Abaixo o concept da bifurcação, a foto original de locação, o sketch inicial mais o concept finalizado da estrada de flores e o filme pronto.
Concept da bifurcacão
Foto de locação
Sketch – Estrada Flores
Concept – Estrada Flores
Estou trabalhando como o diretor de arte/designer de produção de um projeto de seriado de 12 episódios escrito pelo Eric Novello e dirigido pelo Claudinho Brandão.
A série chama-se Innatu e será filmada no Rio de Janeiro, que não é o Rio para turistas e tem varios elementos noir e sobrenaturais, diga se não estou adorando trabalhar nela
Dentro do universo do design de produção eu tenho que pensar nos cenários e locações, desenhado-os em escala, criando a paleta de cores, pensando nas caracteristicas do cenário junto aos personagens e dando sugestões de set dressing que serão discutidas posteriormente com o cenógrafo,
Tambem trabalho no look de personagens e algumas sugestões de figurino, em concepts de cenas-chave e o storyboard de sequências que sao criadas junto ao diretor de acordo com a idéia de decupagem que ele quer estabelecer.
Aqui eu mostro dois concepts de um mesmo cenário com uma indicacao de iluminacao e cor, um estudo de figurino para o personagem principal, um estudo de maquiagem e efeitos em um dos caras maus e duas das mocinhas.
A 5 page comic book that I did last year with a script from Gabriel Barazal
Pencils and ink over paper and Photoshop for the mid-tone shading and effects
Click on the image below to read the PDF file in E-magazine format. Once there, click again for fullscreen mode.
5 paginas de HQ que produzi ano passado com roteiro do Gabriel Barazal.
Lapis e nanquin sobre papel e Photoshop para o meio-tom e efeitos.
clique na imagem abaixo para ler o PDF em formato e-magazine. Uma vez lá, clique de novo para entrar em modo tela cheia.
Sábado, agora dia 05 de Fevereiro, vou fazer parte de exposição coletiva de sketches originais feitos em tecnicas variadas sobre sobras de papel de passe-partout (o papel usado nas bordas de molduras de quadros ou gravuras). A abertura é entre 14 e 19 horas. Por conta das minhas aulas na Quanta Academia, devo aparecer no finalzinho.
Todas as obras expostas la, de artistas como o Zuri, a Ana Granziera, a Laiz Brevilheri entre outros estarão à venda. As minhas também
Esse é um dos sketches que fiz para o evento:
Acrilica, lápis de cor e nanquin sobre papel de passe-partout vermelho.
A full page illustration for an article about the very short space between seats in airplanes`s economy class published on issue 199 of Aero Magazine.
Here the final artwork, the rough sketches and some painting close-ups.
Uma ilustração de página inteira para um artigo sobre o pouco espaço entre os assentos na classe economica dos aviões, que foi publicada na edição 199 da Aero Magazine.
Aqui a arte final, os esboços e alguns detalhes da pintura.
One of my favorite projects of the year. 4 inner illustrations and the cover of a short-stories book. Each story based on a moon phase, all tales of mystery, thrills and action for young readers.
I had a lot of freedom on the interpretation of each tale, my only constrains were, black and white for the 4 inner art and to respect and keep the big circle, a graphic element of design that is set for the entire collection, so I tried to incorporate the circle as a representation of the moon on each phase.
Here you can check the rough sketches for the inner art and 2 versions of the cover, 2 of the 3D rough models that I did in Sketch Up for lighting and perspective reference, the cover with no design elements, details of the artwork and the 5 final illustrations.
All the final artwork pieces were rendered in Photoshop CS5 with a Wacom Cintiq. The rough sketches were rendered in Prismacolor markers and Photoshop.
The book is published by Editora Scipione and is expected to be released in early 2011. Marisa Martin is the art editor in this project.
Um dos meus projetos favoritos do ano. 4 ilustrações internas mais a capa de um livro de contos de suspense e mistério para jovens leitores. Cada conto baseado em uma fase da Lua.
Eu tive bastante liberdade na interpretação de cada conto. Minhas únicas restrições foram o Preto e Branco para as 4 artes internas e respeitar e manter o circulo grande, que é um elemento de design ja estabelecido para toda a coleção de livros, então eu tentei incorporá-lo como uma representação da Lua em suas fases distintas.
Aqui eu mostro os sketches iniciais para cada conto e 2 versões da capa, 2 modelos 3D simples que fiz no Sketch Up para referenciar luz e perspectiva, a capa sem os elementos de design, detalhes das artes e as 5 ilustrações finais.
Todas as artes-finais foram finalizadas em Photoshop CS5 com uma Wacom Cintiq, os sketches inicias foram finalizados com marcadores Prismacolor e Photoshop.
O livro é publicado pela Editora Scipione e deve ser lançado no começo de 2011. Marisa Martin é a editora de arte nesse projeto.
Final cover art
Criei um concept para uma cena de efeitos visuais de um comercial de Skol, produzido pela Prodigo filmes com efeitos da Atomo VFX.
