This action might not be possible to undo. Are you sure you want to continue?
Get Attention in the Computer Graphics Community
VOLUME 5, ISSUE 4, AUG - SEP 10
Carlos Ortega Elizalde
Making of Interested
Photoshop 3ds Max Maya
Leaves of Greens I’m the Godfather Hippopotamus Making of Stewie
Latest 3D inspiring art
Get Attention in the Computer Graphics Community
Volume 5, Issue 4 Aug - Sep 2010
05 14 24 32 42 52 58
Interview Photoshop Lightwave 3ds Max Maya Photoshop Gallery
Carlos Ortega Elizalde Making of Greens of Leaves Making of Interested Making of Hippopotamus Making of Stewie Making of I’m the Godfather Showcase of latest 3D art
Magazine Edited: Ashish Rastogi, India Magazine Cover Image: Dilip Suthar, India Magazine Design: Yousef Ikhreis, Jordan www.cgarena.com Page 2
Issue 4 Aug - Sep 2010
CGArena Phoenix Fluid Dynamics is Officially Released
Phoenix Fluid Dynamics is the latest product released by Chaos Software. The software perfectly combines a grid based simulator with outstanding rendering capabilities. The product comes with a number of new features like fast physically based simulation core, background simulation, wind from movement, fluid source form pre-simulated surface, particle based sources, GPU accelerated preview, texture driven simulation, displacement, rendering of textures and many others. Fluids are substances that continually deform, such as liquids, gases, plasma etc. Phoenix FD lets you simulate these fluids in 3ds Max. The simulation is stored in a finely subdivided 3D box, or grid, where each cell contains the fluid’s properties at that location.
Prime Focus Software Releases Deadline 4.1
Prime Focus Software, the R&D arm of Prime Focus, announces the release of Deadline 4.1, the latest version of its popular easy-to-use administration and rendering toolkit for Windows, Linux and Mac OSX-based render farms. This release features several new features and performance enhancements and will debut alongside the Deadline Mobile iPhone app, available for a free download on the Apple App Store starting from August 3rd. New Features in Deadline 4.1 include: • Speed improvements • Increased usability • Simplified power management configuration • UAC compliant • New software support: After Effects CS5, Arnold Standalone, Lightwave 10, RVIO, RealFlow 5, and Softimage 2011.
The VES Handbook of Visual Effects: Industry Standard VFX Practices and Procedures - The book covers techniques and solutions all VFX artists, producers, and supervisors need to know, from preproduction, to digital character creation. In-depth lessons on stereoscopic moviemaking, color management and digital intermediates are included, as well as chapters on interactive games and full animation authored by artists from EA and Dreamworks respectively. Written by 88 top leading vfx practitioners & covering everything about vfx from pre-production, production, and post-production. ISBN-13: 978-0240812427
Character Skinning - In this DVD, JP Self takes you through the process of skinning an animation-ready character from head-to-toe. He goes over how to fit the biped to the mesh, using the weight tool to adjust the folds in those tricky areas (such as the hands, shoulders, and pelvis), mirroring the vertices from one half of the character to the other in order to achieve that professional outcome, and even resizing the character after the skinning is complete. This DVD will help you get a better understanding of the methods and the reasoning behind the techniques that professionals use in production.
and I kept that goal for year’s even days before applying for the University. I still cannot picture myself doing anything else. Could you please tell us about yourself a bit and what is the reason of choosing Graphic Design and 3D Art as a career? Really don’t care that much about money or fame Since my childhood I wanted to be an archaeologist or a geologist.Interview with Issue 4 Aug . but I also had my own 3D noob projects running in my free time. Q. I was introduced to 3D graphics with Rhinoceros -thanks to a deceased old friend we all still miss. The project involved a 3D animated sequence for a paleontological exhibition. I choose wisely and I fell in love with the career. I have a big passion for science and paleontology. due to my passion for graphics. Still. objects and why? Which areas do you like the most modeling.then I moved to Carrara Studio and later to Maya. so I didn´t think of it twice to merge. buildings. Somebody recommended me to give Graphic Design a try. I spent many nights learning the 3D world by myself since it wasn´t part of the career at that time. It’s one of those jobs you want to relax from doing the exact same things in your free time.cgarena. Please tell us what you enjoying the most modeling characters. rendering or post? I love to model characters the most. 3D and dinosaurs. Of course I was a bit wrong since Graphic Design is not all about drawing. Please tell us about your first professional project and how did you get that? I was working in an advertising agency doing flash and web stuff. lighting. texturing.com Page 5 . Once I complete a character I enjoy modeling anything from accessories to buildings and environments www. A good friend of mine invited me to join in an upcoming project at the University where he was working at that moment. here in Mexico.Sep 2010 CGArena Carlos Ortega Elizalde Q. I know it´s a bit cliche but it is awesome to create some kind of “life” straight from a cube or a plane. two of my great passions in my first big project. Q. arts and drawing. That lead later to get a full time job at the Guanajuato University. cars.
