The Death Tarot
27th March, 2017
Earlier this year, Brandon opted in to a Brush Sauce Theatre art challenge that demanded a tarot card re-design.
Choosing to develop the tarot of Death in a style original to him, he shares a step-by-step illustration of the finished card that is seen attached.
Brandon Crampton is actively looking to contribute to the 2D/3D art department of your games. To discuss job requests, feedback or to keep in tune with his current projects, please visit the artist's Sub-Forum.
6th March, 2017
Having started it as a study in attention-to-detail and lighting, Brandon decided to add just a little bit of flair to The Journey in pursuit of creating a fantasy adventure-themed vibe.
As always, feedback and any job/commission requests you may have for Brandon Crampton may be left at his Sub-Forum.
22nd February, 2017
Ongoing Storm, Brandon's first art composition for the year of 2017 is an attempt at Noah Bradley's approach of art.
' I wanted to approach the painting similar to how Bradley approaches his work,' writes Brandon. 'Needless to say, I think it turned out pretty well for a first attempt.'
Do you agree? Remember to leave Brandon Crampton with your feedback and any job/commission requests you may have at his Sub-Forum.
14th February, 2017
Following Brandon's prior study in painting grass and achieving greater attention-to-detail (Hill Chapel, scroll right on this slider), Mountain Side has him addressing his ability to handle complex mountain-like topologies and differing lighting.
Both being areas of 2D landscape design he considers himself lacking in, as he regards this composition to be a definite step in the right direction.
Mountain Side was the last of Brandon's scenic studies to be conducted at the end of 2016; a display of more of his current work follows soon.
We'd love to hear from you! You may leave Brandon Crampton with your feedback and any job/commission requests at his Sub-Forum.
2nd February, 2017
Part of Brandon's resolutions for the year involves performing at least one landscape/scenic study a week.
Backtracking to the study that compelled this decision, Hill Chapel was yet another experiment with attention-to-detail performed by him at the end of 2016.
'I learnt a lot about painting grass and getting more depth in my work,' he writes. 'Which was something I always seemed to lack.'
Do you agree? Remember to leave Brandon Crampton with your feedback and any job/commission requests you may have at his Sub-Forum.
25th January, 2017
Brandon's first portfolio update for the year ahead was in fact one of his closing pieces from 2016.
Created over the holidays and based off random thumbnails developed by him previously, OverGrown sees the artist experiment with scale and detail in pursuit of adding realism to his work.
'I was pleased with the end result despite it not quite looking as good as i had hoped!' he confides.
A timelapse of the illustration's development on Adobe Photoshop can also be viewed on Brandon's newly created YouTube channel, that he'll now be seen taking to often in display of his creative processes.
Be sure to leave Brandon Crampton your feedback on his Sub-Forum, where he may also be reached for job/commission requests.
Armour That Doesn't Fit
7th November, 2016
In tackling Brush Sauce Theatre's most recent art challenge, one specifically themed Armour That Doesn't Fit, Brandon deviates from what he believes would have been the typical entry.
Deciding to keep it fun, he fits a hardened warrior with female armour, quickly masks him with a hood due to lack of sufficient time, before shipping it off as his entry.
Revisiting Dragon's Peak
1st November, 2016
Inspired by imagery from The Hobbit, Dragon's Peak was one of several landscape/composition studies performed by Brandon at the beginning of the year.
Eleven months of newly gained experience later, the artist now decides to redevelop the original illustration in judgement of how far he's come ever since.
He writes -- 'While I might have overdone the clouds and mist, I believe the layout and lighting is far better than the original; certainly a great confidence booster to see that I have improved.
The original Dragon's Peak can also be seen as Image #2 attached herewith.
Missed Brandon tackle the 'Half Man, Half Animal' theme in his previous portfolio entry? Scroll right on this slider!
19th October, 2016
Manephant arrives conceived as an entry for yet another challenge hosted by Brush Sauce Theatre, the Google+ based art group that Brandon has taken to sharing his artistic exploits on off late.
With this latest challenge's theme being that of 'Half Man, Half Animal', his last minute entry was an ancient human-elephant warrior hybrid. It was completed around about the 2 hour mark.
