IA: What are the different software you have used and which have been your favorite?

KB: I can say that I'm a loyal Photoshop user. I was using Photoshop 3.0 even when I used to work as a graphic designer. Strangely enough, I could never give up on CS2; the only problematic thing for me with the previous versions was the fixed canvas in the full screen mode. Anyway, painting the edges was torture that way, so when this was fixed with CS2 I said, "All right, it’s complete." I haven't even wanted to try the new versions. I've also tried Painter, but after using it for a while I remember thinking, "why bother?" Painter fans might disagree with me but Photoshop gives me everything I need, so I don't think I'll go and look for alternative coloring software for now.

Besides the 2D programs, there's SketchUp, which I use for when I'm having architectural and perspective problems, but I can't say I use it much. There is also Vue 6 XStream, which became my favorite. Before discovering this program I would spend hours working on nature backgrounds since I could never say to myself, "it's just background." Before I would work on every little detail of the forest, mountains and streams; and it would take a very long time to do that.

After I started to use Vue 6, I was able to create much more impressive backgrounds in much shorter time period, which has given me extra time to work on my foreground figures. Of course, the render I get from Vue 6 is not ready till I apply some atmospheric effects, such as fog and filters to pull it out of its 3d look.

IA: What do you like about digital art?

KB : I don't make distinctions between digital art and painting generally. I don't care about the technique of something, if I like it, I like it.

IA: Do you think your style has evolved this past year? How so?

KB: Certainly, yes. I'm getting better every year and I hope I never stop improving. According to my calculations I'll be very close to the level I want to reach in about 5 years, we'll see how that goes! The faces of my characters in the beginning did not have much definition to them, while in my recent works the faces of my characters are more meaningful. Of course there are also many changes with my compositions and use of color.

IA: How do you think it's evolving now?

KB: Well, you always aim for better once you achieve your previous goal. For instance, two years ago all I wanted was to be able to draw perfectly correct and impressive poses and now I don't even think twice about posing a character, it just comes to me. These skills accumulate and form what we call an evolving process.

IA: At what point in creating a piece would you say you concentrate the most?

KB: The first thing I have in mind when I'm drawing is how to make it impressive and reach that "Wow!" look. Since there are many different elements that trigger that reaction there's not a general point I can say I focus on. It can be the expression of the character in one painting or the armor design in the other. But I usually pay attention to see whether the composition is working or not, if it doesn't, no matter how hard or long you work on the components, it won't do any good; that's why sketching is probably the most important step for me.

IA: Do you think your process is different when creating a piece for a game/magazine than when you create for your own pleasure?

KB: Of course, yes. With one you prepare the order and the other you satisfy yourself. The key to happiness in this job is to be able to get satisfaction from the orders you get; however, sometimes this becomes impossible since some employers put such pressure on you that you say to yourself, "Sheesh!" When I work on personal projects though, I can go on with the first sketch I make since there's no employer to talk to it about and I can try very different and experimental things since there's no one of whom I should win the approval.

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