so my only trick is researching when looking for realistic effect (as an example. On the other hand. I learnt a lot from MasterZap´s blog) cause even when I´m not that much into technical stuff. Which software’s and renderer you use to create your image? Have you any trick for getting a good quality of realistic or toon image? I use Maya and mental ray most of the time. I hate modeling toes though. I´m not a big fan of physically accurate values regarding toon stuff and whenever I have the chance to enhance something in a post stage I do it. I love toon imagery.Interview with Issue 4 Aug . texturing and lighting are my favorite stages.com Page 6 . CrazyBump and Carrara Studio. www. If simple things works well for the project I often go for it. Q. but I can say modeling. I always try to observe the real life as much as I can and put special attention to those small details you can only spot when they aren´t present. cause most people can spot when something is wrong. but I hope to have the chance in the future though since I have big admiration and respect all the people behind that scenes. I´m not an expert at hyper realistic rendering though.cgarena. As for the area I enjoy the most. Other helpful tools I often use are ZBrush. and one thing I always focus on is the atmosphere and lighting to enhance the attitude of the character or the mood of the scene. it’s great to know what the render engine is doing every time you hit “Render”. realistic images requires being more sharp-eyed. Have you ever worked for any big film and what was your role? Not yet unfortunately. each one has its own fun and magic.Sep 2010 CGArena Carlos Ortega Elizalde as long as all of it helps to fill the world of the previous created character. Q. recently I had the luck to put my hand on FurryBall which is an awesome jewel too.
I decided to spend a little more time to create extra renders for portfolio pur- www. avoiding to create anything that wasn´t going to be used. Textures were taken from some pictures also and other ones just with color variations by hand. The client provided some internet references and from there I combined a few styles. I always find too fun to work with female characters. So.com Page 8 . I created a very simple skeleton and a small set of blend shapes for the face. I started to combine them to create specific moods and attitudes for each girl. For posing. I used no sketches since the client gave me complete freedom for the character. balance and curve flow.. Please tell us in detail about your image 4Girls? I was requested to generate a few renders for a shoe brand with some cartoony fashion-girls.cgarena. I wanted it to be something friendly. Lighting consists of a couple of spotlights with raytraced soft shadows. I rendered with mental ray using Final Gather with two secondary bounces. I kept things simple. I modeled only one girl with no complex shapes or anatomy.Interview with Issue 4 Aug . you get more freedom posing and still getting a dynamic and nice aesthetic figure. which was complemented with a glowing plane to help with reflections. After I generated several assets to work with. After the image delivery to the client. modeling is pretty simple.. The clothes were one of the main things I focused on. The materials are mostly Blinn and Phong shaders with several ramp nodes. Since I had a small schedule to complete the work and other freelance projects running at the same time. playful. I generated various poses taking special care of the silhouette. so each one could depict a different environment even without a background. charming and cute. I modeled folds directly into the mesh since it was only for a few still images. but trying to get a nice silhouette and a charming face.Sep 2010 CGArena Carlos Ortega Elizalde Q. Most of the weight painting after the binding was made on the fly as I was posing the girl.
www. In the case of freelance work it’s great to work with image planes because the client often has a clearer idea than me of what they want. Do you do any preliminary drawing about the character before starting the modeling? Which is your preferred method of modeling. I rarely use any image planes other than a messy sketch just to keep proportions since all volumes and details flow out of my head on the fly.Polygon. with lots of coffee and energy drink. The final touch with this project was adding a pattern background to complement each girl.Interview with Issue 4 Aug .cgarena. bi-rail.Sep 2010 CGArena Carlos Ortega Elizalde poses. extrusions and tricks like stealing UV´s) but I always end up converting everything to polys. mostly because I had a couple of unfinished dresses that weren´t used. I feel more comfortable working with polygons and SubDivs most of the time. NURBS curves and surfaces help me for some tedious tasks though. (Four girls for girls) Q. It was a fun project. (lofting. subdivision or Nurbs? Regarding my personal work.com Page 11 .