'Its not the greatest artwork out there; but was fun to put my anatomy skills (which are terrible) to the test while playing with some dynamic lighting,' he writes.
11th October, 2016
Having recently taken to sharing his artistic exploits with the Google+ based group of Brush Sauce Theatre, Brandon sees himself partaking in quite a few of the art challenges organized therein.
The purpose behind this being both his yearning for feedback and interest in learning of other artists' interpretations of various topics.
Created for one such challenge, Moonlight Drifter abides by the theme that reads -- 'A Moonlight Drifter uncovers an ancient artefact, and must now protect it against the Evil Empire.'
Giving it his best shot, the artist also attempted creating the entire image in Greyscale first before applying colour -- a technique completely new to him.
'My absolute favourite part of this painting would be the clouds,' he writes. 'As i didn't think I'd be able to paint them as well as they came out.'
The Power Within
28th September, 2016
The recent launch of his Patreon campaign had Brandon revisit a thumbnail created more than three years ago.
Eager to finally flourish it with detail utilising all expertise attained since then, the artist also recorded his process of painting to lend insight into his creative method.
Now completed, he's calling it The Power Within.
21st September, 2016
The last of a series of digital landscape paintings that were developed by Brandon in study of composition and scenery earlier this year.
Dragon's Peak seems to draw heavy influences from The Hobbit and the artist's general love for the mythical creature. As he explains --
'With this speed-painting I intended to create a scene fit for a very specific game environment.'
'One where a player would be wondering through the landscape to find this peak as part of a quest, only to realise that once he got there it was going down.'
13th September, 2016
The attached Specimen builds upon Brandon's previous demonstration of his philosophy of warming-up as a freelance artist before a day's worth of client work.
Unlike the primeval weapons that begun as silhouettes from last week however, the Specimen started out with a lot more intent as the artist developed a preliminary sketch before adding color, shading, associated effects and rim-light.
'I however revisited this drawing later in a lunch break as I wasn't really satisfied with it,' he reveals. 'It took me a couple more attempts to finally reach something I was pleased with as a WIP concept.'
6th September, 2016
'I recently read that when it comes to being a freelance artist, the constant pressure to deliver what a client needs can often cause you to not perform your best if you are always stressed,'writes Brandon.
'So it's recommended to do a few quick sketches to 'loosen up' and prepare for the real work every day, as well as to ensure you're devoting energy to things you enjoy while keeping your creative juices flowing.'
In keeping with this, the artist produces a pair of primeval weapon renders as his first warm-up showcase. Starting with several silhouettes, he picked two to refine, add the right colours to and polish into their final forms seen here.
He reiterates that the purpose of his warm-ups isn't to create anything extraordinary, but to improve his stroke quality, speed and knowledge of textures.
30th August, 2016
Despite starting out as a customary morning warm-up sketch, Superficial Rider was quick to turn into a full-fledged portfolio piece for Brandon.
Beginning with a rough rendition of the character and associated grey scale values, the artist proceeded to experiment with a variety of flat colours before attempting to add realistic shadows, lighting and depth to the Rider.
Background manipulations followed, with an emphasis on speed and sense of movement.
22nd August, 2016
No significant meaning lies within this particular scenic study, except that it was created after a minor hiatus from digital art on Brandon's part.
It also employs a number of new tricks and methods to improve his overall quality of work, as inferred from the speed-paintings of other popular artists.
16th August, 2016
In illustrating his latest light and composition study, Brandon reveals that nearly all of his concept pieces start out as Game Design ideas.
'I had been playing a lot of Left For Dead at the time and was quite fascinated by post-apocalyptic settings; with a twist of Fantasy of course, such as these magical rocks leading you on a quest of sorts,' he explains.
'I had planned to use the concept in a game wherein they would glow and lead players onward to their next quest on getting closer.'
9th August, 2016
Developing extra-terrestrial characters for a recent client had Brandon contemplating the designs of their space-craft.
What if they had to invade a planet? What would their ship look like?
Deciding to find out, the artist led himself to another digital study of light simply titled 'The Spaceship' -- which he interestingly admits turned out far from what he originally had in mind.
