Creative guides for amazing 3D art

Maya • 3ds Max • Photoshop • Vue • Cinema 4D • ZBrush

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• Ultimate guides to next-gen designs • Interviews and advice from professionals • Inspirational galleries from top artists • Free disc packed with great resources

3D art design &


3D art design &


3D art &design
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Editor in Chief Jo Cole Production Editor Jon White Design Charles Goddard Printed by William Gibbons, 26 Planetary Road, Willenhall, West Midlands, WV13 3XT Distributed in the UK & Eire by Imagine Publishing Ltd, Tel 01202 586200 Distributed in Australia by Gordon & Gotch, Equinox Centre, 18 Rodborough Road, Frenchs Forest, NSW 2086. Tel + 61 2 9972 8800 Distributed in the Rest of the World by Marketforce, Blue Fin Building, 110 Southwark Street, London, SE1 0SU Disclaimer The publisher cannot accept responsibility for any unsolicited material lost or damaged in the post. All text and layout is the copyright of Imagine Publishing Ltd. Nothing in this magazine may be reproduced in whole or part without the written permission of the publisher. All copyrights are recognised and used specifically for the purpose of criticism and review. Although the magazine has endeavoured to ensure all information is correct at time of print, prices and availability may change. This bookazine is fully independent and not affiliated in any way with the companies mentioned herein. 3D Art & Design Volume 2 © 2011 Imagine Publishing Ltd ISBN 978-1-906078-9-73

................58 Interview: Oliver Ponsonnet ..........................................40 I made this: Nikita Veprikov .........................34 Texture and paint environments.57 Character Gallery ..........................................................................52 I made this: Rafal Waniek...........................................................64 Painting up a demon image ............ 120 Interview: Andrew Hickinbottom ......................................................98 Create a sexy fairy woman ...................................108 I made this: Iker Cortázar ..........................96 Making of The Sky Fisherman ........... 8 Feature: The world in your hands ........................................................................124 Create a futuristic bar scene....116 Build your own monster ........144 Create Pixar-style artwork ..................................................................80 I made this: Hodong La ....... 114 Model a cute fantasy figure.............................................72 Texture and light a beautiful girl.................................................76 Creating a savage warrior .......................................................................................................22 Create a beautiful landscape...........138 I made this: Martin Ruizl ....................................... 130 Create a friendly dragon ..........................................................142 Create a Lovecraft legend .....02 Your guide to what’s included in the book 96 Create a magical 3D lake 210 34 Environment Gallery ............................................................................. 14 Create a futuristic city ............134 Add textures and light to objects .104 Portrait masterclass ......... 46 Creating nature – plant modelling ................................................... 148 CD 6 FREE 25 textures • Tutorial files • Podcasts Turn to page 258 for full listings ..........................................44 Model environments ............32 Creating a magical forest lake.................28 I made this: Meny Hilsenrad .......

..................179 Creating a mansion ....................................................................................................................................................240 I made this: André McGrail ................................................................................ 193 The hottest 3D artists show us how they create inspirational works of art 104 64 Transport Gallery ....214 Creating a magnificent Spitfire ................................................234 Modelling a sports car..................................................... 236 Lighting the Silver Arrow ...............................................................................246 I made this: Neil Maccormack ..............................168 I made this: Viktor Fretyán...... 252 7 168 ...... 200 Creating a futuristic flying vehicle......... 152 Grand designs ................. 172 Interview: Kuan Studio ............ 245 Building a concept car ............... 174 I made this: Anton Cherenko...........194 Interview: Daniel Simon ................................................................................102 SUBSCRIBE TO 3D ARTIST MAGAZINE Page 254 234 Architecture Gallery ...........................180 I made this: Luis Tejeda ..............164 Creating a stylish museum building.........................................188 I made this: Arkin Esref ..........................................................186 Interview: F10 Studios.................158 Texturing and lighting architecture ........218 I made this: Simeon Patarozliev......................................................210 Get that post-apocalypse look.......

......................................32 Creating a magical forest lake ........Environment Feature: The world in your hands ...............52 I made this: Rafal Waniek.....................22 8 ................................ 46 Creating nature – plant modelling.28 I made this: Meny Hilsenrad ......................... 34 Texture and paint environments ......................... 44 Model environments ........... 14 Create a beautiful landscape ................................................... 40 I made this: Nikita Veprikov ..57 Create a futuristic city .......................

Born and Seattle. Interurban. Vu e 9 Infinite and Photoshop CS 5 Artist bio Jacob is an award-wi nni illustrator and matte ng artist. Jacob studie raised in d Communications at Visual Th University of Washi e ngt moving on to receiv on before e traditional fine arts training at Seattle’s School of Visual Co nce has always been fas pts. Don’t look down Jacob Charles Dietz. Jacob Charles Dietz Artist info 9 . so he both of these influen leverages ces in his work making a one -of style that can be see -a-kind n in everything he does.Environment When I started work on Interurban. pai specialising in scienc nter e fiction and fantasy. 2010 Personal portfolio sit JacobCharlesDietz. He cin the fantastic worlds ated by of books and classical comic paintings of the old masters.c e om Country America Software used Poser Pro 2010. my intention was to convey both the massive scale and the hustle and bustle of the sprawling cities of the future.

I used a V-Ray Plane light.Light played a key part in the composition of this image – everything was assigned to guide your eyes from the bright centre to the darker sides. The Way I Feel. while a Target Direct light was used in order to simulate sunshine István Vastag. V-Ray. Photoshop Work in progress… . For the main gallery Country Hungary Software used 3ds Max. 2009 10 Artist info István Vastag Personal portfolio site http://dy217. ZBrush.

2010 11 . I very much liked a fleeting shot with an old watch. Antique clock. Photoshop Work in progress… It all started when I watched the film Mary Reilly (1996). V-Ray. but gradually the idea and composition developed and I also wished to introduce some history into the interior Lebedev Denis Victorovich.Environment Artist info Lebedev Denis Victorovich Personal portfolio site N/A Country Russia Software used 3ds Max.

101. Periodical Service. Advanced Renderer gallery Country Poland Software used CINEMA 4D R10.5. 2010 12 Artist info Christopher Czerwinski Personal portfolio site http://hris. I used similar colours to try and convey the same mood as master Syd Christopher Czerwinski. who is a living legend of futuristic images.This was created for the NVArt 5 competition. It’s inspired by pictures by Syd Mead. Photoshop Elements 6 Work in progress… .

Environment 13 .

and then a moon and planet in the sky using MojoWorld 14 .» Cirrus Minor Using stratified materials on the rocks nearest the camera.

Artists get Esprit ($199). you need the right software. to those designed for pro studios. Duncan Evans investigates the best options The E ver since there have been computers capable of creating semi-realistic-looking images. but it certainly is now. It wasn’t always the case. we’ll take a look at the main options for those looking to create their own piece of CGI heaven. there have been software programs around to help create CGI landscapes. For enthusiasts there’s entry-level Vue 8 Pioneer (it’s actually free). Since then. In this feature. and Frontier ($99). three pack versions: Fantasy. architecture and atmospheric conditions being added to the mix. Fairy Tale and Sci-Fi ($49.Environment world in yourhands If you want to create your own CGI world. the software has become ever more sophisticated and the images more natural with massed vegetation.495 on © Edson Moraes 15 . when terms such as ‘multimedia’ and ‘information superhighway’ were fresh on everyone’s lips. while the professional users can look at shelling out $895 on Infinite and $1.95 each). There’s a Vue for everyone as the range is split into Enthusiast. Vue from e-on software is the number one landscape creation program and not just for Hollywood studios. Studio ($399) and Complete ($599). stunningly realistic water. Artist and Professional categories. It really started in the days of the Commodore Amiga. from bargain-basement o erings.

Masses of trees
If you want to cover your environment in a swathe of realisticlooking trees without having to go to the e ort of planting every single one, then the best solution by far is to use Vue. However, you’ll need the version that actually uses the EcoSystem painter which starts with Vue Studio. Large forested areas should generally have a limited number of di erent tree species – otherwise it won’t look realistic. The best way of doing this is therefore to load two or three varieties of the same tree into the EcoSystem and use the airbrush to spray the instances onto the terrain. For really thick jungle canopy, change the density setting so that they can stack up together or it will look more like a city park than a lush forest. xStream. In terms of functionality, the initial packages are fairly basic, concentrating on terrains and manual placement of vegetation. Frontier adds Poser support, while Esprit enables high-resolution renders, more import support and o ers a content pack. Possibly the biggest Vue upgrade of recent years was the introduction of the EcoSystem tool that enables vegetation and indeed, any compatible objects, to be spraypainted onto the terrain surface. You only get that from Studio upwards but it really does enable complex environments to be created in a short

Vue master Dominic Davison creates the perfect English country garden with this classic scene © Dominic Davison

» English Country Garden

Featuring a bridge from Cornucopia3D, this Vue image uses a couple of terrains, lots of tree models and thick cloud cover

» Woodland Waterway

timeframe when the alternative wouldn’t bear thinking about. The top-end package Infinite incorporates all the modules from the series and in xStream you have a version that integrates with mainline 3D apps like Max and Maya as well. The heart of Vue is terrain creation with a 2D/3D sculpting interface that has seen plenty of improvement with recent releases. Like any kind of sculpting it takes a good concept and some practice to get a decent result. While the tools are quite good, there’s definitely room for expansion and improvement here so look forward to this being enhanced, especially with dedicated brush types, in the twice-yearly updates. For those seeking to re-create existing landscapes, then the ability to import 16-bit heightfield data from
© Dominic Davison

» Forever Autumn
© Dominic Davison

Using items from the Cornucopia3D store to create an autumnal feeling with an arching canopy of branches


© 20th Century Fox Film Limited

Landscaping the movies

Scott Brisbane of DreamWorks Animation increasingly uses Vue in his role as a matte painter
Scott Brisbane graduated from USC’s School of CinemaTelevision with a BA in Cinematography. He then studied matte painting at the Academy of Art University in San Francisco and was hired shortly after as a digital matte artist at Matte World Digital. After creating matte paintings for The Last Samurai, The Alamo and Catwoman, Scott moved to DreamWorks Animation in 2005. His credits as a matte painter there include Over The Hedge, Flushed Away and Shrek The Third. He was then promoted to lead matte painter on Kung Fu Panda, the first film where the studio used Vue extensively, creating over 700 shots. In 2008, Scott has served as the matte painting supervisor at DreamWorks Animation for the studio’s first stereoscopic movie Monsters vs Aliens. This film allowed the matte department the opportunity to push the boundaries of digital environments in 3D. Under Scott’s supervision, the team of ten artists delivered hundreds of shots with environments ranging from foreground buildings and distant city views to dimensional aerial cloudscapes. After completing Monsters vs Aliens, Scott left DreamWorks to work at Rhythm and Hues Studios on Land Of The Lost, The Wolfman and The Cabin In The Woods.

Scott joined Weta in the matte painting department as the senior painter where they worked on shots for Avatar, now available on Blu-ray/DVD. The floating mountains are only 3D to the mid-ground; the ones in the background are all matte paintings

» Avatar

Scott moved over to Weta in 2009 as senior matte painter where Vue was used on James Cameron’s Avatar. He’s now back at DreamWorks, where he completed work on Shrek Forever After. Scott had this to say about using the program: “Vue is one of the most artist-friendly tools I’ve ever used. It has become an essential package in my workflow for environment creation. In fact, as more and more stereo films enter production, I see Vue becoming an extremely helpful tool in creating those imagined worlds dimensionally.”

For us, Digital Nature has a dual meaning. Firstly, it’s Vue’s ability to create Digital Nature scenery with all that Vue is renowned for and seen in major cinematic productions: windswept forests, cloud-filled skies and vast mountainous terrains. Secondly, even novice users can quickly create awesome renders. The path between one’s own creative Digital Nature and a visually satisfying render with Vue is very straightforward and unobtrusive Nicholas Phelps, president, e-on software
external apps or USGS DEM data will be useful. It’s the kind of thing that made VistaPro popular in the first place. Also on this front, there’s a very handy ability to load a terrain picture as a bitmap, display it inside the Terrain Editor and then sculpt a landscape based on it. The interface has a more old-fashioned feel to it than, say, Bryce, but it works well and consistently with a four-pane display on higher-spec versions, or a single display on the Enthusiast options. The real quality of the program is in assigning materials to your terrains and whether they are regular or procedural. The infinite procedural terrains have the benefit of automatic subdivision closer to the camera for more detail, and render time-saving general detail further away. Getting into the heart of the program is creating the materials and mixing them, applying rules for greenery, snow lines, scale, etc. It’s the EcoSystem painter that really makes Vue invaluable for densely populated terrains. Any objects can be loaded into the EcoSystem – whether they are clumps of grass, trees or even buildings, and they can be painted singularly for
» Peaceful Island
Created with Terragen 2 and reflecting the artist’s romantic mood at the time

© Susanne Krings

precision, or airbrush painted to cover your landscape en masse. This is the feature that the Hollywood studios love and you’ve seen it at work in everything from Pirates Of The Caribbean and Indiana Jones to Terminator: Salvation. When you throw in mist, atmospheric haze, low-lying fog, the di erent types of lighting with

editable clouds and then the water simulation where surfaces can be smooth and lake-like or heaving like the Atlantic and you have unparalleled control for realistic landscapes. The caveat to this is that while it is easy to pick up and use, the results tend to be poor on close-up shots until you have mastered the technical aspects.


Bryce 7 is a toolset inspired by artists. Based on the input and direction of professional Bryce users and DAZ 3D community members, the Bryce 7 toolset is truly customised to fit the needs of its artists. With updated lighting, rendering and export capabilities, as well as a brand new Instancing Lab that allows users to create even larger scenes that require less memory, Bryce 7 offers more options than ever before Dan Farr, CEO, DAZ 3D
Then the results can be jaw-dropping. Vue also supports animation, and this is where studios tend to go for the xStream version. The animation wizard is a bit ropy but there’s Poser figure and animation support, atmospheric and individual object and camera animation. Objects can even be configured to react to the terrain. While there are certain areas that would obviously benefit from improvement, Vue has the kind of breadth that means it can do pretty much everything and you certainly get out what you put into learning it. That’s why it’s the number one choice for landscapes. For those looking to get powerful facilities and a good user interface, without having to spend very much, there’s a great alternative in Bryce. Originally launched in 1994 for the Mac, Bryce – named after the famous canyon in the US – rapidly overtook VistaPro in the landscape popularity stakes. A PC version came out in 1996 and by 1999 the program had rapidly evolved with version 4 o ering a sophisticated SkyLab for atmospherics, better textures and object import. MetaCreations sold it to Corel in 2000 where trees and a few improvements were added for version 5 in 2001. And after that helter-skelter development, it stagnated under Corel until DAZ 3D bought the program and released version 5.5 which allowed import of DAZ and Poser characters – thus expanding the range of the program. Finally in 2006, the basis of the latest version came out with Bryce 6.1 which improved the terrain editing, added HDRI lighting and made it take advantage of multi-threading and multicore CPUs. At the moment, a significant upgrade is in the final stages of development with Bryce 7 which will incorporate the Instancing Lab, new light
No post-work on this Vue image; Rudiger was aiming to simulate a painting style

» Venedig Kopie

© Rudiger Wacknitz

Essential links

types, more data exchange, improved SkyLab and Material Lab, particle animation and more rendering options. The Instancing Lab allows users to copy objects or create Instances, making it possible to create larger, more realistic scenes than ever before, using less memory. The new lighting includes Distant light, Parallel, Cluster, Dome and a series of 3D fill lights. The data exchange function means models and scenes from DAZ Studio can be imported more easily, while the Sky Lab gets a big upgrade with more tools and controls over cloud settings. Tools include Image Based Lighting (illuminating your scene or objects in the scene with images of light

An entire world
Out of all the software applications, from dedicated landscapes, to general 3D, there is only one package that lets you create an entire world in one go and that’s MojoWorld. Creating a complex and interesting world is in fact so tough and time consuming that the author of the program recommends starting with an existing planet and modifying it to your specifications. After that, set the camera down anywhere on the surface or let it loose and create an animation as you soar above the surface of an entire planet. Next up are entire solar systems apparently! Watch this space…
© Edson Moraes


Importing characters

While most software packages can import characters in a variety of formats, if you want to actually create characters and objects and put them into scenery, the fastest and easiest way is to use Bryce and DAZ Studio. Your DAZ characters and objects can be exported at the moment for easy inclusion into a Bryce scene, but this relationship will get even closer with the release of Bryce 7. Vue has a few tricks up its sleeve as well with the Enthusiast versions, so that Vue Frontier supports physically posing the Poser characters making animation a real possibility.
© Bernie Sta ord

» Dawn Patrol

Using an Anders Leczar model, rendered in Bryce for the clouds

from the real world), added capabilities for HDRI images (saturation control, transparency and HDRI from inside), soft shadows for IBL, specular map settings and Powerful Sun options. So it’s all cooking in the Bryce world, but how easy is it to pick up and how good is it in practice? Well to answer the first question you need to go back to the beginning. It was developed on the Mac and ported to the PC and it’s had the same bizarre and idiosyncratic interface since. Let’s say that it’s full of good stu , though vegetation isn’t a strong point, but you’ll need to learn the interface to use it. The best parts of Bryce are the terrain creator – but note this is 2D with a 3D preview, the various sky types and the Material Editor. Back in the good old days, before the rise of the PC, the Amiga world gasped with amazement when the original Vista program brought CGI landscapes to the desktop. Using fractal technology, where previously blank polygons had ruled supreme, we marvelled at the swathes of

Created with a ship that Bernie Sta ord modelled himself

» Old Ironsides

© Bernie Sta ord

greenery. Surprisingly, the veteran software package is still around, and at $50 from VendorNation it would appear a worthy alternative. However, like giving a Lada a new paint job, it might look shinier, but it’s still pretty abject compared to a Jag. And so it is with what’s left of the VistaPro franchise. You can buy DEM map packs for it that look kind of realistic if you squint, but the basic interface is the same as 15
© Susanne Krings

» Countryroad Slope

© Lars Braad Andersen

The aim here was to re-create the look and feel of a small countryside lane in a very hilly area of Western Jutland, Denmark, in midsummer

» Blue System

Radial lights were used in this Bryce scene (of which one has a violet tone) to add that additional ethereal tint to the mountains on the left

years ago and the results simply don’t stand up to any modern alternative. Back to the modern world and there’s a brace of options for those that like to get their rendering fingers dirty. We’re alluding to Planetside’s Terragen 2 and Terragen Classic, which is a simpler version. Both versions can be downloaded and used free for non-commercial use but they do have limitations. These include rendering limited to 800 x 600 on Terragen 2, lower detail and antialiasing quality, a limit to three-object populations and no animation. On the plus side, you can get to try the products out for free before deciding whether to lay out $299 for Terragen 2, $399 with the animation module and $699 with XfrogPlants. The commercial versions also o er five additional render node licences, tutorial videos and no restrictions. Terragen Classic can be upgraded for commercial use for $99 – pitching it directly against Bryce and Vue Frontier. If anything, Terragen 2 is the spiritual successor to VistaPro, using complex fractal technology to render stunningly realistic landscape terrains right from


» Twomobo

Martin Roes specialises in alien deserts with lots of detail and, of course, it just wouldn’t be a MojoWorld without some extra planets in the sky

Realistic landscapes without hassle

If there’s one strong point about Terragen it’s that anyone, once they figure out what does what, can create the most photorealistic terrains with the minimum e ort. There is a steep learning curve just to get to grips with the program, and as a rendering engine it isn’t fast either, but the textured surfaces have a craggy and dirty look to them that makes a Terragen landscape distinct. Shots from a high elevation look like photos taken from an aeroplane window. Mastering the node-based shader network is key to creating variety and compelling realism in close-up shots.

© Martin Roes

the start. The interface, though, is something of a horror show for the newcomer, being a nodebased system where each element can be adjusted and tweaked as it feeds the next. The shader tree setup does allow for plenty of control and has a similar pipeline and technology to traditional 3D software. This is no accident as the founder of Planetside worked for awardwinning VFX studio Digital Domain, where the company developed its own proprietary terraingenerating software. Much of that technology went into Terragen 2 which was subsequently used to create landscapes for films such as The Golden Compass and The Wicker Man. It’s definitely worth looking at both versions of the software before deciding on purchasing either. The strong point about the program is the quality of the results, the weakest being the heightfield editing possibilities.