reading. and expressing their selves. What is your source of inspiration and how do you keep yourself motivated when still after 2 years of recession artists are getting fired and studios are closing down? I personally get inspired by several things. In a short term. just be able to take all the stuff that is going on inside my head. Regarding my full time job and freelance activity.. Q. nature.. it’s something I enjoy a lot since I usually spend a lot of time inside the computer. I really don’t care that much about money or fame. the everyday life. going out for a beer or coffee. friends. I would love to upgrade my rigging skills and taking some professional animation course. My dream as an artist has always be being able to leave a little part of me to the industry. science. Q. thinking things and life in 3D! www. music. listen to music. and spend as much time as I can with my friends.Interview with Issue 4 Aug . I really don’t know what is their source of motivation but I can say they are mine. creating. Even with studios closing down and world taking other priorities I see a lot of talented CG artists doing great things. I have the big fortune to work with some of my best friends.com Page 12 . share my imagination with the people and gain a little space among the people I admire most.cgarena. this also keeps me inspired and motivated every time and of course. but I also like to watch movies. For an upcoming artist can you give some word of inspiration and how they can improve their modeling? I know it may sound obvious but practice is the one thing that helped me the most. Do you have an aim or dream as an artist? What are your hobbies and how you manage to combine your personal life and work? I always say 3D is my full time hobby. so each day at the office or taking part in a group project is pure fun. so I always have something I want to create. I must say I have a very hyperactive imagination even when I´m a very passive guy. I learnt a lot from the flaws also and I still take critique in a humble way cause there are thousands of guys better than me.Sep 2010 CGArena Carlos Ortega Elizalde Q.
cgarena.Q. Just big thanks to the CGArena.zigrafus. Anything you would like to add? It is your chance now to state your opinion about anything. Hope somebody can take a positive thing from this.com www.( cause I did :) greetings from Mexico! Thanks a lot Carlos for taking out sometime for us from your busy schedule Web: www.com Page 13 . I feel honored and it’s great being able to share a little piece of my life in these lines.mx Email: email@example.com.
For this painting I sketched digitally.cgarena. using a small sharp round brush.Tutorial Issue 4 Aug . I use these two throughout the whole process.Sep 2010 by Brooke Gillette. And the “bristle” I use for large brush strokes to block in large shapes. set on “pen pressure”. I never clean up my line work since I just painted over it. After the figure sketch was finished I started to block in the trees in the background and few small details such as ivy leaves and drooping vines to develop the composition and also to remind me of what I wanted to add later on. I also used my own custom brushes. USA CGArena Software: Making of Leaves of Greens INTRODUCTION Photoshop 2D While driving through a scenic road I was in love with all the different shades of greens of the forest nearby the road. adding muscles. I sketched the figure first. Using the bristle brush I shaded in the lighter brown to establish the light source on the tree. fill the selection with dark brown. www. I called them “flat bristle” and “knife” because they simulate the look of the traditional tools that I use. BRUSHES Aside from the default PS brush preset. I used the “lasso” tool to select the general shape of the tree. starting with “stick figure”. and finally drapery. Then I made a new layer. Using my “knife” brush I added branches and twigs. I used whichever I can grab at the moment. either by pencil scanned into PS or digitally using the stylus and tablet. STEP 1 . I use the “knife” brush to add branches and twigs to my trees. I used a guide to align facial features. such as eyes. It was spring after all and all I saw was “green”! I went home and decided to paint a fairy painting using many variations of greens for my color scheme. set it on “Hard Light”. I also blocked in the dress to help me have a better idea of the form of the figure in the overall layout.I always start my paintings with a sketch. I use the small sharp round edge for details and the soft round edge for blending.com Page 15 .
I painted individual little dots and moss. close your path. then go to Select > Save Selection. USA CGArena Making of Leaves of Greens nose. I decided not to go with these since they were used before in other paintings… I thought of leaves and thought that they would make a more interesting design for wings. Using the small sharp round edge brush. such as moss. I’ve also lengthened her hair. right click and choose “make selection”. These saved selections are very useful for later stages when I started blending and adding shadow to the figure. etc. In Brush Dynamics. “torso”. I started to render.com Page 16 . The dragonfly design ended up on her dress :) www. I made my guide lines red on a separate layer at 50% opacity. ivy. name your selection and click “Save”. set the brush to scattering and pen pressure. In this small example I added moss on a rock. Using my moss brush I painted the green moss on a separate layer.After I was happy with the layout. giving the character a more romantic look. To keep the edges clean. Once I am satisfied with the shape I select the moss go to Edit > Define Brush Preset.Sep 2010 by Brooke Gillette. and mouth. I used this same method for the moss on the tree. I started on the big tree. To make selections from the pen tool. This guide is very important when I started painting the face in detail. adding some barks and moss. The dots represented the small tiny daisies from afar. I used the pen tool and saved my selections as “left arm”. STEP 2 . just enough to give the moss its own dimension on top of the rock. it helps me keep the facial anatomy in check.cgarena. I redefined the facial features and gave some lighting direction to the figure.Here I started to add texture. vines. and fallen leaves into the background. Generally I work “outside in”.Tutorial Issue 4 Aug . I sketched in the dragonfly wings and a few hummingbirds to see if I’d like to add these elements. “right arm”. Working at 100%. Set the Layer Style to Bevel and Emboss at a very slight depth. I created a hand-painted custom brush. rendering the background first and saving the facial details for last. For the moss. Create a Layer > Clipping mask for the active layer so that the moss fits cleanly on the rock. STEP 3 .