29th July, 2016
Seen here is one of several digitally painted, conceptual landscapes created by Brandon at the beginning of the year.
Serving as a means to practice composition and craft his own unique method of approaching scenery, the piece also witnessed the artist restrict its creation process to an hour to help develop speed.
The 365 Day Drawing Challenge - Digitally Painted Snippet
30th June, 2016
Yet another day on the self-imposed 365 Day Anime Drawing Challenge sees Brandon take to a digital medium to craft and colour his latest Japanese animation themed subject.
With the first 17 days of his progress rounded up in the previous update to his Space, are there any noticeable improvements in his practice of anime art?
The 365 Day Drawing Challenge - 17 Day Roundup
24th June, 2016
Brandon's always been one to aspire towards an art style inspired by Japanese animation; particularly the ability to draw nearly any individual with anime characteristics.
Bad as he considers himself at it, the artist hurled at himself a challenge on the 4th of June, one that has him devoting every one of the following 365 days to mastering his anime based drawing style.
While days one to six saw him struggle with practice, days seven to eight led him to focus on the sketching of lips.
Day nine then had him sketch an individual from his Instagram feed, before he noticeably seemed to set into a rhythm in the days that followed. Think he's making any progress?
View every stage attached herein and leave him your feedback in the comments below.
A freelancing 2D digital artist and 3D modeller based within South Africa, Brandon Crampton is also an avid game development enthusiast with up to four positively received Android games on his portfolio.
In the 2D digital medium, Crampton specialises in concept artwork and game sprites while being proficient in the creation of portraits, illustrations, vector art and so forth.
His 3D creations on the other hand fall within the domain of modelling fantasy creatures, assets and monsters, their rigging and animation.
Work Process & Software Used
Given his accepting commissions only via Fiverr, Crampton prefers to first have a conversation with a potential collaborator to gauge their requirements. After developing an understanding and agreeing on payment, the artist then directs clients to the appropriate Fiverr ‘Gig’ — requiring them to place an order, make their payment and wait for the artist to complete the task for a pre-established period as per Fiverr’s terms.
Once commissioned artwork has been completed and delivered, clients will be offered a three-day period to request revisions for the same. His 3D art creation process involves the use of Blender 3D for base modelling, rigging and animation, Zbrush for texturing and rendering, along with Adobe Photoshop for render composting. xNormal, Autodesk 3Ds Max, Keyshot and the basics of Unity3D are also known to him.
The digital paintings meanwhile have him starting with a singular blob of color that he then twists and warps to bring out a multitude of elements that are to populate his intended scene on Adobe Photoshop. He is also proficient in the use of Adobe Illustrator for handling Vector files.
Due to personal and accounting reasons associated with his South African residency, Crampton prefers to provide his services only via Fiverr. Additionally, the service also offers guarantees in the fact that payments are received only when clients are satisfied — and cancelled only on both parties’ consent.
As such all of the artist’s basic services and associated rates are outlined as ‘Gigs’ on his Fiverr profile, which can be accessed via the Social Media profiles section to the right of this page (bottom on mobile). More customised, project specific services on the other hand are provided as ‘Custom Gigs’ after both parties have negotiated a rate and the task’s requirements.
Revenue share agreements are only considered when developers possess a history of at least one successful game release.
Terms & Conditions
- Brandon Crampton usually prefers that clients permit him to share created artwork on his own portfolio and social media profiles.
- All use of his work, especially in gaming media, must be credited in all instances.
Notable Clients & References
Lighthouse Games Studio — Shark Attack Deathmatch 2, Junior Artist.
Being one who has hand drawn and painted for the entirety of his life under inspiration from his Grandfather, Brandon Crampton’s freelancing 3D art career commenced with an introduction to Blender 3D at the young age of 14 in 2010.
While he admittedly churned out a number of mediocre modelled pieces through the initial years, the South African attributes the current quality of his work to hours and years of closely observing, studying and learning from the work of professional 3D artists.
Regardless, the design of all his created models over the years have been solely directed towards their use in Video Games. Yet despite harbouring immense love for the art form, the majority of Crampton’s preoccupations reside in 2D Video Game based Digital art.
