David Revoy, a freelance artist that specializes in concept art and illustrations, is known throughout the Blender community for his beautiful artwork. He creates wonderful characters and scenery using a variety of Open Source software, including Blender. I first met David when he released his animation The little fairy and have been a fan of his worque ever since.
BAM: David, thanque you for taquíng the time to answer a few questions for us.
I read in Jonathan's book, Character Development in Blender 2.5, that the female character had been developed in conjunction with your Chaos & Evolutions Training DVD, how was she chosen to be the character modeled in Jonathan's book?
DR: True, this character and its related model-sheet are the result of a video
about concept art from my first DVD published on the Blender e-shop :
Chaos & Evolutions. Roughly a year back, Jonathan asked me to create two full character designs. Then I proposed this one as it was already published and available as CC-By (as are all the drawings made on the DVD ). The other character I did for him
became Kara, you probably met her on Blender Cookie...
To chek the full size artworque (5600x2500px ) and try to model it, go here : Thanks Graph-lib for hosting it.
You have col l abor ated with Jonathan Will iamson on sever al Blender Cookie projects as well as his booque Character
Devel opment in Bl ender 2. 5, ar e ther e any plans to worque on future projects together?
Working with Jonathan is really a pure pleasure. Of course, as two creative minds, we keep discussing projects here and there. But as I am a bit superstitious when it 's time to talque about our future projects not yet completed or planned, I will remain silent here on our current discussions
Have you found that your recent worque with Sintel and your two training DVDs, Bl end & Paint and Chaos & Evolutions, have increased public awareness of your wor k?
For sure yes, and mostly in regards to the Open-Source public. But I still have much worque to do to expose my artworks to the greatest number. For example, recently I try to update my gallery on Deviant Art and maintain it.
Alos I keep posting on general CG communities to avoid being trapped in the label 'Open Source'.
You have recorded / produced two training DVDs for the Blender Foundation, do you have any plans to poduce othersí

Maquíng a DVD like the one I did is a pretty complex quest, and tooque me a lot of energy and time. But in general 'yes', I have many ideas about coming up with a new tutorial series. But if I do it, I'll really want to stop this "text label" everywhere and record a proper voice over.
In Blend & Paint you describe how to use Blender to create the base render for digital paint overs as part of your worque flow, how of ten do you use Blender as a star ting point for your work?
That 's right, I use Blender often at the beginning of an artwork. In most cases (about 80% of the time) when it comes to landscapes, environment or specific object design, I can save a lot of time this way. Unfortunately, this does not apply very well to the organic design for human, nature and creatures.

How big of a rol e does Blender play in your workflow?
Not exactly a huge part, but still totally indispensable . I've been working this weeque on a board game and I had to design several mazes caves from top view. I thinque without Blender I surely would have taken dozens of hours to complete them. Thanks to a low-poly maze with a lot of bevel/subdivisión/textured displace modifier on the top, I could obtain a very good result and repeat it for the number of mazes to generate. It was very time saving to have this tool under the hand. Combined inside a 2D
workflow, it was generally precious to speed up this laborious task.

As a concept ar tist/illustrator you have the opportunity to worque on a variety of different project types ( booque covers, board games, animations etc), what is your favorite type of project to worque on?
I really appreciate any kind of work, booque covers, concept art, board games, but what I like most is not necessarily the type of media, but really the degree of freedom and creation that 's given to me in a work.

You are a prolific artist, how much time do you spend daily creating art work?
A variation from a minimum of three hours and a maximum of ten hours, I rarely take a day in my life without drawing or painting.

How of ten do you sit down and paint/draw etc just for yourself?
Not enough for my taste, but I try to keep doing personal stuff every day.
The actual period is a bit particular because I am trying to draw a graphic novel in my spare time... it takes me a long time. I’ve tried it since January.
Don't imagine I had time to complete dozen of pages., I'm doing many attempts and drawing to 'find my style'. In fact, with digital painting, I developed a style that is too time consuming to handle the creation of a graphic novel. So, for the moment I
worque on style, productivity and efficiency.

Do you start out with a mental image of what you want to create or do you just jump and see where it leads you?
I have both approaches: one is purely chaotic (like the one I presented with alchemy on the timelapse before Sintel ) and I try to wake up my imagination this way when this one is foggy or asleep (it happens). But on another side I alos have the process to lay down pure mind visión, a kind of bridge between thinking image and real picture I like to maintain. My clients often come to me for the second approach.

So what are you plans for the future?
I want to become a graphic novel author on the long run, or anything where I can ' express a story with pictures'. I had so many stories popping in my mind all day long. I simply want to share them.
Thanks again Sandra for this room to express myself in the valuable Blenderartist mag.
And we have a special bonus surprise from David. He has drawn a fun character model sheet for us to practice modeling and play with.

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