STEP 4 . ornaments. leaves. . Once I’ve captured the basic form and lighting of the feeder. etc. this is the axis of rotation for this object. I started to design my own feeder… adding flowers. When sketching out the feeder I’ve sketch a line down the middle first. When using refs I use them for two things: lighting and structure.Here I started on the bird feeder… taking a break from the ivy leaves! I used a ref photo that I took of the bird feeder from a garden. The key point was to study how the bird feeder looked realistically and also what components make up this feeder. Then I sketched the overall shape and added the flowers last.
I am never without my cheap Lumix camera. I also spent a long time sharpening the ivy leaves. USA CGArena Making of Leaves of Greens so that next time I want to paint another feeder I could do it without reference. but it took days!! STEP 6 . and then the few small flowers on top of the log to add more character to the scene.com Page 18 . and I don’t want to miss capturing it!! The folding of the leaves were one of those rare “happy accidents” that happened while I was blocking www. many times!). Beauty is often found in unexpected places. I also blocked in the snails and rendered them according to the light source of the painting.Sep 2010 by Brooke Gillette. It doesn’t yield professional quality photos (and have been dropped many. STEP 5 . but for what I do it does the job.Tutorial Issue 4 Aug . The design and colors for the wings were inspired by the young sprouting leaves that I took a picture of. painted and cleaning up the edges stroke by stroke. Sounds simple. The whole purpose of doing this is to avoid “cookie cutter” leaves that will make the painting look boring and static.I started to render folds of the dress and added leafy wings.cgarena.In this step I’ve added the log.
I really enjoyed this part.Sep 2010 by Brooke Gillette. I later on added a flower to give more “weight” to this redirection of the eye-path.cgarena. USA CGArena Making of Leaves of Greens in the leaves. What I was looking for was “how does this fabric drape over the anatomy underneath?” Once I’ve achieved realistic folds. not every fold visible in the photo. and overlapping that I added an ivy-like pattern that echoed the ivy on the tree. I used my own ref. I added dragonfly wing as part of the top. Some flowers and leaves are also added to the head-piece. www. I painted the berries to add variation of the shapes and some white flowers to give a focus among all those greens. moving them around until I was happy with where they were.Tutorial Issue 4 Aug . For the dress. One particular bird I wanted him to direct the eyes back into the painting (the one she is looking at). Then I added the birds. STEP 7 . I added my own design to the dress.com Page 19 . with ivy leaves to unify the overall design. Once again I only needed the structure and the lighting of the dress. I aimed to capture the main folds of the drapery to give my green dress a realistic look. I painted each of the birds on separate layers. since the viewers will follow her eyes and look right out of the painting! But he was not enough. I didn’t care that it were pink.Once again I came back to the vines and leaves! I added small curly vines to give the vines more character and also achieve a more artistic look.
they looked white.In this step I will show how I created a textured brush or “stamp” from a photo. the black shapes are the shape of the stamp. and pumped up the contrast using the Levels sliders. I took my photo of fallen brown leaves into PS. Remember that when making these “stamps”. Because the leaves were light on a darker background.STEP 8 . desaturated it. If I selected this pattern I’ll end up the ground as .
The beads were then added to the lace.cgarena. I also finally rendered the foot!! It was too large and I had to resize it.Sep 2010 by Brooke Gillette. making them look dewy. Here you can see the “stamp” in green. Then I added more spider webs on the ground where it touched her dress to show that she dragged and stretched the webs as she walked across the forest path. Now I sprinkled “glitter” to the dress and ribbon as well by simply use the small round edge brush and stippled in the sparkles.Adding more details! I painted the thin webs on the separate layer.com Page 21 . Then I painted the earrings and the ivy necklace. Go to Image > Adjustments> Invert. not the leaves. Being lazy I just duplicate the layer and added the web to other parts of the painting. I painted “water drops” to the end of the beads. STEP 9 .Tutorial Issue 4 Aug . USA CGArena Making of Leaves of Greens texture. I also used the fallen leaves stamp on the bottom of her dress as well to give it more texture. So I needed to invert this image to get the leaves as black shapes. This layer was set in mode “Overlay”. just having fun adding more details at this point. www. This will give a nice dark pattern that will be the leaves. I also painted glittering webs drooping from the flowers and on the lace of her green dress. I used a small round brush 5px to add details. I selected the portion that I wanted and “defined brush preset“. I also added the swirly designs to the bottom of the dress on another layer.