As Xfrog Inc was just mentioned as the main supplier for a massive set of bundles with Terragen 2, it’s worth elaborating at this point exactly what the company has to o er. Xfrog Inc provides DVDs containing highly realistic plants, trees, flowers and grasses as well as a plethora of objects suitable for use in landscape CGI. There are 29 DVDs of XfrogPlants alone, massive bundles and also a separate program – itself called Xfrog. This comes as a standalone app or as a plug-in for CINEMA 4D or Maya and is used for organic modelling and animation so you can create your own vegetation. Third-party object creation is in fact key to expanding your chosen landscape CGI program with all manner of flora, transport and architecture. As well as the Xfrog material, e-on’s Cornucopia3D store sells a massive amount of objects for all versions of Vue at a fairly low cost,

Terragen 2 features industry-leading displacement rendering performance and flexibility, allowing realistic detail from orbit to centimetre scale. A sophisticated planetary atmosphere model allows creation of unlimited cloud types, while a global illumination lighting model optimised for large scales contributes to overall cloud and atmospheric realism. TG2 is uniquely capable of realistically rendering large-scale natural environments, freeing you from the limitations of ‘set-oriented’ scenes Oshyan Greene, business manager, Planetside Software

If you’re not using photo reference. you’ll need to purchase the MojoTree ($69) add-in which can input individual trees or vast procedural forests. Scale When you load a Vue terrain. Nothing’s worse than a small house with a giant standing in front of it – unless it’s a fairy tale. alternating frost and thawing. detail can be refined for close-up views and cast realistic shadows over the ground detail.375yds high and 28yds wide. Expect this to ramp up with the release of Bryce 7. Not only is the interface unlike anything you’ve ever used. With temperatures above freezing point. rotated and rearranged just like any other object. If using your own. fog and mist will appear when the relatively warm and damp air meets the frozen ground. 3D object file support and the MojoGraph which throws in a node-based shader editor similar to that which can be found in Terragen 2. Even just a little lighting correction can go a long way to making an ordinary render pop. Don’t expect to master MojoWorld quickly. you need Vue Frontier or upwards with the new Spectral 3 cloud system for layers of clouds. but if you want complete control. To round things o . All lights will cast shadows so if they are in varying directions you’ll get multiple shadows which is unrealistic in daylight scenes. the most telling of which is that there are no trees supplied with this edition. lighting and composition to create something special. To create trees. When you do. Even the HD are not really close-up quality due to the leaf planes. In fact. The clouds themselves have their own internal density. even the author of the program concedes that three years after the initial release of the program. Trees If you plan on using trees close to the camera. etc. Whichever app you decide to use. which a ects how light travels through them. there are plenty of models for sale at Cornucopia3D and other stores. no one had yet fully exploited the possibilities it o ered. is quite common in Denmark » Winter Forest Post-work The Vue EcoSystem tool was used to populate the foreground with hay and a few poppies » Der Maierhof Don’t think that rendering is the end. then use photographs for reference. there’s little doubt that it takes considerable practice and a good sense of colour. make sure you then share it with the world! © Ste Goetz If you’re trying to get a realistic render. how would you like to create an entire world and then fly around it? That’s the promise made by MojoWorld 3 which comes in a variety of flavours from Focus to Standard and Pro versions and is compatible with both Windows and Mac. buildings. Notice how the light reacts with the objects in the photo – plants. Post-work not only enhances your image but also adds a personal touch. try to use good-quality models rather than the native Vue trees. make sure your objects are scaled to each other. Plan ahead In any type of scene. though. then make a sketch – even the roughest sketch will help you plan. There are still limitations here though. Focus comes in at just $49 but does little more than allow the user to plonk digital photos of themselves into strange new worlds. It’s the Standard edition ($199) with which you can begin to create your own worlds – though the planet © Lars Braad Andersen wizard is recommended when using the software the first-time round. If you don’t own a program such as OnyxTree or Xfrog. It means that you have total control over both the look and feel and the actual shape of cloud cover in all your outdoor scenes. try to create as near to the exact picture as possible.Environment The sky’s the limit Most of the landscape-creating software can manage great-looking skies. Mountains are somewhat larger! In any type of scene. The Pro version ($479) includes the tree support and comes with more animation. but if you really must then use as few as possible and make sure you only have one shadow. Try not to use any additional lights. remember it’s only 5. © Rudiger Wacknitz Making it look real Realism Gill Brooks is an established Vue artist. it’s always best to plan beforehand rather than just plopping things along the way. people. Here she gives her insights into what makes for a superior CGI landscape » Waiting for Grandpa Kopie A fairly complex scene requiring accurate object placement and use of Vue’s EcoSystem function to populate the foreground while DAZ 3D is increasingly supplying more material for Bryce. This kind of weather. 21 . clouds now can even be independent objects that can be resized.

Create a futuristic city Cityscape 2008 Use Maya to help create buildings in a city layout and then use Photoshop to paint in the details Marco Bauriedel specialises in shading. lighting and texturing. as it doesn’t exist in reality these days. laying out and seeing what can be created with render passes in Photoshop or Nuke his tutorial will lead you through the creation of a futuristic cityscape in a fantastical setting. Photoshop was the tool of choice for more than 90 per cent of this image. I will be leading you through the whole creation process of Cityscape. It depicts what can be achieved when technological advancements and the imagination are combined. texturing and laying out render passes Software used in this piece Maya Photoshop 3D artists explain the techniques behind their amazing artwork Artist info T Marco Bauriedel Personal portfolio site www. 22 . but first I will start o by describing how I do my concepts. Country Germany Software used Maya and Photoshop Expertise Marco specialises in shading. Maya helped a lot in order to find a starting point and paint on that in combination with photographs. The hardest task was to get all the details together and make them look integrated in the final piece.marcobauriedel. Maya was used to create the basic geometry as well as some lighting references of a few of the buildings. the highway and the bridge.

jpg IMG_6784. The further objects are in z-space. As this project is a personal painting. coloured and valued like the sky at the horizon line. it’s easier to create your colour palette. it’s important to go beyond rough line sketching and define a logical lighting situation and basic depth values in the image b. the more they seem saturated.mb wip_03. I kept the freedom of developing the colour scheme away from the initial concept during the process towards the final piece c. b c 02 Concepts in Photoshop It’s time to bring the chosen composition into Photoshop by scanning or just re-creating the sketch by eye with big greyscale strokes that start to form shapes. By using a ballpoint pen instead of a pencil. painting Concepts get your imagination going and make the process more enjoyable than starting with little thumbnails and photographs on a blank canvas from scratch. which raises the chance of even more ideas coming up. grey values start to mark depth in an early Photoshop sketch c This is the final concept with a basic atmosphere. you force yourself to just do a new sketch when you mess up.jpg IMG_6143. composition. Starting with a horizon line (if inside the view) and putting focal points or vanishing points using the rule of thirds is the best way to go A. In this phase. 3DArtist ● 23 .jpg IMG_6145.jpg IMG_7611. Concept A 01 Concepts on paper Save yourself some modelling time by using the model and maps created here Cityscape.jpg IMG_7245. With these thoughts in mind. 03 Finish the concept A These are some raw concepts on paper that help to find ideas quickly and e ciently b Here.Environment Modelling.jpg Drawing quick boxes with a ballpoint pen and filling it with rough lines that mark a composition helps tremendously to pick the basic scheme you want to go after.jpg IMG_6300. which frames the idea pretty well A colour scheme is then added to the sketch to support the lighting situation and basic mood. Always remember that the colour of the sky tints shadowed areas much more than lit areas.jpg IMG_5911.

the standard value of 35 in Focal Length works out pretty well. To be sure the whole concept is in the camera view. Then Point lights are positioned and coloured di erently to have some variation. Additionally. which is also assigned to all other objects.0 for all spheres that will have sharp reflections. Some coloured reflections may give great details that later help a lot to sell rather simple geometry or help add realism and lighting on top of objects placed in Photoshop. accessing the Space menu bar and importing the image plane as shown in the screenshot. which can be quickly rendered with surface shaders in any colour to extract any shape with the Magic Wand tool in Photoshop g. D f How the basic scene was arranged in Maya 06 Lighting and shading 05 Set the perspective and modelling A stretched-out ground plane marking a clear horizon line is a perfect base to get everything in place. a background image is added by looking through the newly created camera. the Production render preset is chosen and Final Gather is activated with a Filtering of 1. For the highways. and use the power of Physical Sun and Sky for really quick render results that fit your concept’s time of day. To have more reflections going on. more detailed and more real version of the painting. and just fit in as a base. e At this stage two mia_materials are defined: one having a Glossiness of 1.3 to receive rough reflections. Sometimes it’s needed to tint it to a warm colour in postproduction before multiplying onto the Beauty pass for better integration into the image. because my renders work with pretty rough alignments and no additional adjustments of the image plane were needed. For the modelling. the Occlusion pass always gives more depth. a cube is created and its faces are extruded over and over again and later smoothed to form the street’s shape e. parts of the city are duplicated towards the camera (marked red in the modelling screenshot). lock. Start modelling with very basic shapes that are aligned as well as possible. One of the best things about 3D renders are masks for any geometry. 24 . which would be lit and rendered to be even usable in a later.Problems and solutions I wanted to quickly create some streets and a bridge for this concept. If this lines up. In this case. Modelling the scene 04 Camera alignment and scene setup After creating a simple camera in Maya. In addition to the Beauty render. the Physical Sun and Sky settings are used to roughly imitate the time of day and direction of the sun f. the other simple cube buildings. and have a pretty logical distance in a perspective view. bridge. A stretched-out highly subdivided ground plane is a great help for the perspective when adjusted to end on the concept’s horizon line. The foreground’s stairs and two distant buildings are then modelled and aligned to fit in the camera’s view. g d Import the image into the scene connected to a new render camera 07 Render for Photoshop workflow e This shows the modelled city in two perspectives and the top view of the streets with an extrusion example shaders for a basic composition were used to get the imagination going f Position the lights and create g The final renderings as they For the rendering. the bridge’s piers and spheres are created to roughly fit in a perspective view and more precisely fit in the camera’s view. as the major objects we want to create are in the centre of the image. choose Horizontal at Fit Resolution Gate d. The hardest task may be to get the perspective and distance dimensions correct. Modelling geometry in perspective onto your concept is a pretty quick way to add basic shapes with basic lighting. key or bookmark your camera when the perspective is set so you don’t lose the settings when accidentally changing the camera’s view. and the other shader having a Glossiness of just below 0.

shiny balcony out of it of CG elements into the painting j The rough integration k Grey values start to mark depth in an early Photoshop sketch k It was especially hard to find a nice composition for the sky. The photos are stretched and cloned to fill up as much space as possible for a good painting base. I wanted to have both a great sky atmosphere and a little light from windows and lampposts. where some fantasticlooking clouds found their way onto my DSLR’s memory card (some are included on the CD). the layer stack is positioned into the painting and the Occlusion is slightly set to Multiply on top of the geometry. Then Occlusion-like shadows and core shadows are painted. With the help of the masks. followed by a screened mask for the lit areas that are later erased out on the shadow areas of the railings. h 09 How to light the stairs out of a texture To create the stairs in Photoshop. You can see in the background that the balcony is gone for a wider view. which in my opinion supports the sky details and gives more contrast. details and more defined lighting are painted on top for rough integration j. a perspective-transformed marble texture is used to match the stairs’ shape. a lot of painting light on top was used to get the overall lighting to work. These are created with paths that stick to the vanishing points. because I tried many things. After that. which gives the whole image a more epic feel k. and are then filled by choosing a small brush and pressing the little button marked in the screenshot below. it’s great to have perspective lines. 25 . and later painted out for a more realistic feel h. Obvious perspective issues should be erased through image distortion as early as possible. Finally. i The process of taking a marble texture and creating a lit. The lighting mood changed several times throughout the concept. In the end I was most happy with a saturated low sun lighting. These had a lot of depth and made it easier for me to paint and adjust the light on. halfway through the process of the image I was on a trip through Nepal. For the lighting in the city. separate adjustments are done and the whole geometry is cut out. as my intention was to support the city with huge beautiful clouds that had to fit into the lighting scheme at the same time. the reflection of the railings is added to make the marble shiny i. Luckily. j i h The first photo material added to fill the concept with a rough base to start from more detail Lighting the sky 11 Perspective orientation For help on the perspective. 10 Roughly integrate the renderings The renderings are layered on each other and then imported to the Photoshop painting. Finally.Environment Painting in the main details How the concept was developed towards a painting 08 Add first photographs The first step is to add photo material to the image that roughly fits the building’s shapes in the concept.

they seem much more epic. A great technique to add more detail to your painting may be to search for images with high contrast. This way. As they are taking up more space in the sky. I decided not to use the hangar concept either. My job was to do all the CGI and a part of the retouching in Photoshop.000 15 minutes Quickly adding detail n Audi Car Maya. animation. The streets are much more detailed now with a newly painted lighting onto the mid-ground buildings m. In this version of the piece. with a clear sky behind the front line of clouds. I was responsible for the CGI creation of the planets.Marco Bauriedel Artis t Born in 1982 in Germany. Photoshop (2008) The clouds seen here were the first ones that were added to the image. various fields of digital art were parts of my studies. Some more di use clouds at the horizon help to make the scenery look more believable. I waited to discover my passion for art until turning 21. however. which lacked depth. Maya. Photoshop (2008) This is an Audi Q7 rendered for photo agency MAGROUND at Albert Bauer Studios. Showcase Creating the sky How the sky was developed in the process of this painting l These were clouds added early on. From then on. I saved a lot of time when making the lights of the city. The final stages of the sky follow in the final section. like lit windows at night. Add them to your painting. compositing and programming. gentle colour changes help to create interest. 26 . integration and detail m This shows slightly modulated clouds with a more detailed mid-ground city composition with another concept idea added on top of the painting n The start of the final sky Jeep Planets Vue 6. digital painting. after starting out digitally in Deluxe Paint on an Amiga at the age of 12. At this stage. and kept the undisturbed panoramic view later on n. Photoshop (2007) These planets were created for the KNSK agency at Albert Bauer Studios to show the versatility of a Jeep on any terrain. another concept is added on top of the half-finished painting.200 x 2. the sky and the whole image is tinted in a warmer mood. Additionally. m Render time Resolution: 4. rendering and compositing. You can stamp things around to be even faster. 14 The final sky composition New photographs were now added. 12 Basic clouds Montblanc commissioned Albert Bauer Studios to create a virtual clockwork of the Minerva Watch to fly through in several animations. Most of them look like they were cut and pasted into the painting and lack depth and integration. using the Overlay or Screen blending mode. which seems quite unrealistic. Nuke. too l. which I shot in Nepal (you can find some of these on the CD). covering CGI. a lot of recolouring and repainting was applied at this stage. lighting. 13 Modulate the clouds Painting highlights gives more depth to these clouds but they still seem to be too evenly distanced. l Montblanc Minerva Maya. I was responsible for shading.

Then the duplicated group is merged and the old group is turned off visually to have a Photoshop file that’s easier to handle. q 18 Final cityscape painting r And here is the finished painting. but the direction starts to work. 16 Finalise the sky composition o In this step. The sun seems distractingly bright right now. Compositing the layers 0 Here. I mostly used adjustment layers that I later grouped with the changed pixels and duplicate. Opening some parts of the sky again gives more colour variation and a more friendly mood. The lighting and colouring is still too dreamy in this version. the sky is completely filled up with a new composition of clouds that work a lot better. The contrast in this version creates a more balanced image. Some little perspective corrections and the mid-ground city extension make the panoramic view complete q. The ambient skylight painted onto the big clouds gives more depth nonetheless. but also a darker mood that kills some ambient sky lighting details on the city and the e ect of depth. This red sunset version with too few highlights almost looks monochromatic compared to the previous version and the final image. the whole image looks a lot less cartoonish and has a more realistic feel.Environment Fine detail and finishing off How the finishing process developed the piece towards a better painting 15 Continue the sky composition As the sky’s composition is almost finished in this step. Details like the harbour piers and additional kicked highlights support this 0. Layers were used extensively to be as flexible as possible in the process. One of the most important final tweaks is the desaturation of the reds in combination with a bigger variety of colours and more ambient skylight details on the buildings’ roofs and clouds r. you get that tunnel vision that pushes you further into a saturated colour scheme. 27 . we are starting to get somewhere with this painting p A high-contrast version of the cityscape with a bright sun monochromatic in this rather flat version of the painting with the final touch of colour variation and details q It’s getting too saturated and r The final cityscape painting p 17 Later that day When working for too long on a painting without a pause. but the overall composition is working p.

I was interested in experimenting with some digital sculpting software and a friend of mine who owns ZBrush let me play with it for a bit. things would turn out di erently as you will see. Initially I wanted to have a mysterious green Modelling. I had modelled this vortex and I wanted to use it to render through Vue. fine tune the atmosphere. the idea just came to me while playing around. Concepts Rough out ideas This was basically the starting point coming out of ZBrush. though. 01 I didn’t set out to make this image in particular. I went for something more realistic and less magical. plus add some clouds and some finishing touches. I didn’t set out to make this image in particular. Sometimes it’s all about experimenting 28 . I jumped into Photoshop to tweak levels and colour. 3D art is all about going with your instincts and experimenting. Since I need to follow precise instructions and direction in my day job as a matte painter. the idea just came to me while playing around. Once I had a render I was happy with. But. Sometimes. I always enjoy creating more organic images when doing personal work. Initially I thought I would have a biomechanical feel to it or make it something quite sinister.Step by step: Create a beautiful landscape T he image Flying over Crater Lake was one I did for fun during time off from work. I imported it into Vue and started playing with di erent surface and lighting options. When I had a mesh I found interesting. painting Flying over Crater Lake 2010 Crater Lake is one of my typical digital illustrations purely done for fun. as I progressed. Vue and Photoshop Peter Baustaedter is a digital matte artist/environment designer light shine up from the vortex that I had modelled. In the end. using a combination of ZBrush.

02 Once I had the geo formed in Vue. This low-res image was the only image I saved during this phase out of many attempts.Environment Software used in this piece ZBrush Vue Photoshop 3D artists explain the techniques behind their amazing artwork Once I had the geo formed in Vue. Vue is a great tool and provides the artist with many options for environments Artist info Peter Baustaedter Username: baustaedter Personal portfolio site http://fillingthedrywell.5. Photoshop CS3 in Expertise Peter specialises ting environments/matte pain started – playing around with di erent lighting and moods. Vue is a great tool and provides the artist with many options for environments. Country New Zealand 8. I quickly modelled some background hills with the Terrain editor and placed some water into the bottom of the pit. the fun really After exploring di erent lighting situations I ended up with one of my old favourites – straight daylight. This basic shader is based on Vue’s Square Rock with simple grass mixed in. the fun really started – playing around with different lighting and moods. Software used Vue Infinite ZBrush 3. 29 03 .5.

First. containing useful passes and Alpha channels. I painted an ecosystem to emphasise the weird topography of the crater/vortex. Here you can see my very simple setup and the final painted ecosystem. I decided to paint them by hand. Indirect Lighting and Atmosphere Gain channels activated step by step. Reflection. Volumetric lighting was turned on so that the Spectral 2 clouds cast some nice shadows throughout the atmosphere. I rendered this with Ambient Occlusion with the simple ‘final’ settings. render t rs ime Resolut 2. Not very spectacular.ion: 406 5 hou 05 EcoSystems. 08 30 . Quite severe colour corrections and some painted-in atmosphere tweaks finished this step. 06 07 A great thing about Vue is that it can render a layered Photoshop file. After various tries with procedurally placed I usually like to ‘underexpose’ a bit so no part of my render gets overexposed.Modelling 04 How the elements were put together Here I deployed another one of my favourite elements – cloud shadows. but I personally like to do a lot of tweaking in Photoshop as I find that method much quicker. I flipped the whole render to make the composition more readable. The background was cleaned up and trees cloned to break it up. I replaced the water with a photo I took and cranked up the spec of the water surface to boost realism. This image shows the di erent layers I used to ‘mix down’ a version of the render for me to paint on. Shadow. They strengthen the spacial impact and – if placed correctly – help to create a focal point for the eye.500 x 1. Consisting of Vue’s Plum Tree and two other kinds of small shrubs. Left to right show: Di use. A lot of things happened once I took the image into Photoshop.

but for an illustration like this. roofs and doors. My most noteworthy recent project is James Cameron’s Avatar. I added a slight lens distortion with a chromatic aberration and some grain and just slightly blurred the background to slightly reduce the pixelated edge. so now An overall Vue… I thought I would throw in an old-school illustration of mine. Photoshop (2009) Usually after finishing a movie. So I sat down and quickly painted this submarine alien – only featuring round and curvy shapes and no windows. but still can’t do things that a 3D mesh-sculpting application can do. I was working on a matte painting that featured a lot of architecture and got tired of all the hard edges and surfaces. Hopefully this can be remedied in a future project. Vue was just laughing at me – it was quite a few million polygons though. That means quite often I do artwork in the style of the project to try a few things I didn’t get to do during my work on it. Over the course of my career I’ve used countless applications to create digital imagery. photographic elements were the right choice in my opinion. 10 the flipped image makes sense – it can be nicely read from left to right and the birds lead you right into the heart of the image. for which I did countless matte environments of Pandora at Weta Digital. Some more atmosphere touch-ups finished this stage of the painting. I added the birds as a foreground element. Showcase 09 Lighting & rendering Applying the final touches The matte painter is coming through here I guess.000+ photos – many of which are of clouds. This is the final image. I need to get it ‘out of my system’. as I’m not too happy with the look of the rock faces. I guess I might have saved time to just sculpt the big features and then invested that time to tweak the rock shader some more. Maya and Nuke to create my professional work. So this is an Avatarinfluenced image – but has nothing to do with the movie – except that I used techniques and styles I picked up during production. I found I had to severely reduce the polygons of the mesh that came out of ZBrush. so any kind of surface detail you see was added afterwards in Photoshop. Most of the elements in the final image started out in Maya and were rendered through mental ray.Environment Peter Baustaedter Artis t I have 15 years’ experience as a digital matte painter and concept artist.5 Terrain editor is very capable. I added a lot of clouds that I lifted from my own photographs. Photoshop (2007) Launch! was an image I made for my personal portfolio. I started out with Deluxe Paint and Sculpt 3D on a Commodore Amiga in the late Eighties. Untitled Vue 7. It started with a freehand sketch. mental ray. Launch! Maya. 31 . Vue’s 8.0 (1999) Flying over Crater Lake was a fun image to work on and it has encouraged me to get a ZBrush licence and get into sculpting some extreme environments to take them into Vue. I have a photo archive of about 15. Nowadays I mostly use Photoshop. Untitled Photoshop 4. Vue’s clouds are pretty good. One thing I noticed is that when taking sculpted geo into Vue is that a lot of detail seems to get softened. With the high-res model. Vue. None of those renders were textured though.

explains how clip.Artist info Meny Hilsenrad Incredible 3D artists take k us behind their artwor Website www. It required lots of camera and lighting adjustments. d with the scene sta rke wo I as t them. Classroom was create d to make more. Software used 3ds Max Photoshop. oo classr d saw the potential in nt camera angles an ment uip eq l ica ctr more tests for di ere ele desks and the the on ng rki wo d rte d took That’s how I sta ern in the project an came my main conc be y all ntu eve ich area – wh the most time to do! Classroom 2010 The lighting setup was a challenge. bu Country Israel . -fo co . thi that shows the entire general camera angle was to make only the rted doing more and I . as I wanted it to work in all of the layers. I sta al plan gin ori e Th . The goal was to build the lighting in a way that would work for each camera angle simultaneously. which we wante eo vid a of rt pa is ne sce m oo d. music video s. as I an ssr it Cla on e Th rted working in-house project. ial erc mm co for CG production d. as well as render tests and checking the results constantly in each camera 32 . Me games. ns for a long time as an in di erent directio go to d rte sta s ng e and rad tur ec sen hit Hil arc ny s. V-Ray. After E ects Software used in this piece 3ds Max V-Ray Photoshop After Effects sing in a VFX studio speciali under of Studio Aiko.

