How simple 3D blockouts help build realistic fantasy art

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For this job, the brief called for an awe-inspiring illustration of a Dungeons & Dragons core class character, capturing a cinematic moment that reflects the wizard's power and intellect. The subject is a female human wizard in her mid-20s, levitating inside her tower as she casts a spell.

She is surrounded by swirling tomes and a glowing, semi transparent magical sphere filled with intricate, illegible runes and geometric patterns. Her design emphasises authority intelligence and composure.

A staff inspired by the Staff of the Magi hovers before her, while her eyes glow in harmony with the spell. Subtle African-inspired elements inform her costume design through the choices of both fabric and ornamentation, without directly referencing real-world sources.

In approaching the brief, I chose a low angle to enhance the sense of superior intellect, positioning the viewer beneath her as if in awe. Her costume is designed with a clean, readable silhouette, using white as a dominant colour to reinforce a sense of clarity and authority. Below I'll explain how I created the artwork, using simple 3D blockouts and expressive digital painting.

See our guide to the best drawing tablets and the best laptops for 3D modelling if you need new gear.

01. Draft several variations

With a clear composition in mind, the process felt quite straightforward. A low camera angle seemed like the best choice. In this illustration, I made the design while sketching, constantly checking how the silhouette supports the gesture.

Good design alone isn't enough as it needs to work with the pose. I explored three variations, adding simple values and lighting for clarity. The client chose a mix of the third sketch and the second's hairstyle.

02. Create a base layer

I then move into Blender to build simple mockups. For the base figure, I use a paid Human Generator add-on. It's fast and produces models that are sufficient for my needs. Facial details aren't a priority since they'll be repainted later. From there, I block in the clothing and armour.

Sometimes it's enough to repaint over the base or use existing assets as reference, but here I model key pieces like the armour and selected garments.

03. Let there be light

The background is also modelled, but kept simple. I then add a backlight, a direct key light on the character, and a subtle warm glow from the magic. The scene is rendered in Cycles, then brought to Photoshop for repainting. To achieve crisp detail, I paint over the render, aligning it with the initial sketch.

Many elements are easier to handle in 2D, so please keep that in mind. Effects and colour grading come last, tying everything together.

Colour theory

Colour grading is easier for me in 2D, where I'm more comfortable with Photoshop, though Blender works just as well if that's your preference. I start with a subtle yellow tint using Colour Balance, then add a gradient from below to guide focus toward the face.

Finally, I experiment with Colour Lookup layers and adjust opacity to unify the image.

Facial features

The head is usually the first area to refine before moving on. Once it feels solid, the rest tends to fall into place. This type of hair is difficult to achieve in 3D, so handling it in 2D saves time and offers more control.

Gathering references is essential, especially to understand how the hair behaves under similar lighting conditions.

Lighting

Lighting plays a crucial role in achieving realism. Even strong models can fall flat without it, so careful setup is essential. A soft backlight adds a sense of power, while a side spotlight helps define facial features.

Additional lights support the magical effects, with intensity balanced so one remains dominant and others stay subtle

Robe structure

For drapery and clothing, I keep the 3D simple – just enough to establish the overall value structure before painting. Fabric folds are more enjoyable and flexible to refine in 2D. Strong reference is key in this step for believable results.

Keep the render nearby for guidance, and avoid pushing values too far early on.

Finer details

Hard-surface elements benefit greatly from 3D, so I let it handle the heavy lifting and save energy for the enjoyable parts. Armour and props are usually blocked in, even if only at a basic level, depending on time. Later, everything is repainted to match the final painterly style.

Get the brushes

Download the files for ImagineFX issue 267 to get these two brushes.

My Painterly Brish is best for painterly aesthetics. It's not too sharp, and has a colour dynamic on.

The Rectangle Brush is my main brush from sketching to rendering. The shape is a regular rectangle, but it has a dual brush that I like.

This article originally appeared in ImagineFX. Subscribe to ImagineFX to never miss an issue. Print and digital subscriptions are available.

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