added some darks were the wings were casting a diffused shadow. I flattened the whole image. I added freckles by painting random brown dots on a separate layer that is set to “Overlay” at 25% opacity. with areas of lights and dark. USA CGArena Making of Leaves of Greens STEP 10 . I modified and added more flowers and details to her head-piece. All done! Thank you for reading this walk-through.com . but keeping the eyes aligned with each other and other parts of the face. For the very last step I flattened the image again. added “light” to the ivy leaves in the middle of the tree.Sep 2010 by Brooke Gillette. For the ivy leaves on the tree. I painted the finger nails and the wrinkling of the knuckles to achieve a more realistic look. the light doesn’t spread uniformly among each leaf. I flattened the image for the last time and saved file. Flipping the image horizontally also helped to spot mistakes. duplicate it. and added light to the snails to direct the eyes to notice this detail. and set the duplicate layer on “Soft light” to sharpen the painting. this way I can render her soft features and detailing away while keeping the facial anatomy correct. I checked the consistency of the light source. Finally. Website: http://shadowbrooke. To achieve this look I added a new overlay layer.Tutorial Issue 4 Aug . For final detailing of the artwork.yolasite. But doing this would increase the saturation of my artwork. I hope it gave you an insight of my work process and that you found it useful. In the final image. The hardest challenge about painting the face for me is not rendering her lashes. but shone on the clump as a whole.Finally I came back to her face. after I’ve saved my painting as a new file (file 27 at this point). The guide (which I mentioned before) was really helpful. making sure that everything was lit from left to right.com Email: shadowbrookestudio@gmail. so I go to Image>Adjustments>Hue/ Saturation and slide the Saturation slider to -60 (negative 60) to keep my colors consistent.
Issue 4 Aug - Sep 2010
by Khalid Al Muharraqi, Kingdom of Bahrain CGArena Software:
Making of Interested
Lightwave, Modo, ZBrush
I was working on a project that requires me to recreate an environment from the middle east, this environment will have animals from our outback like horses, camels dears etc. One of the animals that I enjoyed working on was the camel, and from there I have created several pieces just from that, like ‘Interested, ‘After the Rain’, and ‘Black’. CONCEPT AND REFERENCES I start every project with research, this allows me to understand more what I want to do, and make a plan on how to do it. After looking at many photos that related to the topic of camels, I wanted to have an adult and a baby, and to have the camera at a low angle. In this image, it seems like the adult is an older male, that was curious to approach the baby and the baby was overwhelmed with the size of the adult so... I called it ‘interested’.
I www.Sep 2010 by Khalid Al Muharraqi. then test out the mesh in my sculpting application. I would then start to think about how textures would go on my subject. in this case.com Page 26 . then use Modo s sculpting tools to tweak it further. I know how a camel looks by heart since I have seen them all my life. and what I usually do. it really took me about 10 minutes to get it right. this process will take a bit of time as I would want it to be usable for other purposes such as animation and posing. Once I complete my base mesh using Lightwave & Modo. then go to ZBrush. I usually have my image references ready. once I get the general look of my canvas. Kingdom of Bahrain CGArena Making of Interested MODELING AND SCULPTING I usually like to start with modeling. Painting textures something that I like to start off on ZBrush. I link it to the object on Modo.Tutorial Issue 4 Aug . I will start with a box then extrude geometry from it. UV’S & TEXTURED After I have completed all the models and sculpts. I used to work hard on Lightwave to create UV maps. displacement maps. It took me about three days to get it to where I was satisfied. then things totally changed-!! I used an amazing plug-in for ZBrush called UVmaster.cgarena. this is a process that will take place between Lightwave. then things got really easy with Modo. I can export all my normal Maps. Creating UV’s will help me in getting better results on the images with more control. then I will start sending it into ZBrush to create all the details for normal maps and displacements. to Modo. using Modo’s sculpting tool will help me to get even better control on the results. Life is so easy these days!! Now the UV’s are done.
www.cgarena.com Page 27 . Kingdom of Bahrain CGArena Making of Interested would then send it over to modo and get all the textures right like I want it.Tutorial Issue 4 Aug .Sep 2010 by Khalid Al Muharraqi.
Tutorial Issue 4 Aug . and then test it out on Lightwave to see how well it looks. the cool thing is that Modo uses Lightwave files like native files.Sep 2010 by Khalid Al Muharraqi. RIGGI For www.cgarena. hair design is not an easy process.com Page 28 . update it in Lightwave and see the results immediately on the hair!! For the colors I use the same image maps that are used for the skin. save them. Kingdom of Bahrain CGArena Making of Interested HAIR & FUR For hair I used Fiber FX in Lightwave. Here I had to create black and white maps in Modo. it usually takes a lot to get it right. so I play in Modo.