I started doing different lighting tests – camera flash. the desk area and the close-ups of the desks 33 . after investing so much time in building the scene. like the blackboard. nighttime. etc. I wanted to squeeze the most out of it! This extended the work much more than I expected. To handle this. since it required lots of post-work. I divided the scene into three different layers of work: the general classroom angle. eg colour correction and extra render passes The work on the shaders and textures was a big challenge as most of them were made from scratch and some were handpainted. Each appliance has a unique texture and shader that I made using close attention to reference pictures The most prominent thing in the scene is the amount of detail.Environment Close to the end of the lighting setup of the daylight version.

and set the most important parts of the scene: the atmosphere and the lighting. In this tutorial I will show you the step-by-step process of how to go about making this scene. With the placement of a suitable building it became a fantasy environment. and finally I will show you a few steps for how to make your ethereal render look even more magical in Photoshop. it had an ethereal mood. 34 . Artist info M Drea Horvath Username: Drea Personal portfolio site http:// dreahorvath. detailed.This picture represents a dreamlike. I will cover my render settings. use Vue’s procedural materials. This is how Elven Lake was born. using Global Radiosity. 8GB RAM Expertise Drea specialises in creating mostly large-scale. with the purpose of leading the viewer to the world of fairy tales Drea Horvath Freelance digital environment designer 3D artists explain the techniques behind their amazing artwork Creating a magical forest lake Elven Lake 2009 y inspiration for making this scene came from viewing some wonderful oil paintings.darkfolio. and one in particular caught my eye. and although it was an illustration of a real place. create the Country Hungary Hardware used Intel Core 2 Quad 9650. which leads the viewer to the world of fairy tales. dreamlike. yet believable environment. yet believable environment. Since I love tweaking Vue’s atmosphere engine. with particular strength in atmosphere and lighting Concept The idea was to create a lake surrounded by luscious woods. scenic. You will get an insight into the way that I set the basic composition. It depicted a lovely forest lake in the colours of fall (autumn). natural landscapes in e-on Software’s Vue. I decided to make a colourful. I’ll reveal some tips and tricks for decreasing your render time.

I never make a sketch before starting to compose a scene. and the rest of the ideas come while working on the concept. they gave the basic shape of the lake. I continued my work with setting the materials. First. I have more control over the shape. I started my work by adding 01 The basic concept a The very beginning – a main camera view of terrains placed to form the basic shape of the lake C A main camera view showing progress after the changes described in Step 3 35 . because I find it easier. I also changed the EcoSystem rocks’ material for a more realistic one I’ve purchased from Cornucopia3D c. I set Turn reflective with angle to 75%. I modified the water material. and Highlight global size to 76%. For the ground I picked a soil material. lighting 02 Adding rocks to the lakeside If I want to make a lake or a river in Vue. Unlike many 3D artists. deselected Dynamic Population and started painting rocks along the side of the terrains b. Since I wanted to have a lake in this scene. added rock. I placed terrains to the middle-ground and background. I save time and since I can paint and erase instances as I want. Following that. Finally. materials. EcoSystem. So I turned the ground to an EcoSystem. These steps made the water surface more shiny and reflective. Instead. more realistic. and I deleted the Foam layer. in the Highlights tab I set Highlight global intensity to 69%. I placed a smaller terrain to the foreground. I often use EcoSystem Painter to paint rocks or plants to the ground to create the final shape of the lake or river.Environment Vue’s default MetaWater. right below the camera a. B A top view showing the lake formed by the terrains and the painted rocks Software used in this piece Vue 8 Infinite Photoshop CS4 03 Materials – ground and water After making the basic composition. I apply this technique more often than painting a terrain map in Photoshop then importing it into Vue. Then in the Transparency tab. I just place the terrains to the position I imagined.

E A screenshot of the grass layer’s Scaling & Orientation settings. so I chose Bu elgrass from the AsileFX Sample Grass Pack. I deselected Decay near foreign objects. If you use the same. Since I used a multilayered EcoSystem here with a dense grass layer. I find it easier and more controllable to paint the lakeside than to use a large terrain and spend more time in Photoshop and in the terrain editor. and I left everything else at default F. I added Dead Grass from the same pack too. and the Direction from surface to 96% perpendicular. because. the middle-ground terrains have two layers (grass and bush). While the grasses’ and the bushes’ direction is 100% perpendicular. Since I didn’t want the ground to be visible. I set the Density to 96%. I added another EcoSystem layer to the background terrains. as the first ecosystem layer. as I’ve mentioned in Step 2. the multiple smaller terrains will look like one large terrain. F This render shows how the scene looked after adding the bush layer and the non-HD maple trees 36 . and loaded Scott McEwan’s non-HD fall maple trees from his Rural Maple Tree pack. so I painted rocks right there. to add some realism.grass My first step of creating the EcoSystem was adding grass. A fresh-looking. and their direction from surface. To make this bush fit the environment. this season determined my selection of plant species for the EcoSystem. the trees grow rather vertically. if you use similar EcoSystem on the surrounding terrains. I marked Shrink at low densities e. and Bush 1 – Crawling. I knew exactly where I wanted to have the edge of the lake. To achieve a dense forest feeling. and then. I went to the Materials tab under the preview screen and changed the colour of its leaves to something reddish. while the larger. I used the same rock material I added to the painted rocks. In order to increase the brownish look. The foreground terrain has one grass layer. Assembling the scene Planting the foliage for the EcoSystem Since I wanted to paint the scene in the colours of fall (autumn). I set the Density to 90%. Multilayered EcoSystems are useful if you want to have more control over the overall density of the different species. then adjusted the smaller terrains next to the rocks.Problems and solutions The EcoSystem Painter had a bigger role in shaping the lake. but I could have picked some soil or mossy rock too. I set the Density to 80. 04 Creating the ecosystem – overview 05 EcoSystem . background terrains feature a third layer of non-HD fall rural maple trees too d. dense-grass EcoSystem on each terrain. the terrains’ underlying material was not too important either. This is a great and easily applicable solution to create lakes. I left everything else at default. and a render that shows these settings in practice 06 EcoSystem – bushes & non-HD trees D A screen capture of the material editor that shows the three layers of the EcoSystem For the bush layer I picked Nadina Domestica from the Incredibly Lush Autumn Shrubs collection. I set the Direction from surface to 100% perpendicular. bright green grass wouldn’t fit this autumnal environment.

I needed to cover the whole sky with large.Environment h i g This shot shows how the scene looked like after the EcoSystem painting. I used three horizontally stretched terrains with a single. I decided to paint some maple leaves to the water surface. and the other two. I set their maximum rotation to 180%. as we are getting closer to the camera. creating a somewhat dense forest around the lake g. and the middle of the scene seemed so empty. I wanted to make the scene as believable as possible. it is important to place an object. but without the right atmosphere. For this. When it comes to lighting. HD trees are much more detailed and elaborate than non-HD trees. turned its material into an EcoSystem. I took my water. This definitely made the scene more pleasing to the eye h. building. subtle lighting and misty atmosphere give the fairy-tale mood of the scene. To avoid floating leaves. we need to pay more attention to details and quality. 09 Fallen leaves on the water surface To add more detail and to increase the autumn feeling. The soft. the scene loses its purpose. decreasing render time without visible quality loss. larger terrains were rotated to cover the sky j. There is only one disadvantage to GR: since it uses a lot of calculations.688 33 10 No sky visible hours 08 The centre of attention I wanted to achieve the feeling of being in the middle of the forest. larger plant – something prominent – to the spot where you want to attract the viewer’s attention. buildings or other objects. thus it can increase render time. it consumes more system resources. In this composition I followed the Rule of Thirds. The first terrain added more depth and density to the ground level.000 x 1. render time Resolution: 3. That’s why I reduced its quality to -2 while composing the scene – and to -0. dense (87%) layer of non-HD fall maple trees. I placed HD maple trees from the same pack to the middle and foreground. then I started painting the leaves on the water. because – using photon calculations – it can mimic real-life lighting with reflected light. You can see how these plants and colours brought the scene to life j 07 Manually placed HD trees While non-HD trees are perfect for filling the background. although when I viewed it I didn’t know where to look.5 for the final render. and added two Autumn maple leaves I’ve purchased from Cornucopia3D. It is also essential to enable Indirect Skylighting to get colour-reflected light. You can use legendary creatures. Lighting and rendering Atmosphere and lighting are the key elements in this scene. The environment was starting to look pretty nice. so they are a great choice for closer views. and placed this tiny elven house with a boat onto a small island with a layer of rocks and a layer of grass ecosystem. I decreased the brush flow and density i. near the lakeside. h In this shot I highlighted the focal objects to emphasise their position i On this screen capture you can see how I painted a path of fallen leaves to the water surface j Side view and main camera view with the highlighted far background terrains 37 . When composing a scene. As I was getting farther from the edge of the lake. and Optimized for outdoor rendering should be enabled if making a natural environment. densely populated terrains placed to the far background. and make it di erent from an ordinary shot of an autumn forest. Although photorealism was not my goal. I set the O set from surface to -2cm. Vue’s Global Radiosity (GR) engine is the key.

Fog and Haze In Perfect Harmony Vue 8 Infinite. I set Sunlight softness to 3. using fractals that are literally infinite.0 to add some reflected light. it’s powerful and dramatic.30 was enough. or height. but I actually liked the result. such as altitude. with powerful. slope. the fog and the subtle God rays add some drama to the image. Since I wanted a somewhat powerful morning sunlight. The unusual POV. Since most of the sky is covered by trees. and added a fuzzy metacloud to enhance the e ect. I used a Gain of 2. It took a while to develop my skills to my current level. Sky settings didn’t have a big role in this scene. yet it reflects peace and harmony. so I left everything at default. k Screen grab of the Sunlight softness and Lighting settings l Screenshot of Sky. then I found the best sunlight direction k. this value of 0. in Vue it is possible to apply a procedural method to create your own materials or use and modify presets as well. k l Chasing Heights Vue 8 Infinite.00°. and plants have bitmaps. dramatic atmospheres. In my scenes I use procedural materials for terrains and water. instead of being distributed throughout the scene. and for the foreground I used crawling bush and AsileFX jungle plants. and I increased the Sky dome lighting gain to 0. I pulled up Glow intensity to 100%. For subtle rays. To give depth and make it believable 11 Global Radiosity and shadow softness Bitmaps and procedural materials Besides using bitmaps to create materials. just like in real life. making the scene look bigger. After global settings.Lighting the scene Drea Horvath I am a 23-year-old self-trained freelance digital landscaper living in Budapest. m 38 . I added a slight red tone to the fog colour (RGB 94 90 85). it was clearly best to use Global Radiosity. It actually multiplies atmospheric values. mysterious forest mood can be achieved by increasing Aerial Perspective. the scene was ready to be rendered m. I used volumetric sunlight l. To make the scene look as believable as possible. Pulling the light balance to Sunlight (70%) decreased artificial ambient light. Photoshop CS4 (2010) This render is a the result of some experimenting with rock materials and functions. I started playing with Vue as a hobby about two years ago. Fog and Haze settings m The di erence is significant Sanctuary Vue 8 Infinite. complex environments. To keep the warm reddish tones. 13 Adding more depth A very nice. Here. Photoshop CS4 (2009) My goal was to create a large jungle scene with realistic lighting and ascending morning fog. though in this scene I wanted to keep the colours as vivid as possible. and to find the style that suits me best. so I increased AP to 30. my purpose was to add more depth and misty look. and increasing Fog to 30%. Mostly I create large. Recently I joined iMU Studios’ THUNDER Throne Wars game project as an environment and level designer. 12 Sky. Photoshop CS4 (2009) This render turned out somewhere between real and surreal. Procedural materials can be dependent on any aspect of the world that you create. Thick forest mist is a key element of such scenes. Sometimes it can be achieved by increasing Haze density. The soul of the scene is the atmosphere. and the ambient light was set to come from the sky. So I ended up decreasing Haze density to 12%. Hungary. Since the shadows don’t have such sharp edges in real life.30 to add some light being reflected from the sky itself. I populated the rest of the terrains with Alder.

as the GR and Atmosphere settings were tweaked independently. After merging the layers. and some clever steps can do The following technique is based on one of GeekAtPlay’s tutorials.. levels etc) on the final render. and the opacity to 18%. soft shadows to the picture p. In a mysterious forest scene this method works very well. applied Gaussian blur with a 4. but the picture looks quite di erent o This is how the image looked 16 Adding more magic 15 Post-production – corrections After finishing a render. The changes are minor.and here is the final image after post-work 17 Final steps I was just a few steps away from getting the desired result. Settings like motion blur. With a quality setting of 45% this provided good results and reasonably fast render. Since the previous technique makes the colours more saturated. Anti-aliasing: 4/256 rays were used for both object and texture AA.2px radius on the two copied layers.. rendered clouds (with foreground and background colour black and white). I added a very little soft light with brush to the darker areas. You can see how the technique I described works on a fairy-tale-like render o p q . Basically I duplicated the background layer twice.Environment Rendering and post-production Creating and tweaking the final scene Render settings are based on a sensitive balance between quality and speed. and applied Auto Color and Auto Tone on the copy. It gives me more control over the final result. set the second layer’s blending mode to Multiply. and the third layer’s to Overlay. my next step is always launching Photoshop and making some minor corrections (contrast. With this step I added some very subtle. hit Di erence clouds. The scene took exactly 33h42’38” to render at 3000×1688 n. where I liked the image the most. and finally I used the Clone tool for minor corrections q. My first step was adjusting the contrast in the most simple way. I needed to desaturate reds a bit. n A screenshot of the custom render settings that I used for the final render after contrast and colour corrections. Advanced e ects were left at the default 46%. since it adds more magic to the render. Then I duplicated the background layer. then changed its Opacity to 65%. I needed to reduce noise a bit o. and got the result I wanted. I adjusted Levels. and I apply it in 95% of my work. and finally I added a new layer. 14 Final rendering wonders to the image. as they didn’t apply to this scene and would have only increased render time. by hitting Auto Contrast. p Almost ready. colour. n DOF and blurred reflection were disabled. set the blending mode to Soft light. I adjusted their opacities to 20-20%. 39 .

.Easy-to-follow guides take you from concept to the final render Step by step: Texture and paint environments Arctic Base 2010 A symbiosis of 2D and 3D to produce a CG wintry landscape which is both technically complex and atmospherically evocative Dmitriy Glazyrin specialises in CG modelling and matte painting 40 Artist info Dmitriy Glazyrin Username: Glazyrin Personal portfolio site http://ujean-glazyrin. as well as several of the style techniques that I employed to develop Arctic Country Russia Software used 3ds Max 2009. I’ll show you how to use 2D elements to make the final scene more atmospheric and realistic. 3D modelling. concepts and matte painting T his tutorial will be focusing on creating an old arctic base from the very beginning: from concept through to modelling. composition and matte painting. There is a sample making-of movie file on the CD that shows a selection of short video step-by-step clips based on my workflow in Photoshop. Photoshop CS4 Expertise Dmitriy specialises in environments. throughout this walkthrough there will be an overview of 3ds Max and Photoshop in the production of this project. A major part of the video concentrates on how to mould hard landscaping like rocks into the desired shape. texturing. Additionally.

I made a simple model of a motorcycle and pasted it into the photograph of a frozen landscape. cast anchor and worked in the frozen land. 41 . I then started to paint objects. With an idea for the final image. The model was in need of a composition. A powerful jet of snow from under the wheels shows the speed of this motorcycle. painting Software used in this piece ‘Making of’ video 3ds Max Photoshop Concepts Inspiration behind the image a fast motorcycle. the emphasis changed to focus more on the base. so it’s reasonable such a base might appear. For many years great ships sailed ice drifts. 01 I wanted to create 02 simple rider for the bike as he was now a secondary character. which provided a guide for the rest. I experimented with a variety of options as to what the base could look like. I made one compartment. which rushes through the icy wilderness.Environment Texturing. though it was all very sketchy at this stage. I had the idea it could be an abandoned ship and ran with this. The best of these I rendered and finished with Photoshop. Taking this inspiration as a basis for the ship. I made a 03 Next I thought of a story for the arctic base. While trying to establish a concept. During the process.

rendering in V-Ray and post-production in Photoshop. I used pictures of a settlement in Morocco as the main inspiration. Never rush when it comes to the sky. In Photoshop. it sets the pace for almost everything. it could make my work more interesting. Reflections and Lighting. combined with 2D. I was now able to create whole worlds. it is infinitely easier as you have complete control over each and every element. 07 I always spend the objects separately from one another and other times I do a scene in one pass. realistic detail. but now it’s finally done I can say it was great fun to do something piratey and to learn a lot of interesting details about that period. but environments remain a passion in my free time. where shadows will manifest and how light will be distributed. I also play with the transparency of the layer to help with depth. and I wholeheartedly agree with him. Praetorian 3ds Max. “The sky is the most important thing in a landscape”. To create perspective. I became acquainted with 3D and realised that. without wasting time on additional renders by taking advantage of built-in pass e ects and layer adjustments. Remember that you can make your life easier by adjusting the highlights. In other words. using some stock photos and custom brushes. ZBrush (2009) of V-Ray Render Elements with processing in Photoshop for the final render. I always try to include a lot of passes in my work for tight. but if you want to make adjustments at the end. while post-production of the final scene – colour correction etc – was completed with Photoshop. I use V-Ray’s ZDepth. I wanted this piece to be complex in its composition and details. it’s a lot easier to work with separate objects in Photoshop. reflections. V-Ray Render Elements utilised to enhance this piece were Specular. For the base forms and buildings I used 3ds Max. Also. in order to add realism and to divide the scene along the lines of front. I used simple textures such as VRayDirt. Poser. middle and long-range. I would no longer be limited to photographic references. is an 05 Here example This is a personal image in which I was trying to visualise one of my favourite themes – the atmosphere of ancient Rome. Textures partly were made in 3ds Max. where it is necessary to create mainly contemporary corporate work. among others. Modelling was done in 3ds Max. I pretty much painted wholly in Photoshop and textured mainly in 3ds Max. Tortuga 3ds Max 2009. etc. when creating environments with an aerial perspective is to set the right depth. A sky will determine the overall atmosphere. A fellow modeller and friend of mine says. Showcase Modelling the textures Giving the scene the right look 04 For this work. Currently I work in the advertising field. it all depends on the composition. shadows.Dmitriy Glazyrin Artis t I started as a matte painter two years ago. Looking to bring something new to my style. For me. very important 06 A thing Persia Photoshop (2010) This image was made for a matte painting challenge for a Russian art society. Photoshop. 08 Sometimes I render 42 . It may take a little more time in the production stage. a lot of time carefully choosing the texture of the sky. but a busy port. partly in Photoshop. The Praetorian guard was made using Poser and ZBrush. apply Screen blending and adjust Levels to obtain the desired result. I invert the image. V-Ray (2009) This image took a lot more time than I intended. Photoshop. The theme was ‘Prince of Persia’. Poser. you do not have to put the whole scene in jeopardy. showing not just a single ship.

on the creation of rocks in the scene can be viewed in a short video on the disc. I merged them to form my base matte painting. where I removed defects unintentionally created during production. I drew natural rocky formations and imposed the texture of the ice over them. I reduced the contrast and saturation of these objects. 11 A clear demonstration render t urs ime Resolutio n: 3.Environment Lighting and painting Combining 3D and 2D elements 09 First I cut elements from photographs in Photoshop. I tend to use VRaySun and few other light sources. shadows and glare from the ice floe to get the realistic feel I needed. 13 In the final stages 43 . The sun is not just a white circle. which boosted drama and movement. I cloned the front rank bases.6 44 15 ho all of the 12 After objects had been incorporated. but you could also include a flock of birds. 10 Next I added the building. its rays need to immerse and bounce o objects in the scene. I then added some lights to the arctic base. I drew snow in the air and behind the wheels of the bike. For most of my environment works. I drew in some snow and highlights for the buildings too and placed these at the top of the layer stack. I created a light source for the picture – namely the setting sun. from the ground up to the sky.700 x 1. so they were approached very carefully. I painted in light. more vehicles or other details to fill out your scene. transformed them and added to the rear of the scene to bulk out the structure. Lighting and Reflections. as mentioned earlier. Finally I performed some all-important colour correction and retouching. These textures were used to render and provided the basis for the entire scene. sometimes it can be very di cult to find all the perfect textures you require in one stock image. I made this on a black background in Photoshop and used Screen blending mode. which was already rendered. . applying elements such as Z-Depth.