A idéia era transformar uma tipica praia brasileira em uma praia chinesa idealizada, com sua arqueitetura e natureza mais típicas, e também dar uma intenção de disitribuição das pessoas na praia, assistindo ao cabo-de-guerra.
Frame final produzido pela Prodigo/Atomo
Vetor Zero did a 2 minutes short animation film in 2 parts for Liverpool stores in Mexico with the character Bolo, a white teddy bear, plus a Santa, elves, moles, reindeer, caves, mines and a lot of snow.
I was responsible for the color script for all shots, 2D and 3D matte paintings (with the invaluable help from Ricardo Riamonde) and, also, the final compositingwork for 5 shots of 44 in total.
The color script job was done painting over the 3D greyscale preview of Maya, that was the best approach, as the camera position was already set for each shot, I just had to think about the colors, lighting and mood, not worrying about the frame composition.
The whole project was done in about 3 months. My tools of choice were PS for painting, Maya for lighting, camera mapping and rendering of the matte painting elements and Nuke for compositing.
That was a very complex project in terms of CG, a lot of characters, fur, water, snow, backgrounds, and different lighting and color situations.
All character and background design, storyboard, modeling and animation by the Vetor Zero team.
Here, the first part of the commercial, the color script, plus 2 of the final matte paintings, process steps from the storyboard to the final shot and one comparison between the 3D preview from Maya and the loosely painted over color script.
Updated – A very special making of from Bolo`s mexican website – click on the book cover
Vetor Zero fez um comercial em forma de curta-metragem de 2 minutos dividos em 2 partes paras as lojas Liverpool do México com o personagem Bolo, um urso de pelúcia branco, mais Papai Noel, duendes, topeiras, renas, cavernas, minas e um monte de neve..
Eu fui responsável por todo o color script do filme (um painel com a paleta de cor de todos os ambientes e cenas chave) Matte Paintings 2D e 3D (onde tive a imprescindível ajuda de Ricardo Riamonde) e também a composição final de 5 cenas do total de 44.
O trabalho de color script foi feito pintando sobre o preview 3D em cinzas do Maya. Essa foi a melhor escolha, porque a posição de câmera já estava preparada para cada cena, assim eu só tive que pensar nas cores, luz e climas sem me preocupar com a composição de cada enquadramento.
O projeto todo foi feito em cerca de 3 meses. Minhas ferramentas foram PS para pintura, Maya para luz, camera mapping e render de elementos dos matte paintings e Nuke para a composição.
Foi um projeto bem complexo em termos de CG, pela quantidade de personagens, pelos, água, neve, uma série de cenários com várias situações de cor e luz diferentes.
Todo o design de personagens e cenários, storyboard, modelagem e animação foram feitos pelo time da Vetor Zero.
Aqui, a primeira parte do comercial, o color script, mais 2 dos matte paintings finais , um processo mostrando do storyboard à cena final e uma comparação mostrando o preview 3D em cinzas do Maya e a pintura solta do color script feita sobre ele .
Atualizado – Making of cprichado do site oficial mexicano do Bolo, clique na capa do livro
final matte paintings
18 famous personalities rendered as a panel for the 18 years of Sexy Magazine.
18 personalidades famosas finalizadas como um painel para os 18 anos da Revista Sexy.
This September, I have 2 cover illustrations that I did, released in the Brazilian newsstands. The first one is my vision of Hannibal Lecter, for Mundo Estranho and the second one, my favorite, a tied angel for Cult magazine, and also, I did all the illustrations for the main article about evil and mankind.
Here, the covers, the article illustrations and some steps on my rendering process.
Nesse Setembro, eu tenho 2 capas que fiz, lançadas nas bancas brasileiras. A primeira é minha visão sobre Hannibal Lecter para a Mundo Estranho e a segunda e minha preferida, uma Anja amarrada para a Revista Cult, onde ilustrei tambem o artigo principal sobre o Mal
Aqui as capas, as ilustrações dos artigos e alguns passos no meu processo de finalização.
This is the cover illustration that I did for a fantasy novel written by Stephen Lindsay to be published early 2011. Stephen is an American writter better known for his indie comic book “Jesus hates Zombies“
The Dragon Egg Saga -book one – Son of the Da`Dilleck is his first novel.
Here the final illustration and some steps on my process, the early sketches, the first pass of acrylics over paper and the final digital rendering done with Photoshop.
Essa ‘e a capa que fiz para o romance de fantasia escrito por Stephen Lindsay que sera publicado em 2011. Stephen ‘e um escritor americano mais conhecido por sua HQ independente – “Jesus hates Zombies“.
A Saga do Ovo do Dragao -livro um – O filho de Da`Dilleck ‘e o seu primeiro romance.
Aqui a ilustração final e alguns passos no meu processo, os sketches inicias, o primeiro passe de pintura em acrilica sobre papel e o acabamento final digital feito em Photoshop.