I just wanted to capture that moment in time. www.com Page 29 . LIGHTING & RENDERING Finally I light the camels in a scene using two dis- tant lights and using Global Illumination from the colors of the sky. Kingdom of Bahrain CGArena Making of Interested RIGGING & POSING I like the rigging process. I can get amazing results that can help me in posing the character in the right way that I want to give for the setup that I’ve created.Sep 2010 by Khalid Al Muharraqi.Tutorial Issue 4 Aug . it does take time to get things to move the way you want or the way it should.cgarena. but in the end. the only thing is.
I usually fix any tiny bugs on the model. the overall colors.com Email: firstname.lastname@example.org Page 30 . Web: www. Finally big thanks to CGArena and to all the readers. I hope that you enjoyed this basic and fast explanation on how I think.Sep 2010 by Khalid Al Muharraqi.Tutorial Issue 4 Aug .com www.cgarena. add all the moody feeling like the lens flares. Kingdom of Bahrain CGArena Making of Interested POST PRODUCTION Well in post.
After the Rain Black .
I also used the Paint Deform SHIFT TOOL (3ds Max 2010). Brazil CGArena Software: Making of Hippopotamus REFERENCES AND CONCEPT ART Here are some references and the amazing concept done by Lucas Leibholz. 3ds Max. Looking at many references of hippopotamus my main goal was to find the basic shapes and to define the edge loops.com Page 33 . To fix the shapes. www. It’s a powerful tool and really helpful in deforming the mesh. you can find details that will define the quality of the final work. This is really important step of the work. The most important of all is to pay attention to the camera and see how the shapes and silhouettes are working.Tutorial Issue 4 Aug .Sep 2010 by Pedro Conti. Photoshop 3D MODELING I started using poly-by-poly modeling.cgarena.
Here u can see the high-poly model with the hair. The annoying stage is to set the position of the hair manually. With Standard brushes and alphas. Brazil CGArena Making of Hippopotamus SCULPTING I had a lot of fun doing the sculpting.cgarena. than I used multiple FFD Boxes and bend modifiers to deform the mesh. For the Hair production I used a cone base mesh.com Page 34 . This is the best to control and to give a natural aspect to the hairs. www.Sep 2010 by Pedro Conti. I was able to quickly detail the model.Tutorial Issue 4 Aug .
This is really helpful. www. I also used normal maps and displacement maps to complete my texture.cgarena. Selecting the green channel of NORMAL MAP in object space you can have a nice “ambient occlusion effect”.com Page 35 .Tutorial Issue 4 Aug . With this base I detailed the texture in Photoshop using brushes I reproduced the color variation of the hippopotamus skin. Brazil CGArena Making of Hippopotamus TEXTURING The UV map is quite easy. I poly painted the mesh in 2 colors in ZBrush to determine the basic color map. This is the best and faster way to preview the map on the High-poly model. BOTTON and EARS. I imported the model into UV LAYOUT and separated the model in 3 parts: TOP.Sep 2010 by Pedro Conti.
blogspot. LIGHTING I used mental ray with Final Gather to render and used 8 Lights to simulate an oven light. z-depth. You can download this shader from http://mentalraytips. The composite shader is amazing for this.com Page 36 . In some lights I turned on the “show icon on renderer” and used Inverse decay. I divided the render in 2 stages: Main render and Additional passes (additional reflection.000 polys) and textures in high res. it works perfect like a Photoshop layer manager and you can have all control in the mix process. The main render (7K) was completed in 29 hours in a Quad Core.Tutorial Issue 4 Aug . This is a modified version of default SSS Skin but contains the perfect A&D reflections and Ambient Occlusion. Final Gather in low preset and 1 diffuse bounce was perfect. 4GB of Ram. www. This is really slowly but I was using the models (320.cgarena.Sep 2010 by Pedro Conti. Thanks to MasterZap to share. I also created a Self illuminated white plane (invisible to Final gather) to create a nice window reflection on the character. The bump map is a mix of 4 maps. This option allows the Area light visible on render and in this case acted as a light bulb effect. Brazil CGArena Making of Hippopotamus I used a 7k texture because the final image needed a resolution 60 centimeters (300 DPI). falloff effect.com/search?q=sss . furs. For the shaders I used Mental ray Arch&Design and SSS Skin + (mi). etc).
Sep 2010 by Pedro Conti. feels free to mail me. and it was applied by hand in Photoshop. Brazil CGArena Making of Hippopotamus POST WORK In the Photoshop I had control of color and mood.com Page 39 .Tutorial Issue 4 Aug . For the droplets. eyes.TECHNO IMAGE Client: Brastemp www. Well. anything at all. It is much easier to control the entire composition using separated passes. CREDITS: 3D Artist: Pedro Conti Composition: Pedro and Adriano Zagottis Conti Art Direction: Rodrigo Bombana DM9 DDB . If you have something to say. apple. this is a complete Brastemp Hippopotamus making off. hair & fur) in folders and I worked individually in each one.cgarena. I separated the parts (head. Adriano Zagottis took photography of sprayed water on a Gray ball.
com Email: email@example.com .Blog: contipedro.