Software used 3ds Max Photoshop Incredible 3D artists take k us behind their artwor Artist info nd from a iting for my good frie One evening I was wa fresh. It takes much longer.veprikov. I used it in this work for the balconies . Website www. the air trip. ZBrush.d com Country Ukraine . d the hous showing from behin ke loo d light and I thought it glowed with a warm for this a that moment the ide really attractive. I Looking up at the ne ndows wi the of e On e. s wa a little cold. but gives you full freedom. I use ZBrush – even for non-organic objects. It was dark and on mo the saw arest house. At picture came to me… Insomnia 2010 When Displacement can’t give me the results I want.Nikita Veprikov eviantart.

I composed them in Photoshop. Later. To create volume light you need to adjust light sources and volume light settings and then apply a black material for all objects in the scene before you render. it allows you to make changes on the fly To render depth.The volume light and depth I rendered in separate passes. This gives much more control over the haze and air. Every scene has its own light sources and GI settings Software used in this piece 3ds Max Photoshop ZBrush Environment 45 . I rendered the interior and exterior as separate scenes. This step also facilitated the lighting adjustment. The received image is worked on in Photoshop in Screen mode To reduce render time and have more control. you need to add it on the Render Elements sheet.

I made no concept sketches. The image came together very quickly due to the models already being made for other projects. ZBrush 3. finalRender was used for rendering and Photoshop for postproduction. finalRender SE. I used 3ds Max for all modelling and UV mapping. Photoshop CS4 Expertise Stefan specialises in environment design.cgsociety. The image only uses three buildings and a UFO model. creation and rendering his image was a chance to use a few models that I’d been creating for my DAZ 3D storefront where I sell commercial 3D content. always recycle your work! Artist info T Concept I wanted a scene that was easy to read so the concept was kept basic: it’s a very formal composition using a slight camera tilt to work with the crashed UFO.5. proving that dozens of buildings are not required to create a cityscape. It’s handy having so many models that I can call upon at any time. but played in 3ds Max to find interesting shapes and angles that were visually pleasing.This image was made as a personal project using models I had been making for work Stefan Morrell is a content creator and illustrator Software used in this piece 3ds Max ZBrush 3. and also used a 3ds Max plug-in written by Mir Vadim called RayFire. Country New Zealand Software used 3ds Max 2009.5 RayFire finalRender SE xNormal Photoshop CS4 Model environments City Ruins 2010 3D artists explain the techniques behind their amazing artwork Stefan Morrell Username: stefan-morrell Personal portfolio site http:// stefan-morrell. xNormal. these were instanced throughout the scene to build up the environment. it was a nice deviation from working on a commercial models as I often don’t get the chance to use my own models in my artwork – sometimes it’s been years between creating the models and using them in my own imagery. 46 .

Modelling, texturing, lighting

01 Composition

a Here we can see the

composition of the 3D scene without textures

I’ve always preferred compositions that are easy on the eye and where the viewer can quickly read what is going on, often using the ‘golden ratio’ or divine proportion to help flesh out an image. My initial plan was a street of ruined buildings with a thick, oppressive atmosphere; the UFO being more of an afterthought when I realised the scene needed a focal point. I originally played with the idea of a boy looking down the street in the foreground, but I thought the UFO added a kind of lonely atmosphere that worked well a.


Problems and solutions
Having made many buildings over the years, I’ve come up with a workflow that’s both efficient and quick. Initially I use a simple plane and apply a texture to it, and then cut around the texture and extrude, inset, etc, to add extra detailing. This is a unique workflow in that my textures and modelling occur at the same time – most other people model first, then UV map and then texture. For my own work, I find doing everything at once is both faster and I can achieve more; it may require some additional UV mapping to tweak extrusions as you model, but overall it’s a very fast method for creating a building based on a photo. The major issue I faced in creating these ruins was keeping the poly count down while still allowing for plenty of visual detail. Once everything was done I spent a long night deleting polygon faces that the camera would never see. If the model was only for my own use, I wouldn’t have bothered with that step, but given these were intended to be commercially available I had to think of people using them on lower spec systems.

Start the modelling
Build from photo references
b The first stages of modelling
involved creating the façade


02 Cutting based on texture

Starting from a good photo texture reference, I created a plane in 3ds Max and cut out the major shapes of the applied texture map. At this early stage a simple Planar UV map is the best way to start. Use the Preserve UVs option in Max to avoid destroying the UVs as you move edges and vertices around the model. Once the major cuts were in place around windows, doors and other major shapes, I then extruded windows etc to get a 3D shape. All these extrusions required new UV mapping, as the Preserve UVs feature doesn’t work on extrusions b. d

03 High-poly ZBrush modelling – 1

c This is one of the hi-res

sculpts, as seen in ZBrush

d A close-up of a destroyed
concrete wall

To go alongside the regular low-poly assets, I also created several high-poly ZBrush sculpts of concrete debris. From these I generated a series of Displacement maps to be used on the final low-poly model. After laying out a good set of UVs, I sent the UV template to Photoshop and used photo references to get cracks and fractures in the right places. This image was then used as a Displacement or Alpha mask in ZBrush, and then another layer of sculpted detail was added on a new ZBrush layer using the original image as a guide. The final Displacement map also served as a great starting point for applying the coloured textures c.

04 High-poly ZBrush modelling – 2

For other high-poly assets such as this destroyed wall, I used brushes like HPolish (for chipped edging) and Mallet Fast (with very low strength settings). I enhanced the cracks using the Standard brush and, as with the previous step, I used Alpha maps of concrete cracks to ensure everything looked reasonably realistic. The model was subdivided to around six million polygons, with displacement generated in xNormal ( d.


Lighting and rendering
Global Illumination by way of Physical Sky controls is my most used method for outdoor lighting. It’s a very forgiving lighting type and perfect for outdoor scenarios. I also added a Direct light that throws a good deal of finalRender volumetric lighting into the scene. The Direct light was also used as it helped me see where shadows would fall. I paid special attention to sun placement so that the light cast shadows in an interesting way. finalRender also has a great feature called Detail Detection; with this option you can pick out all the small details via an Ambient Occlusion pass. I usually overdo this part because I like the e ect so much. In postproduction, I toned it back and masked out some areas of occlusion; I also used the ZDepth renders to ensure the AO was only present in foreground elements – in this image that meant a subtle gradient mask from the foreground to the background. The same Direct light was used as a Sun light in the Physical Sky palette options. I’ll often use a compass helper to aid in positioning the lighting, but for this one it was enough to rely only on the single Direct light. This simple light setup made for a fairly quick rendering too.


render time
Resolution: 6,000 x 2,396



e The three final buildings (the
first two are now available at broken into its three main modular components finalRender Dirt shader

f Here we see the model

g The UFO rendered with a

05 Buildings

Only three buildings were used in the entire image; I used instancing to duplicate them around the scene. Instancing is a great technique that I use all the time in rendering as it has such a low memory footprint. The road sections each building sits on were kept modular so I could fit them together in various configurations, and the final building was given the least amount of detail as it was only going to be seen in the distance e.


06 Think modular

Keeping things modular is a good idea as you can then create variations on the same theme by using one hero model. With the hotel building for example, I have four main sections; for many renderings I may only want to render the bottom section so any extra geometry in the scene is a waste of resources. With a modular approach to modelling, I can just delete parts of the model that aren’t seen f.

07 UFO

Adding a crashed spacecraft gave the image some focus; this is a model that I quickly made in a few hours. The UV map was projected from the camera view to save time, and I applied only one texture map. It was only ever to be seen in the distance so I didn’t want to waste too much time on it. During postproduction I added small blue lights to give it a bit more punch, and during rendering, I focused on getting very strong highlights so the viewer would see it as a focal point g.



Let’s break some stuff
Now we come to the destruction
Stefan Morrell
I design and build environment and prop models for DAZ 3D, where I’ve been the top-selling artist for several years. I also work as a freelance illustrator; recent clients include National Geographic magazine, where I was tasked with producing several pages of space-themed images. To make these buildings ruined I used a lot of manual modelling and a plug-in called RayFire (, widely used in the entertainment industry, from game cinematics to movies such as 2012 – it’s the go-to tool for destroying and generally wreaking havoc on your models! I usually fracture the models first and then use RayFire’s PhysX connection to do the simulating; I also make use of additional demolition options that allow the models to break on impact. For this model I tried to keep things very low-poly, but with RayFire you can achieve some very detailed destruction H.

08 RayFire

H A before and after of a group
of bricks randomly placed, and then as they appear after RayFire simulation

Shuttle 43 3ds Max, finalRender, Photoshop (2010)

Just another chance to create a magical environment. The character is a great way of framing an image and leading the viewer’s eye back into frame.

i Detail of a manually destroyed
wall created using basic poly modelling techniques

09 Manual destruction
Flight to the Blue Tower 3ds Max, finalRender, Photoshop (2010)

A still from an animation that I’ve been working on featuring a flight through a sci-fi cityscape.

Along with RayFire, I manually added some destruction; this takes a lot of time, but the payo is some very specific destruction and optimised geometry. I used basic poly modelling techniques in 3ds Max; because these were to be commercial models, keeping everything optimised was paramount. I first cut out a basic shape from the textured building façade and then duplicated a single brick around the broken opening (stopping occasionally only to move UVs around to avoid repeating textures). When placing these bricks I followed the applied texture map so the manually placed bricks lined up correctly. I also added many broken bricks that had been fractured in RayFire I.

For the most part I use my own photo-sourced textures that are tweaked in Photoshop; working from real-world photos is essential when doing realistic urban environments. In addition to this, I used a façade texture from www. which is a fantastic online resource for CG artists.

10 Rubble piles

The Neighbourhood 3ds Max, finalRender, Photoshop (2007)

Urban environments are always fun to work on and allow plenty of room for unique detailing. With this image I received a Master award in Ballistic Publishing’s ELEMENTAL book.

The biggest thing that will help sell a destroyed environment is bucketloads of detail. Adding lots of rubble piles and other debris is essential. The focus with these is creating a good silhouette. My images usually have a good amount of atmosphere so I know the piles will read better as they recede into the distance as long as the shape is interesting. Add pipes, steel reinforcing, chunks of concrete and brick – whatever you can – to sell the destruction, as these will also be seen close up. I use displacement for added detail j.

j This image shows one of the
final rubble piles



Texturing the ruins

Add a desaturated look to the buildings

Rendering the image
Rendering was fairly straightforward. I tend to render out several elements (passes) so I have a lot of room to move in postproduction. Z-Depth is an essential ingredient in cityscapes and I use this to create atmospheric perspective, depth of field and also to paint in smoke behind buildings. I rendered the image at 6,000 polys on a Windows 7, 64-bit, i7 Quad core with 12GB RAM.

K This is one of the façade textures; a variation of this

map with burn damage was used for the upper floors

11 Building façades

I tried to keep this texture as simple as possible and so the windows are just box shaped with a simple trim at the base of the map. This fitted in well with the theme and overall design of the building. Adding the concrete trim around the windows was an e ective way to avoid matching up the brick pattern as it appeared in the inset part of the windows k. L This image shows the Color map, Bump map, Opacity
mask and Reflection mask

12 Matching textures

M Image shows a close-up of the textured UFO; note the simple
one-colour theme, letting the geometry carry the detail

To go with the previous texture, I also used a tiling texture. This appeared at ground level and, as such, needed a bit more texel density to hold up in close-up shots. I used Photoshop Curves adjustments to match the tiling brick pattern to the original façade. It’s a good idea to have a collection of brick patterns saved in Photoshop that can easily be called upon. For every brick texture I’ve saved as a Photoshop pattern, I also create a Bump map. This again saves time when creating the final texture as the finished Bump map is just a Flood Fill away L. N Screenshot from 3ds Max showing
decals applied to the building

13 Texturing the UFO

In keeping with the ’keep it simple’ mindset, the UFO was the simplest of all. The UVs were projected from the camera view and textured using a generic concrete image. All the glowing blue lights were added in postproduction to avoid extra render time and also to allow for more flexibility when deciding if I even wanted the lights M.

14 Decals

I often use decals to help break up repetition in textures. In the ruins, these are single polys representing bullet holes. I randomly distributed these across the model, initially using the Scatter option, but then using manual placement with some rotation etc. Even though they all used the same texture, they added a nice sense of randomness to the building and also helped to sell the idea of a war-torn, battle-damaged city n.


max chair3. Add them to your model library to improve your arc-vis renders chair1.or www. texturing Software used in this piece 3ds Max V-Ray Photoshop 52 . V-Ray 1.8 16GB RAM Software used SP5.the 3D artists explain nd hi be es techniqu twork their amazing ar Paweł has supplied three chair models with this tutorial.podwojewski Country Poland Hardware used 3 and 2 x Xeon quad 2. exterior lighting set night sk/ particularly for du Modelling.max Artist info ski Paweł Podwojew site Personal portfolio g . 3ds Max.5 Photoshop CS4 cialises in Expertise Paweł spe and on environment creati ups.max chair2.

which in this case is Japanese Wisteria (or Wisteria floribunda). I wanted to make the scene unique – to brand the idea in the viewers’ memories. 02 Basic shape definitions A We are planning to create a pretty large scene including lots of plants. as well as close-ups? In this case we have four main objects: flowers. V-Ray and Photoshop as the base tools. I chose Editable Poly. like the leaves or shoots. it’s time to choose the modelling process. C A Gather your reference wisely B Each component of the model in this scene might require a di erent placement technique C These are the main elements that make up the planned object – to create a scene heavily populated with Wisteria floribunda Inspiration & reference For this piece. try to find shots that will be orthogonal to each specific part of the plant. To make the plants more natural we will need a few variations of the same elements to make sure nothing is repeated. Focused on environment creation. My task was to create an image that would be able to express the ambience created by various elements of the environment. Be sure to find pictures showing your focal object from di erent angles and scales. 03 Choice of modelling techniques B Once we have defined the necessary elements. 53 . This process will aid you with the textures in the following steps and can also be a great help with the modelling process A. We’ll also need to use some extra tools to scatter single elements in a random way C. I was quite simply inspired by gardens – canopies of Wisteria flowers are amazing! Once I’d seen the first reference pictures. It’s important to answer the question: which elements need more – and less – detail to make them work in regular shots. in this instance. Most single components can be created using very basic techniques. We need to think about the polycount in the first place to make sure that our workstation can actually manage with the size of the scene. I was sure this was going to be a very exciting project.Environment Creating nature – plant modelling Wisteria Floribunda 2010 Paweł Podwojewski is an architect and CG artist n this tutorial we are going to learn how to create highly detailed plant models using 3ds Max. I would like to show how easy it is to transfer the techniques to other plants. leaves and branches B. The presented scene is the result of a collaboration with the Nadau Lavergne studio that designed the building. Because their type and position was clearly specified I had to work out some new techniques that allowed me to complete the task with accurate results. From the very beginning the plants were the focal point of the scene. This tutorial will explain how using reference pictures and basic 3ds Max techniques can create plant models just like those shown in the illustrations. so you can use the skills to build up your very own library of models. shoots. this scene inspired new solutions in Paweł’s workflow to help him create a selection of plants for compelling arc-vis renders I The groundwork Source reference and create basic models 01 Plan the modelling The first thing we need to do is to find reference pictures that will allow us to understand the anatomy of a particular plant. We will also go through the V-Ray rendering engine and material options to polish up the image for the best results in Photoshop.

use a spline to draw the stalk and leaf. and the rest will be covered by basic poly modelling and a little patience! F Note that having plants of di erent ages in the scene will produce a much more realistic finish G Play with the general size and density in each group to achieve a more natural. Overall the solutions are very simple. This process is based on simple. To spread the predefined components we will use the Advanced Painter script developed by Herman Saksono. Grass and Stone modes. Copy the flower twice and change the geometry a little to give it more variety D. We need to make sure the flowers. I also needed very dense branches to cover the whole courtyard and climbers on columns.Modelling the Wisteria 04 Model the flowers f In the presented scene we did not use blueprints. shaders and apply to your models. Among its many options you will find the Randomizer. Adjust the pivot. random impression 05 Prepare the geometry to multiply Once the main elements of the flower are done. paint with objects in real-time – very handy when adding finer details to your scenes. Once you have created similar groups to those shown. in fact. The actions in this step are pretty much the same as in the basic flower creation process. and remember to use stalks with di erent lengths. convert the geometry into Editable Poly and attach all the components into one object. take care when adjusting the pivot points here f. The many repetition issues might discourage at first sight. Advanced Painter gives you control over the position and rotation of distributed objects so there are many ways to apply them. Next. will not appear countable in the end. efficient solutions Problems & solutions The main problem when creating plants is the random impression required for all elements. Set Advanced Painter to Randomizer mode. Be sure to check the Align Up-Direction is set to N. we simply focused on the reference images and tried to retain the general forms. and select the correct object to Multiply. 06 Stalk and leaf creation Advanced Painter The Advanced Painter script is a very powerful tool. Depending on your needs. apply a UVW map to each object. It is a very accurate tool that allows you to. d g g g D Create the flowers using simple elements with Editable Poly techniques E Be sure to pay close attention as to keep the correct order of actions e In this step we will create the stalk object and some leaves. Each new model will require specific textures and mapping. We used a simple box-mapping procedure. make sure the Z axis is placed exactly as shown in the example – this stage is very important. we’ll need a shoot that will connect the flower to the stalk. so take your time E. which in some cases might be di cult to complete because of the lack of stock textures and the unusual geometry. leaves. it can be used to arbitrarily spread custom objects on a mesh surface or to apply predefined settings. Copy them twice and tweak the size and shape slightly. The flower consisted of three elements. carefully adjust the pivots until it looks right g. Creating the Wisteria scene. Once again. 54 . 07 Create groups of plants e e Using the Advanced Painter script spreads the leaves and flowers on the stalk. Create the necessary maps. First. Create a simple plane object and add new divisions to obtain the low-poly shape of the main body. In the end. Also. but remember that once you go through the process you will gain a unique model that can be used in future projects. branch creation will be solved with the Ivy Generator plug-in from GuruWare. You can create three di erent lengths of stalk to produce plants in various stages of development. etc. and will make your artwork distinct. Follow the same procedure to prepare the petals and core. as demonstrated in this scene. convert the objects into Editable Poly and attach them into one object.