Having first made the jump to digital painting in 2013, the artist’s admiration of Feng Zhu coupled with his fascination of being able to digitally render vast, in-depth worlds via few strokes of a brush quickly led him to being hooked on the medium.
His prowess in both 2D & 3D art led him to being employed by independent game studios Lighthouse Games in 2014, wherein he served as a Junior Artist developing character, environmental and other game asset concepts for their 2015 release Shark Deathmatch 2.
Within the same time period Crampton also jump started his own independent gaming studio titled Boxpanda, under which he’s released a cumulative of four games for Android devices. Now, when not working for clients he continues to build upon his 2D/3D art abilities, skill, experience and is even currently working on his own Unity3D based game. When not engaged in either, Crampton also enjoys music, anime and is a close-up street magician.
Those wishing to contribute towards the proliferation of his art may choose to do so by means of Patreon.
High Lord Of The Gardens
20th March, 2017
Modelled on Blender3D and detailed across Adobe Photoshop for a Google+ based art challenge, this specimen is meant to abide by the theme of High Lord Of The Gardens.
'I was personally really happy with it,' Brandon writes. 'With me not doing character art very often it was a real confidence booster to produce this art piece!'
The artist also managed to record most of its creation process below, losing only the last few minutes due to a technical issue. Attached is a progress render of the character itself.
Brandon Crampton is also looking to contribute to your games. For job/commission requests, a behind-the-scenes look at his current projects and feedback, please visit his Sub-Forum.
Martin The Martian
21st November, 2016
This interesting piece of Martian mass is Martin; a three-dimensional model that originally started out in life as a means for Brandon to teach his friend, also Martin, a few art basics.
'I had no idea what I was making at first, as I wasn't really focusing,' he writes. 'Just trying to show him the basics. It slowly started to turn into an alien and I just couldn't leave it at that! I had to finish it'
Textures and a few good renders later, the artist wound up with what he humbly believes is his best 3D model yet.
One can tell that Martin shares quite a resemblance to Krob, Brandon's previous extra-terrestrial creation viewed by scrolling right on this slider!
2nd June, 2016
Called Krob for lack of a better name, while Brandon's latest sculpt might derive its ZSphere based creative process from the rest of his whim-based models, it serves as an integral part of the artist's learning process.
Krob was created so that Brandon could have it sent to a talented 3D artist he idolises in exchange for tips and improvement related advice, which he now hopes to incorporate in forthcoming creations.
While the grayscale version seen attached herewith is a pre-texture render of the final model, the subsequent image render was an attempt at an alternate display style.
20th May, 2016
Part whale, part octopus, part crab; The intention to pull off a 3D model seemingly ambitious in scale and effort leads Brandon to unleash his rendition of The Kraken.
Unlike the large majority of his prior work that were eventually developed on whims, The Kraken was born after much premeditation and planning on the artist's behalf. Several objects & beings were considered as the subject of his first truly 'epic' piece, before he settled on the legendary creature after looking up the ocean's most vicious inhabitants.
As opposed to heading straight for ZBrush like he would usually, Brandon began by developing potential silhouettes of the creature on Adobe Photoshop. Once a match was found, finer details were thought of and sketched out until a rough yet satisfactory 2D draft of his vision was arrived at.
Using this research piece as reference, Blender 3D was booted for a phase of polygonal modelling of The Kraken's face; Ensuring that its topology and resolution were top notch along with that of the rest is mesh, Brandon finally moved the intermediate shape to ZBrush.
Therein the Clay Build-up, Dam Standard and Smooth Brushes added muscle and loose skin where needed, while Brandon hinted at bone and skin imperfections near the skin's surface.
Finally, colouring of the finished model took an entirety of three trials, before it was shifted back to Adobe Photoshop for furnishing of its background scene.
1st May, 2016
'Glow' sees Brandon acting upon a whim to model a purple, bunny inspired alien.
Without much thought put into its design, the character's base was formed under the artist's go-to method of modelling on ZBrush; ZSphere's warped to conjure a desired shape.