100% Environment Respect. . Save Paper.Please consider the environment before printing this magazine.
3ds Max 3D “Hello to all the 3D artists . Thank you so much. different experience of work. may be of a different age. I took a reference image of ‘Stewie’ from which I could at least imagine how he would look with my work.Tutorial Issue 4 Aug . You can see it in the step by step images of the model in process.” www. . It’s been really so flexible for me to make it as I did go step by step method while going ahead.cgarena. It is my absolute pleasure to share my knowledge that I did learn while making this model up to the final output.com Page 43 . any 3D artist can easily make a simple base model of a character in Maya with a proper understanding of loops and angles. India CGArena Software: Making of Stewie Maya. different taste or ambitions while working with such a fantastic world of 3D.” “Before making this model. . being a professional.Sep 2010 by Dilip Suthar. As we all know. amateur and learner . So here we are. The same basic rules have been used by me here to make a simple mesh model of ‘Stewie’. . I am absolutely glad and happy to share with you my experience of making a 3D model of a cartoon character named ‘Stewie’. .” MODELING Model of Stewie in Maya .“All Right. Here is the reference image of the character.
lolz.Sep 2010 by Dilip Suthar.cgarena. I guess there is no need to say ‘How I made it’ isn’t it? . So with the unwrapping techniques. . India CGArena Making of Stewie I took a Box and gave it smooth Then I made it spherical according to the shape of the model A bit details Oral Details TEXTURING Complete Mesh Model “General unwrapping of UVWs is needed for any organic kind of a model.com Page 44 . I opened its UVWs by usual methodology.Tutorial Issue 4 Aug . here I have used some textures which helped a lot to make it feel like www. .” “To give a proper feel of clothes.
com Page 45 . by this image you’ll understand the difference between ‘Now and Then’. A bit detail (just simple tiling) more accuracy Red Overlay Shadows n shallows to make a definition Some highlights to make a feel of a real clothing “Here. India CGArena Making of Stewie a real cloth.Sep 2010 by Dilip Suthar. Here the texture is going to be used for Stewie’s pants.Tutorial Issue 4 Aug .” www.cgarena.
Just a bit imagination. some software settings and a correct thought process of ‘colors’ and you’ll get the best results from yourself. OK. Page 46 . now we go ahead.A simple Vray shaders making settings for Stewie’s T-Shirt and pants.
com Page 47 . It really helped me to do justice with my model and made it a presentable one.cgarena. ‘Vray Plugin’. anybody won’t understand the imagination of an artist without any explanation by anybody. to make a ‘Cute Ambience’. This is what I got. I have used the ‘Global Ambience Maker’ i. Without ambience.e. www.Tutorial Issue 4 Aug .Sep 2010 by Dilip Suthar. Just check the Vray Properties that I used here while rendering my Stewie with some basic spot light. India CGArena Making of Stewie RENDERING This is a part where the ‘ambience’ comes into the scene. So here.
for skin I have used a ‘SSS’ shader in Mental Ray and then I composed it in Photoshop to show it more realistic. www.e.com Page 48 . Here are the SSS settings. ‘Skin Rendering’. Because. India CGArena Making of Stewie I also rendered Diffuse Filter for my post work SKIN TEXTURE Though the whole scene is rendered in Vray renderer.Tutorial Issue 4 Aug .Sep 2010 by Dilip Suthar. there was an exception i.cgarena.
com Page 49 .PRODUCTION So we finally came to our last stage of ‘Mission Stewie’. Basically I love post production because I love making my models more and more realistic and comprehensively detailed one.5) 1 Fill Light (intensity 0. I hope you liked it.Sep 2010 by Dilip Suthar. India CGArena Making of Stewie LIGHTING Lighting this scene was not a big deal. So I did use 3 lights. For that. after 16 hrs of work on my ‘Mission Stewie’. That’s all folks!!! Thank you so much. POST . And after that it was DONE. So Ladies and Gentlemen. Keep doing the good work in 3D. Because I haven’t used much complicated light settings for this scene. Because there is no Hardcore background or anything fantasizing stuff except the organic model. Njoy!!!!!. The main reason behind lights for this scene is to make my Stewie look better. www. That’s it. Those are 1 Key Light (intensity 0. all I needed to have is a true imagination of Stewie in my own mind to do its post production.Tutorial Issue 4 Aug . on next page you can see the Final Render Output of this character.3) and 1 Back Light (intensity 0.cgarena.5) You can see it in this following image showing the Light Placement in the scene.
com Email: dilipcan@gmail.Portfolio: dilipcan.com .cgarena.