10 Additional details We will now add some extra flowers to make the scene more complex. We can use the geometry from Step 5. Run the script and choose the flower proxies. Using Advanced Painter with the terrain as the distribution object. position and scale in the Advanced Painter settings. In this tutorial. Applying the techniques to other models Using the Editable Poly modelling technique combined with the Advanced Painter script. The single blade with a properly adjusted pivot was multiplied over a hemisphere object. The presented scene also contains a very specific moss terrain with production steps that were very similar. we reveal the creation process of the Wisteria floribunda. we started with a single blade of moss. One of the top features is the realtime preview when ‘growing’ the ivy. Once your camera is set up in the scene.Environment H J J i H Prepare a fake distribution object and set its properties to ‘Not renderable’ I Painting the proxies. After the textures were applied.88 : 0 nder time 09 Establish the scene Ivy Generator Ivy Generator is a simple tool that can be used in many ways. once again. so we will create a fake distribution object. 08 Branches and their distribution Resolution 4. Select the Instance cloning method and the distribution object from Step 8. it is possible to create very different types of plants… to build up your own collection of vegetation 55 . This might not be enough though to cover the whole sky. At this point all plants are ready to spread in the scene. add some more groups to areas where they will be well exposed I. In this scene. we’ve created a noisy terrain with the Push/Pull tool from Editable Poly rollout. using many reference pictures. we will use Advanced Painter. Repeat this action a few times until the density is thick enough. Paint the flowers. In the scene we have some cables in the courtyard that the branches can follow. Change the shoots into stalks and add small leaves before. Place some branches on the ground and columns too. Use this plug-in to create groundcover or all manner of natural environments. Once again. tweaking the pivots to previous settings. Use the V-Ray mesh export option and create proxies from the predefined groups from Step 7. Once you understand how the script works. tweak the rotation. check the Bounding Box display mode to obtain more FPS in the viewport J Create some additional plants to make the scene more complex 2 hours re Using the great GuruWare plug-in Ivy Generator. J Using the Editable Poly modelling technique combined with the Advanced Painter script. we will now create the branches. For the moss creation. Once again. We chose this plug-in as it is very efficient: it allows you to very quickly and easily generate ivy. which should attract the attention of the viewer. like gravity or adhesion. use the circle from the Splines rollout and convert it to Editable Poly. The Advanced Painter script was used again to populate the new plant across the terrain. Place the ivy seed and use the provided settings. you are able to use it in many ways to build up your own personal collection of vegetation. To do so.050 x 2. all components were attached into one object with a new adjusted pivot and exported using the V-Ray mesh option. It’s also possible to adjust the level of detail to fit with your composition. multiply the flowers in the lower areas. Remember to uncheck the leaf option in the ivy settings H. it is possible to create very di erent types of plants. and also gives control over physics. This way you can achieve some ‘flower carpets’. we were able to create the specific species of moss.

Housing in Bordeaux 3ds Max. filter channel. Once the template is done. To get more control over the shaders’ behaviour. 56 . hone the lighting and other e ects in postproduction L Paweł Podwojewski After several years of collaborating with architectural studios. Please remember to keep the resolution ratio (width and height) the same as in the UVW you have applied to an object. V-Ray raw reflection and the Reflection filter. Apply a Lens Blur filter in Photoshop with a Z-Depth map. I’m always looking for a challenge in my work. I love to play with the atmosphere of my 11 Paint the textures In the early steps we applied UVW box mapping to the main components. Working with clients all over the world. as follows: Alpha channel. control the reflection amount using the ref. Z-Depth.Textures. In some cases it’s even better to paint the textures from scratch – as this will give you more control over the size and placement k. clipped with VRaySky in the environment and reflection override. Once the template is ready. In the VRayPhysicalCamera. Once all the textures are set. I spent some time working on the street textures. nearly every time I am surprised by the results. Winter in the city 3ds Max. enable the depth-of-field checkbox and set the correct focus distance. Using additional passes. tweak the setting to achieve an extra stylish bokeh e ect. shaders and postproduction Proper textures and shaders will really bring your plants to life Texporter Texporter is a plug-in that helps you to create basic templates for textures. the texture will perfectly fit your object. save it and paint the texture in your favourite software. choose the VRayMtl and organise the channels as shown. to improve myself and to evolve. such as Alpha and Z-Depth channels. copy the layers and desaturate them. 12 Create materials Utilise the Texporter script to produce masks for your textures k Use the orthogonal reference photos for texture creation L Control the shader’s behaviour using the ColorCorrect parameters After your di use textures are done. in 2008 I decided to open MOTYW (MOTIVE). It’s a massive help to have reference pictures taken from orthogonal views for the elements you are about to texture. Photoshop (2010) An urban environment in the winter. Finally. Tweak the contrast and brightness to prepare the Bump. use the ColorCorrect parameters with all created textures L. k Rendering additional channels & postproduction A standard Direct light with area shadows was used as the main light source. Reflection and Translucent maps in Photoshop. In the end. such as the flower and stalk. V-Ray. V-Ray. In postproduction. Photoshop (2010) An autumn dusk scene. you can simply copy a part of the reference picture and fit it to the comp. There is a great plug-in called Texporter (www. painting a lot of Displacement maps to achieve this e ect. I have become very experienced in different types of projects. which may help when creating texture templates.cuneytozdas. Add some extra channels in the VRay: Frame bu er.

nal image for a traini to use it as a promotio 57 . not only to create a volumetric lighting effect. Using the huts from the Air Village image. but also because it can hide modelling imperfections Artist info For rendering. However.000). I also tested out the Ivy Generator. I ma luding inc t no . nk thi I the lighting and addin . on scene de the scene g some details. de Air Village mo decided at Evermoti After it was done we e. and lots of details 2010 n o o M e h t n o n w a D Software used in this piece 3ds Max V-Ray Photoshop All the base models were originally made for different scenes. ht to twelve hours eig me k too It on l. tim r the rende ng Country Poland . moonlight being the only source.evermotion. Incredible 3D artists take k us behind their artwor There’s no special lighting with this one. because of the resolution displacement (4. which is a specific 3ds Max script for creating the creeping plant al Air Village fantasy ernative to the origin alt an ate cre to anging s wa The idea the scene just by ch ch you can change in mu w ho se of the ow ba sh the to . urs co of e. I usually use V-Ray because it is really fast and easy to use. I added holes and rubble. Software used 3ds Max Photoshop I made Dawn on the Moon based on a rough 2D concept artwork by Iwo Widulinski.Rafał Waniek Username: Edi Website www. V-Ray. The atmosphere was made using environment fog. it did take me about 14 hours to render this on a 16 core machine. The idea was to create a massive village drowned in green clouds and dust. with hundreds of small lights as the main light source and only sign of life.

non-slick look – similar to stop-motion. with compositing done in Shake Yiannis Tyropolis. I was interested in a hand-made. This was also an attempt to test the potential of rendering in ZBrush. Shake . The look and style came by itself as I was exploring the new rendering features. And how does that make you http://trungpad. hmm?.This character was created during beta testing for ZBrush 4. 2010 58 ● 3DArtist Artist info Yiannis Tyropolis o site Personal portfoli Country Greece Software used ZBrush. Modelled and rendered in ZBrush.

.................................................................. 64 Painting up a demon image .......144 Create Pixar-style artwork .........124 Create a futuristic bar scene ........................................72 Texture and light a beautiful girl .........................................76 Creating a savage warrior .................... 98 Create a sexy fairy woman ..................................... 138 I made this: Martin Ruizl .......108 I made this: Iker Cortázar .........148 59 ...............................130 Create a friendly dragon ................120 Interview: Andrew Hickinbottom ...........114 Model a cute fantasy figure ..............Character Character Work in progress… Interview: Oliver Ponsonnet ......................................134 Add textures and light to objects........116 Build your own monster ............................................ 80 I made this: Hodong La ................................................... 96 Making of The Sky Fisherman ..................... 104 Portrait masterclass .........142 Create a Lovecraft legend ..

Martín Puentes Rivera Personal portfolio site http://www.This is a personal project from a concept I created at university. I like horror films and tried to create a character for an animation short that I am working on in my spare time A. Martín Puentes Rivera. Photoshop . Crazy Zombie. 3D Studio Max. com and Country Spain Software used Zbrush. 2010 60 Artist info A. Mental Ray. triplekeystudio.maxanimator.

The idea of Pandemonium and the Diabolical Boiler God. cuddly teddy bears was born Andrzej Kuziola. Photoshop 61 . My goal was to achieve a stifling-hot. I was also inspired by human sacrifices made to Têixiptlas in ancient Aztec civilization.kuziola.Character I created this illustration for the “Boiler Room” contest. Teddy Bear Snacks Artist info Andrzej Kuziola Personal portfolio site www. hungry for innocent. anxiety filling atmosphere and also to refer to the vision of Hell where devils torment sinful Country Poland Software used Cinema 4D. ZBrush.

Ooh la la. I thought I’d do a clichéd French girl as an homage/ present to him Andrew Hickinbottom.A French friend of mine. V-Ray Work in progress… .cgsociety Country UK Software used 3ds Max. does great pinup art that I’ve admired for a http://andyh. 2010 62 Artist info Andrew Hickinbottom Personal portfolio site . Serge Birault.

Photoshop Work in progress… Pirate Robot was born from a collaboration of ideas between Alicia Pereira and myself for a personal illustration.tiflos. ZBrush. just robots looking for treasure – and batteries to survive! Angel Gabriel Diaz Romero.Character Artist info Angel Gabriel Diaz Romero Personal portfolio site www. Pirate Robot. I created an interesting pirate from it for a scene based around the idea of a universe without humans. Using a simple robot I’d already made. 2010 63 . Country Spain Software used 3ds Max.

practising with many types of media. after what may seem an unexpected educational background for such an aspired 3D creator. Before working in videogames. he still finds the motivation to produce wonderful portraits like these featured here. we wanted to find out more about the man behind the hauntingly beautiful faces… Can you tell us a little bit about your education and how it helped set the foundations for your career? Olivier Ponsonnet: I’m actually self-taught. he is working as a 3D artist in the videogames industry. to how it’s actually simulated and rendered. Olivier will continue to inspire with his unique representations. Olivier has never regretted his decision to become a CG artist. I chose to work as a CG artist and continued practising as a hobby in my free time. in his spare time. I might not have directly done art or CG as part of my degree. such as pencil. I mix many inspirations from different eras so that my characters do not look too contemporary Olivier Ponsonnet specialises in real-time environments and characters livier Ponsonnet is a renowned master of the CG portrait in the 3D community. Photoshop Expertise Real-time environments and characters Current employer Asobo Studio Timeless I try to create timeless illustrations. a community favourite. When I was younger. charcoal. he creates real-time characters and CG environments. from how lighting Country France Software used 3ds Max. It sounds pretentious but that’s really what I try to achieve. By day.We talk to Olivier Ponsonnet. CG was my passion and I was doing it in my spare time. and we certainly hope that he doesn’t. While I was studying. He has told 3D Artist that he will never tire of creating. I studied Computer Science at university. In stark contrast to the stunning portraits that don his portfolio. acrylic. when he is not creating intriguingly beautiful characters that capture our hearts and inspire our own creative pursuits. With an ever-impressive portfolio and a work-in-progress underway. At the end of my course. ZBrush. but I think my studies helped me a lot in understanding the basic functions from a technical point of view. silk painting and so on – this all helped me to develop my artistic skills. Something of an enigma O in the CG community. A Flame “The ornamental elements provide extra narrative and encourage the viewer to look beyond the beauty that is portrayed” 64 . from level design to the final visuals and yet. Having worked in videogames for around four years now. who creates videogames by day and moonlights as a CGI character portrait artist by night beauty Name Olivier Ponsonnet Job title 3D artist Personal website http://re1v. I also had drawing lessons for some years.

Character a 65 .

but I ended up using 3ds Max for nearly all stages of my work. A Fairy World was inspired by butterflies. it was pretty simple. I could create more complex objects. accumulating both the technical and artistic know-how to allow me to create what I do now. Later. A couple of years later. I do like to test the latest revisions of 3D software with their brand new tools and features to get even more possibilities and this technical aspect remains a means to achieving the aesthetic part. I sometimes use ZBrush when I want to create complicated organic objects. Can you talk us through the work involved in the creation of one of your characters? classical ones. I avoid an overcontemporary look. royal clothing and coleopters” d How exactly did you teach yourself 3D? How did it start. I started using Amapi. fireflies. using polygon modelling and subdivision surfaces. you are pulled in by her stare.c b A Fairy World “Created for a French contest. I can’t do this without adding a character in the scene. I work hard at the technical part (rendering. My learning curve was pretty long: I began 3D quite young but I seriously practised for about ten years. I was just using it as a renderer with imported objects from Amapi. My goal is always the same and pretty simple: to create a beautiful character. I’d say I pay way more attention to the aesthetic aspect than the technical one. and how are they important to your workflow and content creation? OP: I mostly use 3ds Max from the first poly to the final render. but most of the portraits I create are modelled with 3ds Max solely. That’s why I bought my first 3D software: Voxel3D. I learned the software from the literature and obviously by practising. the internet really helped me to improve my skills with its CG artist communities. I focus on both the technical and aesthetic aspects. I liked to draw and I had a computer so I just tried to merge these two hobbies together. etc) to make a believable character. Overall. where did you get your learning resources and how steep was the learning curve? OP: Well. c Vlad “Created as a sharp face with clean features. but the dark elements warn you away” 66 . To start with. contrast was given by adding a red blood splat to the mouth” d Obsidian Eyes “This character’s beauty is deceiving. but the rendering part of this software was extremely limited. I’m not interested in creating a picture without any characters Your portfolio contains a wealth of stunning portraits – realistically rendered. Maybe this is because I just hope my artwork won’t look too old too fast. I always try to create characters with some kind of timeless beauty. shading. lighting. but also illustrative in style. I bought two or three of these huge books describing every single 3ds Max function.0. In the beginning. OP: I do these portraits during my spare time. That’s why I turned to 3ds Max 1. my only resources were books. …even when I create environments. To achieve this. but I was really happy with it. It didn’t offer many possibilities. I was 13 years old. I usually prefer more What are the tools of your trade in terms of hardware and software.

but not something completely smooth. I wanted to give her personality. It was quite challenging for many reasons: the first because the pet is a monkey and creating animals with fur is not my speciality. a source of my motivation and inspiration also comes from other CG Artists. I also wanted the monkey to have something in the eyes as deep as the main character. That’s what inspired me to create this child and his pet. I tried to make a pure face with clean facial features. I saw a picture representing a girl with a simple bird by a Korean artist.Character 1 Opal Child When I create a picture. 67 . I really like this picture because it’s the only portrait I’ve done with two characters. Creating a child was also challenging. It was just great.

I mean a lot of practice! How long does it generally take to complete one of your character portraits. I try How long have you been evolving your character creation techniques and 68 to keep my rendering pipeline as simple as I can. OP: It varies a lot. I also add Noise. what is the most important part of the creative process when producing one of your beautiful. I use passes when I don’t have a choice. nor do I paint anything on them. I know I don’t have much time to create my illustrations. It depends on many things. Making ten characters is always going to take longer than making one. the most important part remains the artistic one. I guess. nice skin aspects with Subsurface Scattering – all of these tools make the technical part easier. elegant characters? OP: I think the most important stage is modelling the face. from concept to final 3D illustration? I render hair and its shadows using the 3ds Max Scanline renderer – because it’s way faster than using mental ray primitives and gives smoother results. I have to use passes. I’d say from two weeks to a couple of months. how much work is done on your 3D renders to take them from raw render to final illustration? OP: I only do pure postproduction in When it comes to rendering. soft shadows. I then create three passes: one for the main render. 3D software advancements always make character creation easier in terms of technique: we now have realistic lighting. I use mental ray for everything else. which is why I prefer to focus on something specific like a single face. For you. so it’s not always easy to find motivation after a day of work. As you know. I think that’s what really makes my latest creations different from my first ones and partly why. But in my humble opinion. rendered with mental ray. objects or details to my pictures at this stage. OP: I’ve been evolving my character how would you say they have changed over time with the various advancements in 3D software? creation techniques for about eight years. Actually. I don’t add any new elements. That’s also why I like doing portraits. what passes do you render out and why are these so important to the final look of your 3D illustrations? Photoshop. I also use this software for compositing and postproduction. OP: I usually don’t use many passes.e f For texture painting. I work as a CG artist in a videogame studio. Chromatic Aberration and Depth of Field (using the Z-Depth from 3ds Max) to remove the raw look of the 3D render. I can spend hours . In terms of postproduction. I use Photoshop with a Wacom tablet. I usually apply Color Balance and saturation filters to my illustrations to adjust the colour scheme and the mood of the picture. The duration of the creation process also depends a lot on the quantity of things to create. All the portraits I do are non-commercial images created during my spare time. and two for the hair – the hair itself and its shadows – rendered using the Scanline renderer. My hardware is quite common: Intel Core i7 Processor. when I create a character with hair. I create better characters now than I did eight years ago. and try to improve it as much as I can. ATI 5850 video card. It firstly depends on my inspiration or motivation. The best way to improve is quite simple though and not really magic: observation and practice. and dual monitor display. For example. I mean. 6GB RAM.

As I want to create something that is believable.Character g h moving vertices until I get some kind of harmony. like Tiziano Vecellio’s portraits work with their bright skins. with recent works having turned darker. from comic books. Mr Bone started as a simple ZBrush test. Your characters are all highly unique. with default lights in the viewport. particularly in the context of sci-fi and fantasy. Obviously. I try to create somehow fi rst and the most important is personal taste: a portrait talks to me a lot more than an environment. but the modelling really remains essential in my opinion Your portfolio also demonstrates great skill with environment creation. As I don’t have Your conventionally beautiful characters are often portrayed with a gothic and macabre twist. The result was rendered in 3ds Max” h Pink Sugar “Pink Sugar was something quite di erent. Second. The OP: As I said earlier. dark clothes and black e The Fall “Qualëphantus are creatures that travel from one galaxy to another. but the modelling really remains essential in my opinion. Where do you seek your inspiration and how important is storytelling in your work? timeless illustrations. or simply from people I see in the street – everything can be a source of inspiration. I can’t do this without adding a character in the scene. With such a strong and varied skill set. I also get inspiration from contemporary artists. I often use classical or traditional clothes from many cultures as bases. I like the aesthetic look of classical works. nice lighting and shading will also help to achieve a nice looking character. I prefer to focus on characters. seeming to pull elements from a variety of cultures and stories. and where do you see future works going? OP: Well. I try to get a nice looking shape even without advanced lighting. I’m not interested in creating a picture without any characters. It sounds slightly pretentious but that’s really what I try to achieve. even when I create environments. I use classical paintings as an inspiration. why do characters capture more of your attention? much time to create my pictures. I don’t try to push my render further until I have an aesthetically interesting face. purposely made using a di erent colour scheme and blonde hair” 69 . feeding on every life form they find…” f Moon Key “Aiming for a charming and elegant portrait – not realistic – all of Moon Key’s textures were hand painted in Photoshop” g Mr Bone “In contrast to my other works. nice lighting and shading will also help to achieve a nice looking character. I usually get this inspiration from classical painting books or from history of dress books. I don’t know. Obviously. What does this stem from. I mix many inspirations from different eras so that my characters do not look too contemporary. OP: There are many reasons for that.

You just have to be careful about topology in these areas. My professional work includes level building. I barely have time them believable. I might not always know what the next project will be. I first try to make experience and practice. environment creation and. I can’t really say where my future artwork is going. i Inaë Made initially as a SSS test in 3ds Max. but one thing that is for certain is that I won’t ever stop creating. and what projects would you most like to work on? OP: I really don’t know. I’d like to make something closer to the original mermaids. something more elegant but also darker. where you have to find the perfect balance between eyebrow shape. Inaë was continued and rendered in mental ray j Red Opium “A vision of a female vampire. a kind of mermaid portrait. Those parts are not that difficult to produce – I mean from a technical point of view. With constant advancements in technology helping more people than ever create realistic looking characters. My personal portfolio is mainly composed of portraits – simply because that’s what I like to make best. The hardest part is to get something beautiful and natural. It’s a very subtle process and one of the most interesting parts of the creation – especially in the eye area. I don’t want to create a happy mermaid with shiny scales and a shell bikini. And as I don’t know how I’ll evolve as time goes on. real-time character creation. how do you keep an edge over them? where the inspiration for the project originally came from? OP: I’m working on an underwater scene – OP: Well. I just try to make things that I like. I don’t try to reproduce what you could actually shoot with a camera. then think about what’s next. However. I’m not sure. I try to give them something more. But I think that’s what makes the journey more interesting. I could do portraits for the rest of my life and not get tired of them. It will most likely be another portrait. That’s why I pay a lot of attention to clothing design. How different is your professional work to your personal portfolio and how does this balance out? OP: My personal portfolio is completely different from my professional work. it’s easier to create realistic looking characters technically. so I’d just like to finish my work on the mermaid. with all maps hand painted” Can you tell us what you are currently working on at the moment. the position of the eyelids and so on. and if possible 70 . in order to create that lively and expressive look. created in 3ds Max 8. How do you give your characters the souls that we can clearly see in any of your illustrations? OP: To give them life. anatomical details. more recently. but it’s always difficult to create original and unique characters. to create personal work. two areas need more attention: the eyes and the mouth. Maybe as I’m getting older. I also like more sober colours… I don’t know. Maybe it’s just Giving life to lifeless digital content is a skill all in itself. When I have this base. rendering and so on. This is very different from my personal creations and how I find motivation to create CG after a day’s work. How about your future plans. My aim is not exactly to create realistic characters. I may also try to create some 2D illustrations. but it’s not that hard. yes.i j backgrounds. the eyes’ curvature. what can we look forward to seeing next. I mean.

I modified it to get something more sober and also a little more contemporary. The composition and the pose are quite simple and don’t distract.Character 2 Cold Blue The dress is based on a real dress I found in paintings representing Anne of Cleves. you just focus on the character’s face. 71 . The reflections are huge – completely exaggerated – but it really gives her something special. The original dress had more colour variety and a di erent colour scheme. The eyes are also interesting. more depth. The make-up matching the material colours is also there to break from the original classical look.

