SciFi Environment Concept

” SciFi Environment Concept ” by Björn Wirtz
5. Ok, the spaceship in the foreground really sucked so it got kicked out. I am now concentrating on the background again and trying to make the architectural elements come together. It is important to use one form language for all objects in the scene to make things more believeable and realistic, otherwise it would look just too fantasy. Therefore i‘ve applied the segmented style of the huge main shapes to the air bridges here.

6. It‘s time for a new spaceship now. The new one is a lot bigger than the crappy old one to add more depth to the whole scene. I‘ve tried to create some really unique design here, combining soft curves with hard edges but i‘ve always paid close attention to stay within the previously defined form language.

7. In this step i have made some more or less subtle local value adjustments to get things more seperated from each other. For example the sky was just a bit too dull for such a brightly lit scene. You can also see some new interestingly shaped buildings here that serve as midground elements. One important thing to remember is to place light objects against dark backgrounds and vice versa. It is best to create a rythm throughout your image from foreground to background in order to achieve the greatest depth effect. So place light against dar, then dark against light and so on. But keep in mind that every rule is there to be broken, don‘t blindly stick to them and only use them when there is a reason for that.

Some other simple effect i have also used here to seperate objects from each other are „special effects“ like smoke and haze.
8. The painting is really coming to life now. The main reason for that are the hundreds of tiny lights that i have added here. They give another sense of scale and make the scene look just more huge now. Te creation of these lights was rather simple. I‘ve searched for some night city photos in my personal photo archive, then placed several different ones over the painting, setting the layer mode to screen and adjusting the levels only left the lights to be visible. After that it was just a matter of deleting and cloning some lights to get to the final result. It‘s a great way of quickly increasing the level of detail in a painting.

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