I decided that the rabbit will be the boss of the forest – the Godfather.Tutorial Issue 4 Aug .I started with the sketch directly in Photoshop CS5.Sep 2010 by Alexander Skachkov. which I made using Photoshop CS5 and Wacom Intuos 4 tablet. Bulgaria CGArena Software: Making of I’m the Godfather Photoshop 2D Hi.com Page 53 . www. mainly to test the new brushes included in the software. my name is Alexander Skachkov. I will try to explain the steps that lead to the creation of “I’m the godfather”. The brushes which I used are: STEP 1: SKETCH .cgarena. The idea was just to draw some character.
after this I added few more details. For darkening I mainly used dark tone in layer of Color Mode Multiply. I spent more time working on the lights and the dark spots in order to give depth and volume to the painting. Bulgaria CGArena Making of I’m the Godfather STEP 2: DIRECTION OF THE LIGHT AND POSITIONING THE LIGHT SOURCE In this stage I defined the direction of the light and the placing of the light source. www.Sep 2010 by Alexander Skachkov. STEP 3: TEXTURING I continued with texturing the cortex. Then I put some more elements in the surrounding area and more texture which I achieved using rough Round Bristle Brush. For the light places – layer of Layer Mode Screen or Overlay and I draw with a bright tone.Tutorial Issue 4 Aug .cgarena. situated above the main one. the clothes and the fur of the rabbit and I was using mainly standard brushes. but I made few custom ones which were also used. I continued with laying the cast shadows and the drop shadows.com Page 54 .
grass.Tutorial Issue 4 Aug . which in the previous position could not be found. Opacity 10-20% were the things which I was using. situated above all. additional elements.com Page 55 . I started painting grass in the foreground. While the whole process I flipped the painting often – this help finding mistakes and incorrect spots. also www. texture on the cortex of the stalk of the mushroom and on its hat. Simple brush with hard edges. Opacity Jitter – Pen Pressure. STEP 5: COLORING I started coloring in a new layer in Layer Mode Color. With New Adjustment Layer – Hue & Saturation I managed to increase the saturation of the whole painting. so you can change anything anytime without wasting the time and work already did. STEP 6: FINALIZING I formatted the painting in proportions. Always do your work in different layers. Hard Mechanical Brush with turned on Opacity Jitter – Pen Pressure. tones on the clothes and the fur of the rabbit. Bulgaria CGArena Making of I’m the Godfather STEP 4: ENVIRONMENT I started with dividing the different grounds of the painting (foreground. Hard Mechanical Brush with soft edges.cgarena. which were looking in the best way when the unnecessary parts were removed by me. In the layer above it I started painting plants.Sep 2010 by Alexander Skachkov. For the mid and background I used besides the previous brush also Round Point Low Bristle. mid-ground and background).
Sep 2010 by Alexander Skachkov. Bulgaria CGArena Making of I’m the Godfather put some more work in the background. Web: www. Hope you have learned something from the explanation given.cgarena.com Page 56 .skachkov.eu www. if you have any doubts or questions then don’t hesitate to email me. With the help of a layer in mode Overlay I added more expression on the painting achieving that while working more on shadows and lights.Tutorial Issue 4 Aug .eu Email: alexander@skachkov.
cgarena.com/por tfolio .Have you created your CG Por tfolio? www.
Photoshop .com 3ds Max.Antonio Peres Filho. Brazil juniorperes2005@hotmail.
ZBrush. Poland a.Artur Owsnicki.com 3ds Max. Mental Ray .owsnicki@gmail.
Egypt firstname.lastname@example.org 3ds Max. ZBrush .mahmmoud SALAH ali.
com Maya. Mudbox.nishida@gmail. Japan kenichi.Kenichi Nishida. Mental Ray .
Turkey emre-dagtekin@hotmail.Emre Dagtekin. Final Render .com 3ds Max.
Dani Garcia Fornés. Spain email@example.com 3ds Max. ZBrush .
France firstname.lastname@example.org 3ds Max. Mental Ray .Brunet Nicolas.
email@example.com 3ds Max.Jose Alves da Silva. ZBrush . Portugal jose.
Daniil V.net Maya. Russia info@alikov. Alikov. Mental Ray .
Rodrigo Banzato. Photoshop . Brazil firstname.lastname@example.org 3ds Max.
com . To Advertise: contact@cgarena..php This is by far the quickest and easiest way to send your images to us. We showcase the cream of reader images in magazine and on website gallery.cgarena.com/submit..How to send in your images. Here’s how to get yours noticed Upload Images through Website Follow this link http://www.
This action might not be possible to undo. Are you sure you want to continue?
We've moved you to where you read on your other device.
Get the full title to continue reading from where you left off, or restart the preview.