The idea here was to show a little girl asking for a treat and a big demon behind her who’s ready to play a trick on those who don’t provide any goodies. I was working with CINEMA 4D and ZBrush for modelling and rendering. and you realise that she is a she-devil – and that out of the pair. I Design inspirations The style for the scene a concept created in ZBrush and Painter inspired by disguised children walking from house to house and asking for sweets at Halloween. however. I will be explaining how I created this Halloween-themed illustration. My goal was to achieve a mixture of cartoon-like. lighting and postproduction than on modelling. while using Painter and Photoshop for texturing and postproduction. I also used UVLayout to unfold the model and to create UV maps. 01 I started from 02 should look sweet and innocent at first glance. materials. I wanted to achieve this with lighting and hand-painted textures using RealBristle brushes. Everything was maintained in warm orange-red hues associated with hellfire. I am going to focus more on texturing. It was important to me that the girl stylised look for the demon. she is probably the one calling the shots. The illustration was created mixing both 2D and 3D techniques. I usually work mainly in dark. unsaturated colours so working with a new palette was a bit of an experiment and I was curious to see how it would look in the end. particularly in comparison to the sinister looking demon. painterly look. exaggerated characters with a colourful.Step by step: Painting up a demon image Trick or Treat 2010 Discover how to create a painterly image with vivid colours on the theme of Halloween Andrzej Kuziola specialises in modelling and character creation n this tutorial. I was going to try di erent approaches to achieve an interesting painterly e ect despite it being done in 3D. I feel more comfortable working this way as I have greater control over the process. 03 I wanted a very 72 ● . Look closer.

kuziola.Character Texturing. 7GB RAM Expertise Andrzej specialis es in modelling and quirky character creation Software used in this piece CINEMA 4D ZBrush Photoshop Painter UVLayout Artist info Andrzej Kuziola 73 . painting Easy-to-follow guides take you from concept to the final render Username: ak666 Personal portfolio site www.66 GHz Dual-Core Intel Xeon. Country United Kingdom Hardware used Mac Pro 2.

modifying desaturated versions in the Di usion. 06 For the demon. I made di erent renders for the girl. Software such as CINEMA 4D. I started to create nice. Teddy Bear Snacks CINEMA 4D. I wanted the demon to look very stylised so I experimented here to achieve a look similar to a portrait that’s been painted with thick oil paints. This is my first illustration where. I created a few 07 To set up lights.maxon. Painter. This illustration was selected by MAXON for promotion of CINEMA 4D. I swapped the models with high-poly meshes and rendered them in Advanced Renderer with Global Illumination. I was inspired here by human sacrifices made to teixiptlas [cult e gies or impersonators] in ancient Aztec civilisation. di erent colour maps in Painter. hungry for innocent. Polish artist Zdzislaw Beksinski was a great inspiration behind this image. cute female characters with bright colours. Photoshop (2009) Showcase Parthenogenesis is an asexual form of reproduction where growth and development of embryos occurs without fertilisation by a male. This is my dark and twisted interpretation of the word ‘Newborn’. ZBrush. I was 08 When happy 74 . Parthenogenesis CINEMA 4D. I moved to Painter where I created proper textures mainly with Artists’ Oils before exporting them to Photoshop. Ambient Occlusion and a separate Alpha channel for each object. which consisted of a Subsurface Scattering layer in Dodge mode with another colour bitmap beneath. but no longer work in that profession. I am a freelance illustrator and 3D modeller now and I really enjoy it. Photoshop. which I used in the material’s Color channel. I also used blue lights and placed everything inside a sphere as a Floor object so that the light bounced o the sides. This is another illustration created for a contest – this time with the theme of ‘Boiler room’. which I filled with Fog material. It won third place in the competition and was published in Expose 7. where I made Bump maps by playing with Desaturate and Levels. I used this workflow with some modifications to texture all of the objects. I like to accentuate di erent shapes and surfaces so I used quite a lot of lights – mainly warmcoloured ones with Area shadows and Inverse Square Fallo applied. The most time-consuming process was tweaking the Luminance channel. ZBrush (2009) with the result.Andrzej Kuziola Artis t I am a self-taught digital artist. I used low-poly meshes to speed up test renderings. Materials and lighting Adding textures and setting the scene 04 I started the texturing process in ZBrush with PolyPaint. instead of the dark arts. After establishing overall colours and painting cavities. I qualified in Dentistry. ZBrush and Photoshop help me to create realms that would otherwise exist only in my mind. which was the theme for a contest. I painted a fleshcoloured map. To illuminate the girl. Bump and Specular Color channels. cuddly teddy bears. which was placed in the Color and Di usion channels of the standard CINEMA 4D material along with modified maps in the Bump and Specular channels. Photoshop. for the demon and one for the background. H2O CINEMA 4D. 05 For the girl. ZBrush (2008) the diabolical Boiler God. It was published in MAXON’s 2010 calendar and you can find it in the gallery on the website www.

I looked to improve the composition and make it more dynamic by rotating and deforming the demon a little and starting to add details to the ground. so I merged him with the ground – with the help of the same custom brush and a series of layer masks. created a more mysterious atmosphere and helped to lead the viewer’s eye through the picture. I overpainted some parts on a separate layer set to Lighten blending mode with Fill at 70%. I posed the characters with ZBrush’s Transpose tools and then added details with SubTools. lollipop and jack-o’-lantern were created with meshes imported from CINEMA 4D. Cloners and Artists’ Oils. Modelling the scene For both characters. so the process was very fast – particularly for the demon. This integrated all of the elements. while the horns. I rapidly reshaped the base meshes with Move and Standard brushes and then detailed it. 75 . I used the Soft Flat Oils brush from the Art Pen Brushes menu. I started to detail the background. This palette is very handy when you are working with Artists’ Oils. I loaded colours sampled from the demon into the Mixer palette and used them extensively. 09 I combined all the strengthen 10 To the e ect and make it even more interesting. cartoon-like characters – correct anatomy and topology were not important for me here. My goal was to create stylised. 11 To clean and brighten the girl’s skin tone. I started from my standard human base mesh created in CINEMA 4D. I also reduced the size of the girl to make the demon look more menacing and composed all his renders with layer masks to create the textured e ect I was looking for. in 12 Back Photoshop. Final form and details were done in ZBrush.788 x 3 ion: . 13 To add more render t rs ime Resolut 2. Finally I added more smoke with the custom brush. I used custom brushes made from photographed sca oldings. When I was happy with the result. I wanted the demon to look like he was emerging from an abyss. I then painted some strands of hair and made final tweaks to the image. I changed some colours from selective to complementary using a Hue/ Saturation adjustment layer with a new layer mask. I exported it to Painter where I overpainted the texture. Clothes and hair were made with the Retopology tool.920 8 hou contrast and rhythm to the illustration. I painted in smoke to frame the demon’s head and make it a focal point. To do this.Character Postproduction painting Creating the colours and smoke renders in Photoshop and loaded Alpha channels into layer masks to separate the characters from the background. I painted in eyes as well (it was much faster for me to do it in 2D).

I carefully balanced the position of the eyes. 76 ● . Photoshop was used for a final composite of the various render layers. 03 To make streams of light work. In this tutorial we will discuss the volumetric lighting for the background. the girl’s make-up has been kept to a minimum. So. this image features a pretty girl inside a church Satoshi Ueda specialises in game graphics and concept art he main tool used to model and build this scene was 3ds Max and it was rendered in the standard mental ray. The most di cult aspect of the image was the rendering time. As the overall theme is one of purity.Step by step: Texture and light a beautiful girl Girl in Church 2010 Aiming to create a sense of tranquillity. nose and mouth to make her as attractive as possible. The hair itself was made from splines so that adjusting the hairstyle was relatively easy. and the materials and textures used for the girl. it took a frighteningly long time to render the hi-res version – two whole days. Even though the image used the standard Hair and Fur options. the idea was to create a sense of innocence. because that’s the main focal point. a dim church setting was chosen for a background. but not overdone them. There was a tendency to go over the top and give her more animestyle features. T Concepts Inspiration behind the scene the figure. I’ve enlarged the eyes as much as possible. The result is a stream of volumetric light positioned behind the girl. The aim of the image was to produce a moviequality scene with a sense of serenity. which just illuminates her face. 01 In terms of modelling 02 I did practice render passes with mental ray and the standard Hair and Fur options in 3ds Max just to see how well they performed. This choice also a ects the lighting because the only source of light comes from the window. The challenge was to create really long hair that fell naturally. but I didn’t want the image to become unreal.

66GHz. lighting 77 .Character Easy-to-follow guides take you from concept to the final render Username: Satoshi Ueda Personal portfolio site Country Japan Hardware used Xeon CPU E5430 2.akatuki. 4GB RAM Expertise Satoshi specialises in game graphics and concept art. as well as writing guides Software used in this piece 3ds Max ZBrush Photoshop After Effects Artist info Satoshi Ueda Texturing.

wandering about a shopping area in the rain. bright point was used on the tone curve to help make everything high key. Because part of the shoulder was hidden with clothing. Japanese company RETAS STUDIO made the animation software that was used for the expression of movement. the total number of individual hairs was reduced. Then in Photoshop. V-Ray (2004) I made this for the cover of my book. Subdermal Layer Scatter colour and Specular textures were all established. Because a lighting sphere was used to light the environment. Even then. 08 The wrinkles and 78 . but that wouldn’t have fit in with the mood of the image. the Soft Screen compositing check was removed. a black material was applied to the body so it would be easy to process. it still took two days! When the rendering was finally done. guided. Textures and materials Creating the skin and clothing textures 04 A biped frame was set to the model and posed – this made it easier to change the composition. RETAS STUDIO (2009) This is one still frame from an independent production animation. the skin uses SSS Fast Skin Material. for which he created the CG-illustrated packaging too. It is a practice model for those needing an image to use in V-Ray for the first time. The photograph of the material collection was tiled using Photoshop and the texture was then created. the drapes in the clothing were modelled inside Max. focusing on the girl’s face. The painting was done using Photoshop. The camera was then arranged. though I was tempted to use the standard material.Satoshi Ueda Artis t Satoshi is a 3D artist from Japan. It would have been easier to create a red dress because it’s so easy to overexpose white fabric. 05 Unwrap UV was 06 The material of Rain Street Photoshop. Satoshi also worked on the art direction and packaging for the XBOX 360 game. A white. The UV was then opened. the Bump. a seam was put there as well. I chose ‘mr prim’. He has worked on making models for the movie Resident Evil: The Umbrella Chronicles and Resident Evil: The Darkside Chronicles. The background was painted using Photoshop. because Exposure Control is being used in the scene. Power was put into the expression and a solemn atmosphere applied generally to the scene. Six kinds of handmade textures were used. The girl in the centre is the heroine. Unscattered Di use colour. the rendering time took far too long. the Arch & Design material of mental ray material was selected. On a test render. Oren-Nayar-Blinn. Overall Di use colour. Showcase Maxbook Girl 3ds Max. so as a compromise. Bullet Witch. 3ds Max Super Technique. After trial and error. Adult woman who is sending up a prayer. Prayer Photoshop (2006) 07 In the Hair rendering options. Hairs were copied and duplicated and the settings finalised. Also. Epidermal Layer Scatter colour. Seams were put in the parts that you can’t see to make it easier when it came to the UV unwrapping. the Only Reflect Environment tab was activated.

This map was also used for reflections when rendering with mental ray. nose. I wanted to base the central focus of the image around the serene girl as much as possible. 09 Three lights were control was used (in Environment and E ects). even the standard Hair/Fur functions can produce impressive results. just right. highlights on the fine facial hair. Photographic 11 mr exposure is set to the backlight. The HDRI map was made using Panorama Exporter. The lighting was created to give a backlit e ect. the girl and background of the image were output and composited in Photoshop. Considerable attention was needed to create the model’s face. If you want to shorten the rendering time. To give your character the most realistic hair at the rendering stage. They provide fill-in lighting. With backlit images. consider using a third-party plug-in. This map was then put on the sphere model. the backlit light was permitted to blow out the highlights to produce a volumetric e ect. render t urs ime Resolutio n: 4. The light and shade of the image were adjusted with the image control. set the Sampling Quality filter in mental ray to the maximum. 12 The volume light Modelling the figure From the start. The light in the back left was made the strongest.0 00 48 ho layers: volume light for the background. individual 13 Four render 79 . though. The two other lights were used to brighten up the foreground of the image. the rendering was done as a Monochrome map file and details tweaked to improve the depth of field. To edit it back in Photoshop. The final adjustments made to the depth of field were output with the lens filter using a ZMAP file. as I concentrated on getting the balance of eyes. as it was too dark otherwise. focusing on the girl. it’s very easy for the foreground to become too dark. with the church window in the background. added with ray-traced shadows using Photometric Light. Even though a couple of front lights were used. it is an image of the backlight. mouth and even the length of the eyelashes.336 x 3. if you’re happy to wait.Character Lighting the girl Creating the ambience of the scene 10 The camera was set up inside the church model. The background was already out of focus because it is distant from the viewer. Volumetric light is an e ective means to producing an airy feeling.

which will consist of a greater amount of polygons). which allows for the overall form of the character to be rapidly created and then refined by several additional passes. 80 ● . the final step can be the most critical. sculpting and UV layout tools essential in speeding up the process. but it’s helpful to have lots of photo references.deviantart. The leg polygons at the bottom should also be roughly square with a smaller gap for the crotch. This will form the basic torso A. where the arm comes out should be roughly square. It should be three polygon rows wide and three rows high. Part two of this guide will focus on creating textures and posing the model in Maya and modo and will finish with lighting and rendering in modo. The arm and leg base polygons should be angled outward between 20-45 degrees B. sculpting How to create a warrior from a distant land with realistically exaggerated forms and brutal weapons. Start with a basic cube wider at the top than the bottom.Creating a savage warrior Warrior 2010 John Hayes is a videogame character artist Part one: Modelling. I will be using modo for much of the tutorial since I find its integrated modelling. A good place to find additional free stock reference images is www. com. though it depends upon a strong base model. suggest the waist and the side vertical cube rows are thinner in the middle b B Angle the top and bottom of the cube to form the shoulder/trapezius and the crotch/buttock 02 Tackle the torso Adjust the side poly of the top row. anatomy and costume detail. Concept art is often only used for the inspirational direction of the character. At the same time. but also sound textures and rendering. The base shape Creating the basic torso a 01 The base shape A The side profile should The character should face along the positive Z with the head in the positive Y direction. Be sure to get a few anatomy photos as they’ll help make the character more convincing. I will add polygons and edge loops for an even quad polygon distribution (except for the face and hands. We will start with the concept and reference image collage to help create the personality. inspired by the style of Frank Frazetta O ften the best looking characters comprise not only good modelling. The middle row should be central to the X axis. Indeed. Each subsequent pass will develop the overall volume and add detail where it is needed. UV layout. Finally I will use ZBrush to create the high-resolution detail model that will be used as a source for rendered textures. The process I will be using is called ‘box modelling’.

ZBru ogame Expertise Vide t character artis 81 . deviantart.deviantart. deviantart.Character The final non-posed modo character model and the final ZBrush ye http://john-ha Country USA Software used sh 3 modo 401.cghub. com/journal/12576734/ For Anatomy Reference Photos: http://mjranum-stock. Stock images used for reference and textures: For the body skin texture: n the 3D artists explai nd techniques behi ork tw ar g in az their am Software used in this piece modo Maya ZBrush Photoshop Artist info John Hayes -Hayes Username: John olio site Personal portf and http://vishstudio.

The character is roughly 15. Using the Loop Slice tool. Golden Axe. 3D texture painting and rendering tools. sculpting. bevel out the arms and legs and scale the end polygons so that they taper. among others. I normally use several di erent 3D software packages in order complete a character. All modelling.048 map sets. Make the wrist and ankle polygons slightly longer along the Z axis. I used this as an opportunity to learn more about the program. Repeat for the hips e. Create a loop slice along the front arm that should flow along the pectorals and finger edges. Maximo. bevel to the bottom of the heel and bevel out to the tips of the toes d.048 x 2. split each limb approximately in half and adjust to form knees. hi-res sculpt created in ZBrush. with the flow going around the back of the leg. For the foot. texture clean-up and rendering. 05 Round out the form 82 . Mudbox. Add more edges around the shoulders so they form polygon loops. add edges at the foot bridge and heel. Sanzaru Games. Add another loop slice along the front leg. c 03 Create the limbs 04 Add in the feet and hands The Crimson Dynamo boss that appears in the Iron Man 2 videogame. adjust the colour values and add highlights. Photoshop was used to clean up the renders. SEGA and Factor 5. developed at SEGA for the PS3 and Xbox 360. UV layout. however since modo o ered all the tools I needed. Photoshop (2009) e Bevel the front polygons to form the face. Normal maps created in Mudbox. Halloween Witch modo. textures and rendering done in modo. textures edited in Photoshop and modo used for UV unwrapping. Final Fight. Working on console games is exciting as I always learn new techniques and skills. XSI (2008) I made this character using modo’s modelling. c Use Loop Slice and Bevel tools to add more poly edges to the silhouettes d Once the bevels are adjusted. Bevel the hand out to the fingertips.000 polygons with three 2. ZBrush. The Twins Maya. elbows and a rounder head shape c. The arms should be made at about 45 degrees and the legs made to run straight down from the hips. as well as the finger joints a ‘cape’ from the bottom of the pectorals and then over the shoulders e The shoulder edges flow like d The Twins boss characters I created for SEGA’s Golden Axe. Bevel out the top two middle polygons for forming the head.Artis t John Hayes I am a videogame character artist working in PlayStation 3 and Xbox 360 development. a complete cockpit interior and swappable armour plates. Crimson Dynamo modo. Ambient Occlusion in XSI. modo. add two loop splits and bevel out a thumb at the side polygon twice. where I have created characters for Iron Man. over the shoulder and across the face. My background includes working at Capcom. Photoshop (2010) Showcase With Symmetry X active. The characters were modelled in Maya. The model has fully articulated weapons and tesla coil system. UV layout.

bevel the edge on each side of the nose h Select a top and bottom and g The ears and nose tip are top edge on each fingertip side and use the Bridge tool to fill in. At the same time. this should give you four vertical poly rows on which to add facial details with four horizontal rows. keep areas that are bony or close to a fold that is sharp and defined i. To add nostrils. so instead I align the work plane to Selection and then use the Action Center set to Automatic. Once the loops are complete. you can add further edges for the smaller details such as nostrils and tear ducts g. bevel the centre two poly edges and the resulting polygons inward to form a poly loop f. The setting I use most often is Local to help me edit several separate elements simultaneously. select only the three edges between each finger polygon row and bevel the edge and delete the thin middle polygon. Sometimes Selection does not meet my needs. Honing the body features 07 Add more facial edge loops Add edge loops around the mouth so they flow under the lip and over the bridge of the nose.Character Body details 06 Define the face structure f Add another loop to the head on either side of the centre line. Although the work plane will align to most selections. 09 Smooth the shape Add several more edge loops to create an even distribution of polygons over the whole body. I get the best results by selecting the vertexes. f Bevelled base edge loop structure for eyes and mouth. For the mouth. Next split the eye horizontally so each eye socket is four quad polygons and the edges help to form the bridge of the nose. do not delete the end triangles h. Then make sure there are two edge loops for each knuckle row and for the bottom of each finger. 83 . add two edges to create four polygon rows. g Action Center Using the Action Center is an important part of modelling in modo. Fill the base between each finger by double-clicking the edge and using the ‘P’ key bumps by bevelling out. I prefer to use the Action Center set to Selection as the axis will often automatically align to an angle for the most accurate edits. When complete. Edge loops in these areas are important for good deformation of joints I Make the knee and elbow i h 08 Model the fingers To quickly create the fingers. Continue to add edges to minimise any angles as seen in the silhouette. Select two where the eyes should be and bevel inward. one for each finger up to where the base of each would be. The side of the head also has a bevel for the ears bevelled out. Bevel the eyes in a few more times and build the edge loops so they form a ‘mask’ that connects both eyes.

