Alternative pin-up art in 4 steps

Multiply to overlay
I hide the original outline drawing by changing its blending mode from Multiply to Overlay. I want her face in the centre. 04. Pin-up is usually all about tanned hips, blue sky and colourful clothes, but this won’t suit a punk character, so I pick a cooler, darker palette. Mixing pin-up with punk   means balancing disparate elements, such as the girl’s light shirt, lips and hair, with a   grungy textured background.Whether I’m painting classic cheesecake or a snarling alternative pin-up, I spend some   time with pencil and paper. I also use real paint strokes and scan them in – I like their rough texture, and it fits alternative pin-up better than airbrush, I think… Classic pin-up was all about smiling and fun, and of course being incredibly sexy. Words: Waldemar Kazak
Waldemar Kazak left art college in 1993 to work as a designer. This article originally appeared in ImagineFX issue 105. This way I still can find and conceal it again as I work. It may not like layers but then neither do I! I then use Photoshop for final texturing and colour correction. It may sound inconvenient, but I merge all my layers, making the digital process closer to a traditional one. People’s idea of beauty may have broadened since then, but some things are still relevant: the factitious pose, the hint of boob… I fill the background with a purple-grey neutral tone, making it easier to define bright and dark colours. This guides the viewer through the curve of her body, then along her right hand to the can, and through her left hand back to her face. 03. Inspired by a love of illustration from the ’60s and ’70s, he’s now a full-time freelancer. right! Make the whole picture brighter and shinier than your normal character piece. Paper prevents your hand from getting ahead of your imagination, and enables you to develop ideas and shapes at   a comfortable pace. To emphasise her curves I add a red splash on the wall, and a pink one to balance that. Many artists use Photoshop, but I prefer Corel Painter. Finally, I work on details such as the eyes, mouth and rivets. It’s hard to see it yet – tone and colours will help me with that. More importantly for me, a pin-up character’s lighting should be like a photo studio’s, not natural outdoor light. I consider the path that the viewer’s eye takes, and position her face on one of the diagonals. Even if the model is outside, she should have strong reflections coming from the sand, water or parasol. Digital offers too many options too quickly.