The Tools/ As Ferramentas:
Sketches – 2b pencils, Micron pens and Prismacolor grey markers.
Traditional Painting – 4b pencils, Liquitex Acrilics, Micron Pens and Koh-I-Noor colored pencils over Crescent Illustration Board
Digital Painting – Adobe Photoshop Cs2 and Wacom Cintiq 12″
On this Kasinski motorbike commercial directed by Christiano Metri and Thiago Eva for Margarida Films with visual effects by Ilegal FX , I was responsible for the alien creature design, the environment design and matte painting elements for the background mountains.
On the gallery below the video , you can check the concept art for the environment, the final alien concept rendered in colour, some early alien sketches and one of the matte paintings used on the backgrounds to help extend and change the original location where the motorbike was shot. All 3D CG and compositing were done by the Ilegal FX team as you can check on the making of video below the commercial.
Nesse comercial de motocicleta Kasinski, dirigido por Christiano Metri e Thiago Eva para a Margarida Filmes e com efeitos visuas da Ilegal FX, fui responsavel pelo design do alien e do ambiente do planeta e por elementos em matte painting de montanhas usadas no fundos das cenas.
Na galeria abaixo do video, a arte em cores do alien aprovado, alguns sketches preliminares, a arte de design do ambiente e um dos matte paintings de montanhas criado para ajudar a extender e mudar o local onde a motocicleta foi filmada.
Todos os efeitos e elementos 3D foram feitos pelo time da Ilegal FX. No video abaixo do comercial, um making of mostrando o processo.
One minute of full 3D CG animation with several locations and characters produced for the Brazilian Ministry of Education in about 40 days at Oca Filmes. In this one, I was responsible for the concept art of the balloon, fully rendered digital matte paintings for the backgrounds (Paris and Moscow sequences) made with Photoshop and Maya and also the CG lighting/rendering (characters and background) using Maya/Mental Ray), all compositing work (After Effects) for the Moscow sequence and some bits and bobs in other shots.
The good point about the art direction here is the fact of all background art looks like paintings, but they don`t feel flat or too static, thanks to the use of a real 3D camera mapping – multi-plane approach that can permit some dinamic movement “inside” the paintings creating the sense of a 3rd dimension on the environments
Directed by Guilherme Alvernaz and Diego Velasco.
Matte Paintings: Luiz Rosso and Eduardo Schaal
On the gallery, below the video you can check some of the concept sketches and final matte paintings:
An animated commercial film where I was responsible for the storyboard, 2D animation and the 3D camera animation. All rendering and compositing done by the talented Prodigo post-production team.
Directed by Fernando Sanches for Prodigo Films.
Direção – Fernando Sanches
Direção de Arte – Eduardo Schaal e Vanessa Lobo
Animação 2d (personagem) – Eduardo Schaal
Composição – Massao Assaga
3d – Alexandre Jum
Assistente de direção e finalização – Juliana Cabral
Montagem – André Dias
Coordenação de Pós Produção – Ale Coes e Ciça Piazza
Agência – Publicis
Direção de criação – Hugo Rodrigues
Produtora de Som – Tentaculo
Some steps on my process on one page of five for the Inkshot anthology comic book project.
On the gallery below the main image:
01 the layout, pencil and markers
02 and 03 some steps on the pencils and inks,
04 the scan of the final lineart. 300 dpi, 17,7 megapixels
05 flat grey tones – Photoshop
06 light and shade – Photoshop
07 final render with text, rain and background effects – Photoshop
My new portfolio website is online. There you can find my galleries separated by theme (illustration, sketches, concepts and photos, comics will be there soon).
The navigation is really good and my showreel shows bigger and better there than here (but I will keep it here as well).
The site is designed for portfolio purposes not to text posts so I`ll keep this blog for news and process.
The address www.eduardoschaal.com will re-direct to the new site.
I have a Facebook page now, so if you are part of 300.000.000 users of the social network you can check it if you fancy. As you see I`m using all the tools to spread the news.
The issue 56 of the Imagine FX magazine has published my illustration Sisters on the A to Z fantasy creatures article. It`s on “V” from Vampires.
These are some of the illustrations that I did for the animated shots of a Santander bank`s commercial film directed by Caito Ortiz at Prodigo Films in February.
The illustrations, done in Photoshop in several different layers, were animated in After Effects by the Prodigo`s post-production team.
Also, some sketches for the Monster Tractor before the final version.
In April I will start as an instructor on my long-term Concept Art course at Quanta Academia.
To warm-up a little bit, I am publishing some material that I did on the subject of the course.
This concept sketch of a “fantastic toy factory” is from 2005, a job that I did for a commercial at Trattoria Filmes. The final factory was done in CG 3D with Maya by the CG/animation team of the company.
My process on the sketch was a mix of traditional prismacolors markers, black fine tip pens and Adobe Photoshop to render it in colour.
You can check some steps clicking on the picture. Text in English and Portuguese.