The final step is to remove any geometry not seen (eg feet) and to merge all the elements m. is to either duplicate the base geometry and scale it out and modify. including the pectorals. straps. 14 Weapons and small details m n Additional belts and a necklace are added. j Using the sculpting tools beyond Vertex. edit the face 11 Eyes and hair l The feathers are made at the origin from a flat oval shape. then bevelled straight back a few feet.Half the work Make sure to use the Symmetry function as much as possible to cut your workload in half. Always have a centre polygon edge. I also included several smaller buckles and detail shapes to the belt. first by duplicating a polygon loop from the area. This is a chance for you to get creative n. Edge and Face Selection really helps to create organic forms geometry to make sure the eye spheres look natural with their poles near the centre of each opening j k Once in place. armband spikes and a round belt buckle are added to the model. Finally the edges at the bottom. Necklace claws. m The Slice tool is used to cut k 12 Create the headdress n The shield is made from a The bird skull originates from a cube. boots. Next two lower front faces are bevelled out for the beak. with 35 instances as positions out the back the boot where straps would be on the wrapped leather. rounded muscles and narrow joints. Detail is added afterwards The eyes are spheres. The length is then loop split so that the polygons do not become long rectangles k. which have been flattened slightly. giving the body a nice taper. that’s subdivided once. Adding costume details The Frazetta style 10 Exaggerate the muscles The Frazetta-like design influence I am attempting has exaggerated shoulders. The edges are bevelled for thickness and finally the leather in between is bevelled out to folds sphere end pole and a few poly rows. editing and finally using Thicken Polygon to create some volume. etc. If you find that it is not working properly. with their poles along the Z axis. the bevelled faces shaped into a circle. or just build an edge that defines the details. then the side face bevelled inward for the eye sockets. Adding crude costume detail and brutal weapons helps to complete the look j. The back latissimus and trapezius are large too. you can either delete half and use Duplicate/Mirror or use the Geometry/Symmetry tool to get it working again. l 13 Fitted details The quickest way to add details such as belts. 84 . with two segments on the X axis. A ponytail is a short bevel from the back of the head. The deltoid muscle is larger than others. beak base and eyeholes are slightly bevelled before being subdivided again and finer details applied l.

The purpose of the pass is to sharpen detail as well as cleaning up the edge geometry that might have clashing polygons or weird polygonal shapes. o The body geometry under the belts. s 19 Pack the UVs After all the UVs are unwrapped. trophies and. UVs are placed from largest to smallest and evenly flat UVs are placed next to each other. each part is subdivided. After defining the edges. SDS Subdivide is used o. there needs to be an exaggeration in the muscles that includes large shoulders. All the metal items such as weapons and buckles are left smooth p. followed by the UV Relax tool set to Adaptive the Action Center set to Local. only the main source feather needs to be unwrapped q. objects that reuse the same UV space are hidden. The UVs are then re-packed onto a map to use the pixel space more e ciently r. belts and ropes are all ‘peeled’ and then their UVs made flat along the U and/or V axis. I keep some space between each shell to account for any pixel bleed s. a fearsome mask. a simple chequer texture is applied and I run Pack UVs. such as weapons. some equipment pouches. Additionally a costume should have several layers of detail. leather belts and boots. An extra row is added to the spike and claw tips to keep them sharp. The edge for UV borders is placed in the least visible area (usually at the back or other hidden spots).Character Preparing for UV mapping Mesh subdivision and UV layout 15 Break down the details p Edges are bevelled on the cu and belt. such as the cu and loincloth leg seam. belts. Good polygon placement and edge loops help when adding finer details. The subdivision method Smooth with default settings is used on the body to keep the muscle planes relatively defined. 85 . I add muscle and detail definition. cu s and boots is removed and the open edges merged use the Tangent Pinch tool to define the muscle set to Group Normal. Next. finally. The body geometry is then broken up into separate sections for unwrapping at the joins of di erent materials or sections. o Frazetta finish To create a Frazetta-style warrior. The arm cu s. Since the feathers are all instances. I q I use the Unwrap tool mostly r Scale the UVs evenly with s The focal areas of the head and hand UV shells are scaled up slightly to give them a better pixel ratio 17 Use UV Unwrap r To get clean UVs. tube-like objects I prefer to use the UV Peeler. During the process to create this warrior. hands and feet. sculpting and posing and will speed up the process. any existing UV map textures are deleted. Axis Auto p After using the Inflate tool. it was important to make sure the early stages of the model were well constructed and clean since all the other steps are built upon them. For the other parts. 18 UV Peeler q For long. clean-up 16 Sculpting and Using modo’s mesh sculpting tools. as well as the various costume details. as well as wrinkles and folds on the loincloth.

faster. The last step is usually defining the fingertips x. keeping the stroke edges and bump that lend to an overall fleshy feel. Generally it’s good practice to get the knuckles looking correct and then the area around the thumb base. The model is saved as an OBJ and imported into ZBrush. Alpha is great for hiding parts I’m not working on and helps to speed up my workflow. so I start with defining the major joints on the fingers and the tendons on the back of the hand. I also organise the SubTool list with names and objects sorted according to their position in space. Work from the main joints out to the fingertips u Using the Slash3 brush in x Hands can be tricky to get reverse helps to add raised details to the flesh the muscle shape and flow v Using the Move tool. Before any sculpting. give them Morph targets and ensure any open edges are creased.Sculpting in ZBrush Creating a ‘ripped’ body 20 ZBrush setup For export into ZBrush. more subtle features. combined into one mesh layer and its UVs are in 0-1 space. Using the Slash3 brush set to an intensity of about -30. so details and flaws are visible 24 Hands w After overall sculpting I find using Alpha masks a very quick method for adding in wrinkles and folds right. I like to use the Slash2 and Slash1 brushes to add finer details and bumps u. Keeping the brush stroke defined helps to provide the ‘muscle fibre’ look v. top to bottom t. do an overall first pass over the body. Lastly I work in the ear detail to complete the head w. When the first pass is done. bumps and fibres to build upon. v t I prefer to sculpt using the MatCap Gray material for its wide specular range and the fact it’s not translucent. then move on to the mouth. I start by tracing out the edges and creases for muscles and tendons. etc. u 21 Overall body patterns t 22 Sculpt muscles Using the Standard brush with Z Intensity set to 10 and Focal Shift to -100. I try to get the eye area correct. Top tips To get much better results. 86 . I adjust x Hands tend to be somewhat bony. I like to map out the muscle patterns. I organise the parts into separate SubTools. I use the Alpha palette and masks as I work. as well as improve general application responsiveness as I add subdivision layers to the SubTool. I only use the Smooth brush to even out the surface. w 23 Head detail For face detailing I like to have some photo references handy to help with the smaller. Pushing and moving the shape together helps to get a good flow in the model’s form. I find that using masks helps me to quickly add folds and overlapping detail just as in real sculpting. all parts are centred on the Z axis.

I add a slightly cracked leathery surface aa. I do an overall pass on the headdress to rough out the shapes. I first mask o the hair tie-downs and then use the Standard brush with Alpha 54 and brush along the length. I use Alpha 54 to quickly brush in ridges and recesses z. so using the Spray stroke with a Standard brush. aa 27 Leather and For most wrinkles. I add a Bump texture to recessed areas and keep raised areas more smooth. After. 28 Shield and weapons For the weapons. bb I made a mask using and battle damage cc Draw simple scrollwork bb 87 . y Sculpt the feathers using Alpha 54 for a subtle bump and then use the Slash brush to break up the edges quickly incorporate cracks and knit marks to break up the leather to simulate patches Alpha 58. I mask o any non-metal areas and work from large to small bb. I invert the selection and use the Move brush to tuck in and tidy the edges cc. When complete. I need to make the surface look like metal or wood. Lastly. Since all the feathers will use the same UVs and textures.Character Detailing the costume Adding surface properties and clutter z y 26 Headdress 25 Hair and feathers For the ponytail. boot detailing Halfway there With the first part done. beaten iron. to add a more fibrous look to the bone. invert and then inflate z I use the Slash brush to cc aa The Slash2 brush is used 29 Final details: war wounds. As with the body. To add smaller details such as extra bits of wrapping. I like to use Alpha 54 with the Standard brush. weathering Using the Slash1 brush. the next step is to show how to use the hi-res model to render out Normal and AO maps to use as a base for Di use and Specular textures. The skull should look old and worn. I start to add bonelike details. The first pass is to create the major wrinkles and the other passes are very light to smooth and blend. I invert the mask and inflate the tie-downs. Next. I’ll import the model into Maya for some quick rigging and posing and back into modo for tweaks and final scene setup. so I use the tortoiseshell-like Alpha 25 with the Brush Tip set to DragRect. To create a beaten look. The feathers are treated in much the same way. using Alpha 59 with the Brush Tip set to DragRect. When complete. I’ll use the textures combined with advanced shaders to render out the image in a dramatic environment to complete this magnificent warrior. inverted it and brushed over to create a wooden plank e ect onto the surface. For wood I use Alpha 58 to help create the wooden grain and planks. I add several scars and cuts to the body and the equipment. I mask o the desired location. invert and use the Brush tool with Alpha 45 to quickly add depth. we only need to sculpt one and duplicate y. The metal needs to feel like crude. Finally.

For further images. in ZBrush a 02 Render AO I re-export the Level 1 geometry and use Decimation Master to export the hi-res geometry into modo. we will need to create surfaces that look like worn metal. deviantart. com For anatomy reference photos: http://mjranum-stock. with Occlusion Rays raised to 300. in an unforgiving environment similar to warriors found in Frank Frazetta paintings.Part two: Texturing. The render resolution is set to 4. before being used to help create several Di use.deviantart. Continuing with the models created in part one.096 and Render Output set to Ambient Occlusion. To help complete the savage warrior. The hi-res and lo-res geometry parts are matched up into nonoverlapping sets. deviantart. rendering O ften the best looking images are more than just rigid. hard muscle and weathered bone. Since the hi-res sculpt has the same UV set as the modo file. we will give him an aggressive pose. luxology.192 and each SubTool is subdivided enough to smoothly capture Background images: www. posed and rendered in their own environment that helps to suggest a mood or story. The UV Map Size is set to 8. All the necessary files for this part of the tutorial provided on the CD are listed here so you know what you need to be working with as you progress. ambient rendered models or grey ZBrush sculpts – they are fully http://vishstudio. Then to bring him to life. before creating images A. Next the model will be roughly posed in Maya before lastly importing into modo for composition of the scene. I save Cavity masks and PolyPaint maps for each part to help add more refined texture detail when recreating them later in Photoshop. com Environmental details: www.deviantart. The final modo render scene. All lo-res geo is enclosed in a quad ball cage with a small ground plane with no UVs Rendering maps Creating maps from the hi-res model 01 Cavity maps I begin by rendering out as many detail and e ect maps as possible. posing. see below Stock images used for reference and textures: For the body skin texture: http://senshistock. and Surface Shader e ect maps. The rendered maps will then be assembled and cleaned up in Photoshop and modo’s 3D Paint. maps in modo Software used in this piece modo Maya ZBrush Photoshop A I used PolyPaint with Cavity masks and RGB set to 10 to evenly create a series of maps of the surface detail B A shade sphere created by bevelling all the edges and deleting in-between faces b 88 ● . shader setup and rendering the final image. I will use the hi-res model in both ZBrush and modo as a source to render and transfer highly detailed texture bases and masks to the lower-res modo model. Specular.096 x 4.

Character 89 .

hi-res sculpt created in ZBrush. Since GoZ really speeds up my workflow. texture cleanup and rendering. basically Iron Man is about the same size as two of the eyes. Mudbox (2008) c d 04 Projecting photos in modo A close-up of a major boss in the Iron Man 2 videogame. C I make sure that there are no overlapping UVs as they may cause Normal map rendering errors e 05 Map assembly and clean-up All the rendered set maps for AO. Golden Axe: Beast Rider released on the Sony PlayStation 3 and Microsoft Xbox 360. modo. I then used GoZ to transfer mesh edits and updates between modo and ZBrush for the hi-res model. The character is roughly 15.048 map sets. Photoshop (2010) A ‘Boar’ 101st Airborne Soldier. D Check that Symmetry is set to X when projecting images onto the geometry E Use modo’s Paint with Clone Stamp or a brush set to Procedural to clean up 90 . XSI.000 polygons with three 2. Duplicate Normal maps are rendered out at di erent distances to help patch out errors caused by surfaces crashing into themselves C. textures edited in Photoshop and modo used for UV unwrapping. created using ZBrush GoZ and modo 401. Photoshop. with many small structures. as clean-up on a 3D surface is not possible with Normal maps E. War Boar ZBrush GoZ. The base model and details with UVs were created in modo. the character is about 600 feet tall and is comparable to a full and animated level.048 x 2.096 blank texture with E ect set to Normal. Ambient Occlusion in XSI. Maya. This surface of the model is supposed to look massive. This will be used to add minor skin details and help add subtle skin colour variation to the final Di use. Normal maps created in Mudbox. weapons and details. In game. 03 Render Normal maps in modo Tarik the Axe Battler created for the SEGA videogame.096 x 4. modo (2010) To help the skin look more convincing I use modo’s Paint set to Image Ink to apply parts of highresolution stock photos of models to create a colour skin texture. Subsurface and Specular maps D. I decided to create only a test bust before I proceeded with a full character model. Axe Battler ZBrush. The character was modelled in Maya. Normal.Artis t Showcase All lo-res geo has a TextureRender material applied with Smoothing Angle set to 180 as well as a 4. ZBrush Cavity and Photo Color are assembled in Photoshop. The hi-res geo also has its own shader set to 180 to get an even surface. and then exported to ZBrush for detailing. Any rendering errors in Normal maps are patched with new rendered maps. and then the combined images for Color and Ambient Occlusion are reimported back into modo for UV seam and rendering error clean-up. Ultimo Bust modo.

91 . while metal is lighter and has a very high contrast areas reveal them 08 Creating specular G Using modo’s 3D Paint I add colour details I Black areas mask material e ects. leather. The overall shading is adjusted for each material type. wood and bone in modo. f g 07 Adding colour The Ambient Occlusion is used with the Alpha map variations to add to flat base colours for the Di use map. while wood and cloth are darker with high contrast H. while white such as war paint. with some shaded parts around the eyes. mouth. Working dark to light. dark grey for metal. F I use Alpha maps as a mask to quickly add in highlights and shading to the Ambient Occlusion map H Skin and leather are low in contrast. metal. I quickly build black-and-white masks in Photoshop. flesh is closer to 50% in Hue with low contrast. Each flat colour is a new layer: tan for skin. Each mask will block out one type of material. and so on.Character Texture creation 06 Detailing Ambient Occlusion Making textures in Photoshop and modo Using Photoshop. I load alpha selections to add shaded detail using separate layers for each pass. I also create Alpha channels with copies of the AO. I combine the ZBrush PolyPaint and rendered Cavity maps as well as the desaturated Photo Color map to add more details to the rendered AO map. brown for wood. I will use the Photoshop Unsharp mask and High Pass filter to add more variations of Alpha channels to help emphasise detail areas F. adjusted lighter or darker to provide masks for additional detail. I then import each into modo for edge clean-up and detailing I. metal is lighter with high contrast. then import the flattened map into modo for further detail work G. fine detail decoration and scars/battle damage etc I use a copy of the un-flattened Di use map as the basis for the Specular map. h i 09 Making material masks To apply di erent materials such as skin. hands and underarms inverted to increase spec in those areas.

To add dark blue to the shadows. I like to have a reasonably finalised version of the lighting as well as a simple light setup with only Ambient Occlusion and the default light set to Sunlight. then import an HDRI image into the environment to serve as the primary light. I import and modify vines ‘grown’ in a freeware application called An Ivy Generator (see http://graphics. I start to replace the background proxy objects. m 13 Set atmosphere Using preset materials included with modo. Sandstone to the pillars and l. When setting up shaders. much like layers in Photoshop. with its lower view angle and stark backdrop. All the elements are at angles to keep everything dynamic k. I start with simple polygon shapes as proxies to help position and pose a copy of the body mesh from Part one. I then use a low camera angle and the Deform/Flex tool to block out a pose that feels aggressive and dynamic j. a blue Rim light at the back and an Area light to emphasise and fill in the top half of the body n. uni-konstanz. to make sure the shaders look accurate. plus Wrought Steel to the weapons. it works particularly well with metallic reflections m. I apply a Skin material to the body. turn on Global Illumination. I switch o all lights. I add a few lights to add colour and pick out form.Scene composition Laying out the scene 10 Camera angle and pose Frank Frazetta’s painting Death Dealer V provided inspiration for mood and composition. j k 11 Create flow I use background props to help frame the character and add to the mood and atmosphere. The rocky base and columns have detail added with piles of rocks and clumps of grass. then I turn to lighting. j A strong. as well as support the model’s pose. Shader e ects The shader networks in modo work from bottom to top. Lastly. By using layer masks it is easy to combine di erent software shader e ects on top of one another. n 14 Let there be light! With the HDRI image set up. dynamic pose helps to lend life and purpose to the character are adjusted to best fit the pose and composition k The props and camera angle l l Creating ivy vines in An Ivy Generator on the imported pillar base 12 Add the props m Shapes in modo with several preset materials that help to quickly establish surfaces to illuminate the model n Area lights are just enough With the basic composition established. I insert a low-angle Directional light that casts no shadow. Each of the elements is placed to help lead the eye to the main point of focus. 92 .

greens and reds. blues. I adjust the deformation at joints and hips. In the Orthographic top view I create arms and join them at the shoulder scapula. and I find that when deforming or posing geometry in modo. 93 . then add IK Weights tool to fix blending model to make it a bit more dramatic The unposed warrior mesh and the posed one are reimported into modo. r p Using the Paint Skin 19 Tweaking q Shifting the weight of the r The vertex deform data is transferred to the active Morph map s Using the Flex and Sculpt tools. o I make sure the arm and leg joints have a bend going into positive Z. I start to pose the model. Next I quickly add the spine joint in the Orthographic side view up to the neck and head. I place the geo into its own layer and set it to Template. all the textures use saturated colour rather then blacks and whites for tone and hue. I used a saturated copy of the main Di use texture applied to Subsurface Color in the shader to bring out the skin’s tans. I adjust the final pose and deformations s The posing in Maya was rough and joint bends could look better. The position of the joints should be close to the centre of the mass they’re located in o. carefully checking from all angles. p Top tip Frank Frazetta’s paintings have lots of action and colour. Action shots require a dynamic pose. For the skin. I detach the skin. With the Morph map active. I will also slightly ‘bulge out’ muscle. ensure the Morph map is active R.Character An aggressive pose Posing the warrior 15 Joint setup o Bringing the warrior into Maya. 18 Morph setup 17 Posing With the base object imported in for reference. position the weapons and add a bit of variation to the costume feathers for a ru ed look s. I place the posed version in a background layer and create a Morph map for the unposed mesh and use Vertex Map/Transfer to apply the deformation of the background mesh onto the morph of the active mesh. testing the deformation by bending the joints p. and make sure Bake History is active. then export both the posed and unposed mesh of the warrior as OBJ files q. it’s helpful to use Morph maps to retain the original shape for additional editing or to try other poses. and adjust the weights slightly. When posing. I make joints for the legs and join them to the hip. q 16 Skinning I use Bind skin with Max influences set to 1 so I can easily find any vertexes that don’t belong and fix appropriately. but mostly from the composition’s low camera angle. Next I use the Paint Skin Weights tools to quickly blend between joints. For a painterly look. With the pose complete.

so the HDRI image needed to have a black base where I introduced lights to add coloured shadows. Subsurface Color and Subsurface Amount textures. The Specular map is also used for Roughness and Reflection amount with the high and low values to create a high. with Global Illumination active. Gold. After a few adjustments. Metal. Specular and Normal maps and use them to drive other e ects as well. When applied. I adjust the high and low values and opacity of each layer if needed to get the rugged and colourful Frazetta look I am aiming for.Creating the surfaces Setting up advanced surface shaders 20 Add textures I begin by adding modo’s preset materials to the character and separate each of them with a material group mask. Finally I use a ramp set to Incident angle to get the slight ‘peach-fuzz’ look to the edges v. Specular. Finally to add a bit more shading. I add the Di use. w 22 Leather Leather is similar to the skin with a more matt finish to the surface and without Subsurface Scattering. well-lit model. The bone has some Subsurface Scattering with the e ect being much more desaturated than the skin. v Use HDRI for lighting A good way to get convincing lighting is to illuminate the model with an HDRI image. 23 Worn metal 24 Wood and bone textures t The group mask image is placed at the top of each group w Gold/Bronze metal is added over the top of the base metal for more variation control Subsurface Scattering colour u A layer mask is applied to the base shader to mask out Subsurface Scattering for the hair and body paint ramp to add a slight fuzzy look to the leather edges x Using the Di use settings to v Creating an Incident angle x The bone and wood needed to look aged. Using the modo preset for Cast Steel as a base. 94 . The Di use map is used to control Specular Color w. I turn o the visibility of any shader e ects for each material and make sure they are all set to 180 degrees Smoothing t. similar to an old copper coin. as it needs to look hard and jagged x. followed by Leather. an Ambient Occlusion map is put in the top layer at 50% Opacity with blending mode set to Multiply u. making it somewhat grey. the result will provide an even. I wanted the metal to look very worn. I layer the shaders in order of inside to outside. For this scene I wanted to add more colour and drama. and Di use set to Specular Color and adjust their values to get twice as much contrast. The wood is not very glossy and has a more solid di use colour. In order: Skin is first. To help emphasise a worn-out look I add the maps for Ambient Occlusion set to Roughness. Normal. almost black-and-white contrast. Wood and Bone. major to minor. u 21 The Skin shader t The skin surface is made up of the modo Skin shader preset with Di use.

