Published 28th October, 2019
My name is Haris Mujkic. I am an artist and game developer, located in Bosnia and Herzegovina. Besides digital painting, I am spending most of my time working solo on a small video game called ALT BOSNIA.
My favorite album is “Grace” by Jeff Buckley.
In addition to producing all the art for ALT BOSNIA I am also freelancing. It helps pay for my game dev adventures.
My favorite genre is landscape/scenery painting. I also enjoy genre painting, especially concepts set in science fiction.
Richard Schmid‘s work is the most important influence in my art. Usually, artists have a dominant quality that talks the loudest when we see their work. With Schmid though, everything is there. From his expressive brushwork, eye-catching “lost and found” edges and color harmony to incredible lighting and storytelling it just “clicks” with me. Sometimes, when I have a painting problem of any kind (color, composition or simply direction) I just open my Schmid reference folder and see how he solved it.
Other traditional artists close to Schmid in influence are John Sargent, Anders Zorn, Edgar Payne, Isaac Levitan, Shoji Kawamori, Ryo Hirata, Clyde Aspevig, Mark Boedges, Jeremy Lipking, Kazuo Oga, Makoto Kobayashi, John Harris…
When it comes to digital I love the work of Theo Prins, Craig Mullins, Krenz Cushart and Ruan Jia.
Back in 2010 while learning game development and programming, I was looking for a free tool for 2D graphics. After some research, I settled with GIMP.
Game development and the lack of enough free time is the main reason why I can’t afford to experiment with traditional painting. Both mediums come with some advantages over other. The visual diversity of color and texture in a traditional painting can never be produced with digital tools. When it comes to saving time and resources, digital wins. I do have plans to start traditional painting once I am done with current projects.
Like in most cases, all the awesome software I found about is a solution to a particular game development problem I had. Sometime last year I was working on a 3D model of a test environment for ALT BOSNIA. Some parts of the landscape had to have seamlessly tiled textures and I needed a tool with a versatile brush engine and tiled canvas view. Photoshop CS6, my main painting tool at the time, didn’t have the tiled canvas feature. That’s when I discovered Krita.
I started using Krita just as a “helper” tool. After a couple of weeks of getting used to it and learning what it can do, I decided to replace Photoshop.
Krita is since then my main tool for all digital painting related: concept art, texture painting, promotional art and freelance/commissions.
Krita has the most important feature for any digital artist out there. Freedom of choice. Almost every important aspect of the UI, brushes or workflow is customizable. It’s literally like my own physical studio where I can put things where they belong because it suits me. Missing something? Write a plugin.
Also, the previously mentioned Wrap Around Mode is incredibly useful and time-saving.
Nothing that particularly annoys me, no.
The SVG Text Tool has some room for improvements though. I am not really a fan of using a separate Windows native window for hosting the tool. It breaks the UX. Having the UI similar to brush editor panel or in a form of Docker could work a lot better.
I like how Krita is focused on making digital painting and animation workflow better and faster. Focus is important for effective software.
Definitely my most recent photo study, “Shibuya Crossing”. It is one of the most challenging pieces I’ve done so far, both in the amount of details and how much I’ve learned about painting figures in a relation to space and light.
Like in most of my works, I tend to use a loose approach to brushwork while still maintaining a sense of realism. Another important concept I have in mind all the time while painting is something called value compression. Simply, instead of using all the values on the scale, you limit the range to fewer values. For example, exploring more dark values while using just two lighter values. This concept is the key to a realistic lighting. I always make sure to give importance to distribution of empty space in a painting as much as I do to detail.
When it comes to brushes I use Chalk Grainy and Bristles Flat Rough for the most part. In the final pass Bristles Details, Dry Bristles or Sketching Leaky to get some variation in textures and shapes.
To learn more about ALT BOSNIA, my video game in development, visit https://harisgamestudio.com/altbosnia
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