"For me, drawing is thinking out loud on canvas": Simon Pape on his process for creating a fantasy underwater scene
(Image credit: Simon Pape) Copy link Facebook X Whatsapp Pinterest Flipboard Email Share this article 0 Join the conversation Follow us Add us as a preferred source on Google Newsletter Subscribe to our newsletter This illustration is the result of a 2025 workshop with Paul Scott Canavan, titled…
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(Image credit: Simon Pape) Copy link Facebook X Whatsapp Pinterest Flipboard Email Share this article 0 Join the conversation Follow us Add us as a preferred source on Google Newsletter Subscribe to our newsletter This illustration is the result of a 2025 workshop with Paul Scott Canavan, titled Mastering Imaginative Realism. It depicts a merfolk-type figure riding on his shark companion as he hunts for jellyfish leviathans.Although I don’t depict them, they are an essential part of the narrative; they serve as a background story element to inform and inspire consecutive decisions made during the creation process. Having a solid story idea really helps at all stages and keeps you focused on what’s important.However, what made the biggest difference on the technical side was using 3D and a proper reference board. Here's how I approached the piece.Latest Videos FromCreative BloqWatch full video here: If you need to build your own art setup, see our guides to the best drawing tablets or the best laptops for drawing. 01. Thinking in scribbles For me, drawing is like thinking out loud on canvas. Following that concept, I played around with as many ideas as possible early on, to filter out the bad ideas before committing to a direction. My main focus was on thumbnails, concept sketches and reference gathering, which culminated in two distinct sketches. 02. Blending into 3D I created a 3D base using Daz Studio for posing the main figure. I imported this into Blender to further build out the scene using assets from the Blender Kit library, setting up the lighting and adjusting the models using basic sculpting. It’s a very useful process if you don’t want to repaint every adjustment from scratch. 03. Paint, paint and even more paint With a solid 3D base and my reference board and concept sketches on hand, I started the overpainting process in Photoshop whilst paying attention to the overall mood, language, colours and values, etc. These elements make up the overall contrast: the primary way to guide the viewer’s eye throughout a composition. This article originally appeared in ImagineFX. Subscribe to ImagineFX to never miss an issue. Print and digital subscriptions are available.Creative Bloq is now easier to access than ever before with our on-the-go app, which brings you all the content you know and love from our website, but in a super-streamlined design.Download the Creative Bloq app for iOSDownload the Creative Bloq app for AndroidToday's drawing tablet deals Wacom Intuos Pro Medium XPPen Artist 13.3 Pro XPPen Artist 15.6 Pro V2 HUION Inspiroy H640p Want to explore the world of digital art?Our digital art newsletter is your go-to source for the latest news, trends, and inspiration from the worlds of art, illustration, 3D modelling, game design, animation, and beyond. TOPICS Simon Pape Simon Pape is a freelance illustrator and concept artist from Germany. He has worked on IPs such as Daggerheart, Hellbreak TCG and Robin Hobb’s Realm of the Elderlings book series. View More You must confirm your public display name before commenting Please logout and then login again, you will then be prompted to enter your display name. Logout LATEST ARTICLES 1 Adobe's AI text-to-3D world concept is a glimpse of where Firefly could go next 2 Free Premiere on Android is exactly the direction Adobe should be taking 3 Disney's Lionel Messi cartoon looks unlike what anyone expected 4 Pixar just released a handmade stopmotion Thelma & Louise with fruit – and a nod to GTA VI 5 How thatgamecompany turned Van Gogh paintings into playable spaces