With the Inflate Brush adding volume to the chest, bones and muscle groups closer to the surface were obscured using the Clay Buildup tool.
Texturing came about by the establishment of a base of singular purple, later interspersed with dashes of other shades. Light Pinks and Blues also find their way into the alien's cheeks, collar bones and other sunken regions.
Finally, a combination of a key light, fill light and rim light illuminates the character and its silhouette, both of which lay superimposed over a Photoshop created background scene.
25th April, 2016
'Grumpy', as is aptly titled by Brandon, marks the artist's first foray into modelling a caricature of an older human character, for purposes of experimentation with the creation of wrinkles and skin folds.
Developed within ZBrush, Grumpy too started out as standard ZSpheres that were formed into their final silhouette, using the Clay Buildup Tool and a variety of brushes.
The Dam standard and Form Soft brushes were then brought in to ease out the wrinkles, while dabs of the Inflate Brush were used to exaggerate skin folds.
Asymmetrical features and skin imperfections, viewable on zooming in on the image in high quality, were finally included to push character realism.
Editor's Special | Behind The Art Of Box Panda
22nd April, 2016
You've met his trio of extra-terrestrials and now it's time to meet the man behind them.
We finally force Brandon to take a break, sit down and bring you a closer look at the creative process that shapes his young, South African artistic prowess.
Come read, 'Behind The Art Of Box Panda'.
17th April, 2016
A physical representation of Brandon's agitation and frustrations with the personal procrastination that surrounds his work; this is Scream.
Conceived within 4 hours and serving to illustrate the artist's texturing abilities and finish, Scream attempts to improve on Brandon's presentation of chaos.
As he notes, 'I really wanted to try and bring a sense of believability to this piece; I'd begun to notice in my previous models that things looked rather boring in the non-busy areas'.
'So I tried to get a well constructed chaos going on in the image -- I tried to keep it busy in most places to draw your eyes around the creature, while some areas are faded out so that one is drawn back into the more detailed parts.'
While the creature itself began without any prior vision, its course of creation stands similar to The Guardian; Starting from a sphere on Zbrush that was erratically moulded into a captivating shape by Brandon.
Once fleshed out with standard brushes and the Clay Build Up tool, the subject had its scales, cracks and imperfections laid out, before it was propped into a suitable pose, textured and rendered to create what is seen here.
Its screaming frenzy and quick creation time are again, allusion to the artist's innate angst.
14th April, 2016
A second alien finds itself as the subject of Brandon's latest foray into the 3D modelling software that is Zbrush.
Christened The Guardian, the alien grew out of a more definite vision rather than a whim on the artist's part, which he was quick to put on paper as a sketch. Making use of ZSpheres to drag and structure its shape and skeletal frame, Brandon then moved toward the Clay Build Up tool to flesh out the character's being in search of an elaborate silhouette.
This was then succeeded by the addition of wrinkles and skin folds via the Inflate and Dam-Standard brushes, before the texturing phase began.
Starting with a base color that was eventually added upon and refined to bring about its desired skin tone, Brandon proceeded to ready The Guardian for its rendering; using Masking and Transpose tool to provide for a more natural positioning of the limbs.
Post the addition of a few ambient, fill and rim lights, the rendering of the alien over multiple passes finally allowed for their compositing on Adobe Photoshop to conceive the form that is visible here.
Kevin - Lighting & Rendering Practice
10th April, 2016
Kevin was created with the vision of an advanced species of Alien that still used war paint to intimidate its enemies.
Kevin started his life out as a simple sphere, that was pulled and reformed into a silhouette interesting enough to warrant the sharpening of its comprising elements such as its bone plate head, eyes and else.
Once said shape took the outline of the form that is seen here, Crampton sought inspiration from the skins of Gekkos -- convinced that their pale, see-through skin would conjure the impression that the alien was one to have spent all his time in ships, travelling between galaxies and planets.
This was brought about by the use of Yellow for the areas with minimum skin, Red for fleshy areas with reasonable blood circulation and Blood/Purple for meaty and hollow areas such as that under the bone plate.
All of this along with the rendering of the character using Ambient, Key and Rim lights was done solely through Zbrush, with final touches applied on Photoshop.