I check lights have a Spread angle of 10%. Di use Coe cient. leaves and other details. The model started as a box. I overlay the Di use Coe cient pass to balance and fix blown-out colour. weapons and arms. 95 . I include outputs for Final Color. y 25 Quick adjustments It’s now time to make final adjustments to the lights.Character Finishing touches Adjusting the light and rendering 26 Tweaking light and shade A couple of additional Directional lights are added to illuminate the silhouette of the character and some parts of the background. clean textures and the use of various surface materials helped to bring this magnificent warrior inspired by Frank Frazetta’s work to life. z Highly detailed AO and masks When creating the warrior. I also tweak light and colour saturation to help emphasise the focal points. Alpha. cc cc Finally some minor light bb 29 Post-processing and balance 28 Clean-up and colour balance I import all the rendered output into one PSD file. With the final lighting in place I do another quick pass on the shaders for any elements that are not working well with the light. The lighting started from one source and was tweaked before any surfaces were made. The first thing to do is clean up any rough rendering artefacts or edges.1 for Refinement Shading Rate and 1% for Refinement Threshold. y Toggling the shaders on and o really helps to speed up lighting adjustments aa 27 Render settings z A Directional light is used to add more depth to the rocks and pillars matched up with the Depth output settings before adjustments and colour balance glow and rim light e ects are added aa The camera depth is bb The final render I change the default render setting to 0. to speed up the renders. and a good silhouette shape was formed and posed. I then adjust the colour balance and hues to bring the foreground and background elements together bb. I also change the contrast of the surface shading by adjusting the opacity of the top layer AO maps and setting to Multiply z. while AO and Depth are used for shading tweaks and to bring out outline details cc. AO and Depth aa. leaving Depth Blur and Bloom to post. I also add a couple of small Point lights to fill in areas of shadow. At this stage. I also use the proxy geometry for background elements to help speed up the renders in the Preview window y. A good silhouette. Next all images are separated from the black background and images of a stormy backdrop and a moon from deviantART are added. The scene composition was roughed out with primitive proxy shapes before adding rocks. it was important to start simple and make sure each stage was well thought out and carefully built. I use the various other render outputs as either overlays or Alpha masks to adjust the lighting and surface detail. I hide everything except the main areas of focus such as the head. To help in Photoshop.

it was a very heavy file! Artist info Hodong La om Website www.c Country South Korea . I rendered all elements to start and then made separate passes for Specular. I used the Lens Blur filter in Photoshop. message. Colour. Working with an image of 6. For the Z-Depth layer. mood and colour.I believe composition is very important.hodings. When establishing the composition. Photoshop. where I also made use of the Color Balance tool and corrected the overall contrast. Diffuse.000 pixels. I spend most of the time looking for the right feeling Using mental ray. Ambient Occlusion and ZDepth. but my work doesn’t employ a difficult technique: I focus on story. Software used 3ds Max mental ray Incredible 3D artists take k us behind their artwor 96 .

rth Ea t ne a sick pla to find a way to heal co dis vers g his expedition.Character Software used in this piece mental ray 3ds Max Photoshop mission is s name is Roy and his This giant humanoid’ ring an plo Ex . capturing a ph a blue life form on Ma . it to keep as a record Discovery 2010 97 . he unknown world. durin graph of oto rs.

Eli and Ardent. who ride the skies on their flying turtle. you might think it’s time to get modelling! But not just yet. com. I contacted Stoph shortly after. b Concept 3ds Max ZBrush Photoshop a 01 The concept art c A Stoph’s original concept art B A reference image from iStockphoto C A quick paintover to gather my thoughts One of the most important parts of starting any model is to take a step back and gather enough reference to help inform your decisions as an artist. I hope you can use these steps to create your own concept characters. as well as final integration and tweaks using Photoshop. Spending an hour to plan your approach can save you days of unnecessary work later on. Christopher ‘Stoph’ Green. identifying potential problems. as well as reference of other artistic interpretations of sea turtles like the ones done by Pixar for Finding – looking for good concepts to work from since I’m not much of a 2D artist myself. and he was more than happy to have me take a crack at it. For this project. For the boys I gathered reference of exaggerated children’s facial expressions. I immediately fell in love with this concept and knew I wanted to try re-creating it in 3D.cggallery. and thinking of ways to be e cient. and for the hand poses. I gathered as many sea turtle references as I could get my hands on.Making of The Sky Fishermen The Sky Fishermen 2008 Akin Bilgic is a CG/VFX artist n this tutorial. and I’ll do my best to answer any questions. I invite you to contact me through my website www. For this project. I gathered both real pictures. pictures of my own hands. 02 Gather reference 03 Plan your approach So now that you’ve got your reference. asked for his permission. hunting a menacing species of flying squid that terrorises their skies. Artoise. I can’t express how much time you can save from the whole process if you just spend a bit of time planning your approach. Topics covered will include translating from 2D concept art. 98 . Having the right reference is key to achieving good results. If you have any further questions after reading this making-of. poly modelling in 3ds Max. conceptart. The creation of The Sky Fishermen was a big challenge in my development as a CG artist. we’ll take an in-depth look at the character modelling workflow which I used to create The Sky Fishermen. I saw that I had two children that (aside from a few pieces of clothing) could be made from the same base model – and the front and back flippers of the turtle are very similar so I could probably use an alpha to get them detailed quickly. Enjoy! The Sky Fishermen is a stylistic character model inspired by an evocative piece of concept art by Christopher ‘Stoph’ Green Software used in this piece I Ideas and reference The idea for The Sky Fishermen came from the work of the amazing concept artist. digital sculpting in ZBrush. and I’ll attempt to distil the successes and errors of the process so you can learn from my mistakes and apply the successful techniques to your work. I stumbled upon his art one day while browsing www. The underlying concept for The Sky Fishermen is a story about two boys.

stophdraws. To be honest. Pho toshop Expertise Akin specia lises in character modelling and e ects.Character Modelling 3D artists explai n th techniques behi e nd their amazing ar twork Personal portfolio site www. ZBrush. I was honoured with Akin’s request to realise my concept in 3D and his faithful treatment of the characters is a true credit to his skill. including ligh visual ting / compositing for film Name Christopher ‘Stoph’ Green Website Country Australia Project title The Sky Fishermen Software Photoshop CS2 About the concept image This was an entry for a character design challenge back in 2005.cggallery. After being given the title ‘Sky Fishermen’.com Country USA Software used 3ds Max. Artist info Akin Bilgic 99 . I somehow ended up with this quirky result. creating the concept was quite simple in comparison to replicating its success. popularity and longevity – even to this day – in the rest of my work.

I took a screenshot of the low-poly flipper base mesh in ZBrush. and Clay Tubes to create the lined ridge texture on the top of the scutes. using the Standard brush with Lazy Mouse to define the large scute edges. as I find its native poly modelling tools are a very powerful and quick way to create a clean base mesh for use in ZBrush. having realistic details helps to ground a concept and sell the characters’ believability. it was time to take it into ZBrush to really start bringing the turtle to life. The same technique was used for the head and neck areas. 3ds Max’s poly tools are ideal for creating the precise. Once I was reasonably happy with the painted pattern. 100 . hard-surface shapes needed for the props. I made extensive use of renderable splines for creating ropes and trim to give additional detail to objects like the saddle and golf bag that holds the harpoons.Once we have our reference and approach – it’s time to model! 04 Model the turtle base mesh I began the modelling process in 3ds Max. D Start the modelling 05 Sculpt the turtle Once I had the base mesh ready. I stayed in 3ds Max to model the high-res props that would be attached to the turtle’s body. saddle and 06 Turtle Alpha map creation F For the flippers and neck. The reason for this was so I could use photo references to quickly find a way to create the intricate pattern I wanted. I approached the sculpting a little differently. Even though the concept is strictly fantasy-based. Most of the sculpting was done by hand at this point. I like to keep my base meshes fairly low-poly and loose – just enough to give me an idea of the overall form and proportions. The turtle base mesh was constructed from basic geometry using a spherical cube for the shell and extruded cubes for the fins and neck. G 07 Model the props For the props. I also used the lines as a guide to build up bigger folds and creases as the appendages merged into the shell. and used it as a guide to hand-paint a black-and-white Alpha map. boosting realism. D Starting to add some surface detail to the turtle. I constantly referred to the concept art as a guide and made sure the base mesh would have just enough to work with once I took it into ZBrush for higher level detailing. took that into Photoshop. I went back and added smaller details and irregularities so it didn’t look too flat or uniform. Take your time and experiment E Simplicity is the key here – add just enough form to block in loose proportions other prop models created in 3ds Max E f Using the alpha on the right to lay down detail in a controlled and even way G The goggles. I began with the turtle’s shell – heavily relying on reference images of sea turtles. Once the pattern was down on the flippers. I took the image into ZBrush and used it as an Alpha map with the drag-rectangle stroke to lay the pattern down onto the higher-res mesh. I felt having the props on the turtle’s body early would give me some additional features to help judge proportions – and would especially help when it came to integrating the children.

I sculpted as much detail as I could with the character in its symmetrical T-pose. one of the base meshes was made and the other duplicated Once the single base mesh with the two unique sets of clothing and props were ready. I didn’t start from scratch. but clothes and expressions di er J The kids sculpted. Once the props were positioned. I knew the kids needed to look and feel real in order for the audience to connect with them. but to be honest. before duplicating the mesh into two unique copies with their respective clothing and props. I took my generic human base mesh and altered the proportions to better fit the look of the boys in the concept art.Character 08 Prop integration H To integrate the modelled props with the turtle. the turtle was mostly finished and it was time to move on to modelling the kids – Eli and Ardent. Then. The same base mesh with a new set of clothing and props made them look like two di erent characters. hard work and tons of reference. H The props lined up against the turtle proxy mesh I The base mesh is the same. I’m not going too in-depth about the sculpting process here. I took them into ZBrush and began sculpting the higher-res body. taking note that the only di erences between the two kids were their shirts. I moved the props into place – not worrying too much about an exact fit. This way I would only have to sculpt the high-res anatomy once – saving me countless hours. since I already had a generic human base mesh that I had modelled from a previous project. I then modelled the clothing and prop base meshes. I brought in the lowest subdivision level of the sculpted turtle into 3ds Max. It helps save time and energy to keep a library of generic objects that you’ve made over time – no need to redo work you’ve already done! Also I used the same base model for both Eli and Ardent J I 10 Sculpt the kids 09 Model the kids base mesh I began modelling the children in 3ds Max. using the standard Transform tools. I decided that since Eli and Ardent had very similar anatomy and proportions. shoes and headgear. It helps save time and energy to keep a library of generic objects that you’ve made over time – no need to redo work you’ve already done! Also in the interest of saving time. Pinch and Inflate brushes. Next I exported the props into ZBrush and made the final alignment with Transpose tools and heavily-blurred masking to ‘bend’ solid parts like the pipes that hold the golf bag onto the shell. I collected images from various sources across the internet and took pictures of myself to use as a guide. Standard. 101 . that I could use the same base model for both of them. taking advantage of ZBrush’s Symmetry stroke to again save time and e ort. The idea was to get the high-res body sculpt as close to finished as possible. there really is no secret trick to this phase – 90 per cent of the workload is being done with the Move. It just takes a lot of time. I relied heavily on anatomy reference when sculpting the body. Using Max’s basic tools like Soft Selection.

CA. Once the high-res body sculpt was ready. I decided they were probably jeans. For example. A good way to clearly analyse your characters’ silhouettes in ZBrush is to switch the shader to Flat Color. For Ardent’s shirt. It helps to give a lot of thought to the specific material of the clothing. Again I heavily rely on ZBrush’s Flat Color shader to check my silhouette and make sure everything reads clearly and isn’t visually confusing. 12 Sculpt the clothing M Time Trap 3ds Max. The pose is a very important aspect of a sculpt – it says a lot about the character – so I wanted to make sure they were just right before moving on to other parts. I fell in love with his concepts and asked if I could try modelling some of them. less frequent wrinkles. M Integrating the kids with the turtle and the props – making sure everything works together 13 Final integration 102 .org). for Eli’s trousers. This phase is mostly about tweaking proportions and making sure the scale of details match between all the elements. Rockstar Self Caricature 3ds Max. I used ZBrush’s Transpose Master toolset to put the boys in their respective poses. I’ve been drawn to CG and VFX ever since I was a kid. as their eyes are covered by a helmet and goggles. Showcase K L Leftovers Lounge 3ds Max. lots of time. instead of the sum of many smaller parts. This project was only the second time I’d attempted to sculpt realistic clothing. It’s important that you sculpt clothing after the posing phase. I came across his work one day and. which are fairly heavy and have larger. ZBrush. The facial expressions were also finalised during this phase – mostly by using masking and the Move brush to change their mouth shapes. Photoshop (2010) A collaboration with my friend Guillermo Martinez (http:// billybobmartinez. Again. trousers and gloves were sculpted in ZBrush. Since then. it was time to sculpt the high-res clothing and accessories. Things to look for when posing your character are silhouettes. and how you can convey that person’s personality through their posture. K Ardent posed over the proxy turtle shell L Consider clothing material dynamics to get realistic results 11 Pose the kids After the poses were complete.blogspot.cgsociety. Photoshop (2006) Up to this point. because the pose will greatly a ect how clothes fold and wrinkle. conveying weight and for a graphic novel anthology. Brazil r/s. mostly inspired by films like Jurassic Park and games like Myst. Now it’s time to bring them all together and start looking at the model as a whole. I decided to create myself as a 3D caricature back when I was 19. the opposite: a thin cotton T-shirt material with lots of creases being a ected by everything from the belt around his waist to the wind. Guillermo came up with the concept and I modelled the characters. hard work and references led to the final result. so it took a bit of trial and error to get a result I felt was believable. as that tends to dictate how the folds and wrinkles occur. the goal has been to create the visuals for tomorrow’s great films. readability from a distance. ZBrush. while softer objects like the shirts. Photoshop (2009) A collaboration with Lior Arditi (http://lioration. The image was made using 3ds Max and the Brazil rendering system. Hard-surface objects like the shoes were modelled in 3ds Max. the kids and the turtle have been kept in separate files for the sake of viewport interaction and cutting down on saved file size. like The Sky Fishermen.Artis t Akin Bilgic I’m a modeller/VFX artist currently freelancing and living in San Francisco.

I enhanced it by giving it a soft gradient background to simulate a lighting stage and added a bit of specular bloom to really make it pop. Be sure to check out the rest of the company’s work at www. I would render the model with di erent MatCaps.Character Finalise the model 14 Final polish With the kids and turtle finished and in place. I got an interesting look that showed o the details by mixing a Clay and Copper render. please feel free to contact me through my website (www. slightly altered poses and cleaned up any areas I might have overlooked. I tweaked proportions. if you have any further questions about this tutorial or any of my work. I decided to explore ZBrush’s material capture system to create the final renders and composite them in Photoshop.600 er t P 15 Lighting/rendering/compositing To showcase the finished model. I gave the entire model one final polish pass. This phase was really just a lot of experimentation and trial and error. Once again. At this stage it’s no longer about the model looking like the concept art – it’s about the model feeling and conveying the mood of the concept art – even if that means making alterations that deviate from the original bring them into Photoshop and layer them atop one another with di erent blending modes to see if any interesting results occurred. and thank 3D Artist magazine for allowing me to share my work with you. and arched Eli’s head and posture back so it would read better in 3D space.o and I’ll try my best to help out. Q After the 3D model was complete. O N Almost there. Final thoughts And there you have it! I’d like to thank you for reading. The studio’s work is truly amazing and it’s been awesome to be able to see and touch something I created solely on the computer. cggallery.000 x 3 n: . I pushed Ardent’s pose a little further to really sell the mid-throw moment. I had the great pleasure of having the fantastic O oad Studios o er to create an 18-inch tall physical 3D print of the model. the modelling was finished. Once it had passed this phase. O oad’s team took care of everything for me – making sure my source files worked with its printing technology and even baking an Ambient Occlusion map to help highlight smaller details (its printers can print textures as well). During this step. Happy creating! 103 . time to wrap it all up! N Make sure the artwork conveys the essence of the original concept ZBrush composited together in Photoshop O A few render passes from P The 3D print done by O oad Studios – it looks stunning in real life Q The final sculpt 1 0 mi rend nutes 16 3D printing the model ime Resolutio 4.

Step by step: Create a sexy fairy woman Sexy fairy 2009 Software used in this piece 3ds Max Photoshop BodyPaint ZBrush Mental Ray The biggest challenge was to give a sensual tone to the scene and make the hair of the character. with a natural tone Kleber Darcio Lorenço Silva specialises in modelling. The idea was it would be beautiful. texturing. flowing and sensual. concept art and composition 104 ● 3DArtist .

The idea was to give the character an air of sensuality and beauty. The technique used was poly by poly with added detailing using ZBrush. flowing and sensual. So. I used a SSS shader to create the skin and various maps were used to create layers compositing such as di use. The renderer used for the scene was Mental Ray FG. The problem is that actual models are gorgeous and know how to work the camera with their eyes and sensuality. 03 The choice of the background of the scene was set to look like the fairy was sitting posing for a photograph. especially in the swimsuit. The lighting was to simulate a studio light made by a photographer. concept art. ZBrush wasn’t used to model the character as such. It also created volumes of light where the butterflies were flying. Transmitting this concept to a virtual character was a big challenge.kleber3d. making it visually surreal and highlighting every detail of the character. with a ray of sunshine shining through the trees to give an air of fantasy. The virtual character would have to convince the viewer without any of these advantages. The biggest challenge was to give a sensual tone to the scene and make the hair of the character. One of the challenges was to make the scene with beautiful shades of colours. this was simulated by an artificial forest. The model was made from a base mesh of an old character that I’d made previously. 3DArtist ● 105 . lighting and composition 02 The image was his tutorial will explain the process I used to create this character. Photoshop and BodyPaint were used to paint the texture of the fairy. texturing. The model was exported to ZBrush. then brought back to 3ds Max to continue the process of creation. Kleber Darcio Lorenço Silva Personal portfolio site www. Photoshop did all the background work and BodyPaint was used to paint the details directly on the character. specular and reflection.80 GHz). with a natural tone.Character Concepts. The idea was it would be Country Brazil Hardware used Intel Core i7-860 (2. more to add the details. lighting Concepts The inspiration behind the scene 01The concept for Easy-to-follow guides take you from concept to the final render Artist info the fairy was inspired by the models of the Victoria’s Secret lingerie fashion show. 4GB DDR3 Expertise Modelling. refined. T designed to mix beauty with a nice 3D fantasy environment. but with a surreal touch. The image had to present cold tones mixed with vibrant colours of the wing and butterflies. modelling.

05 The hair used the technique of planes combined with textured hair and fur using 3ds Max. were made with the same technique that was used in the hair. eyes closed. her mouth open. The individual hair and fur was mostly used in the loosest of threads. Modelled in 3ds Max. Rendered in V-Ray. V-Ray (2009) A character created for the client Potugal. highlighting the character and breaking the cooler tone of the scene. clothing 06 The items Robot 3ds Max. The technique used was poly by poly. The blue colour contrasts with the colour tone of the scene. Wonder Woman 3ds Max. Photoshop. ZBrush. BodyPaint. In the more voluminous areas. then renders so I could finish a scene completely. I have focused primarily on modelling. the character had to be sexy. ZBrush was used to define and add details to the mesh of the character. beautiful and engaging tone. This created more definition and subtlety in the expression of the character. Modelled in 3ds Max with help from BodyPaint and Photoshop. ZBrush. So I experimented with nervous eyes contracting. The hair was made in hairfx combined with textured planes. Rendered in Mental Ray. Showcase Modelling the fairy Creating the picture 04 The model was made from the base mesh of an old character I had already made. but the final image was the serene expression you see. refining the model. I created the cloth with a golden glow that involved the lighting of the scene. Photoshop. Photoshop. The structure made in 3ds Max had assistance from morphs where various expressions were made by adding some expression combinations. Rendered in V-Ray. The character was placed in the pose bones so it could be manipulated. 07 The fairy wings Lady-bird 3ds Max. Then the opacity and translucence was set in the shader. Photoshop. also BodyPaint. V-Ray (2009) 08 The expression of A character created for animation. I hope you like it. hair planes were used more. The planes had the colour and texture of hair and a map in the alpha channel opacity of the tips. BodyPaint. with a more serene. ZBrush. I have worked on large projects and am very happy to work for the love of 3D. Photoshop. ZBrush. and have always focused on quality and detail. They were planes onto which the texture was painted.Kleber Darcio Lorenço Silva Artis t I have been working with 3D for some time. ZBrush. were created to be sensual but not vulgar as the fairy would have to be sensual. Mental Ray (2009) A character created for studies that’s my personal vision about Wonder Woman. Modelled in Max. 106 . also BodyPaint. The clothing model was made upon the body of the character data and the details such as deformation and folds were added in ZBrush. BodyPaint. but would have to be pure and delicate.

all done in 3D. The textures were made and painted in Photoshop with an extra touch in BodyPaint. The colour is a quality of light taken from a surface. Firstly you see the result of light being reflected from a surface up to the eyes. bright or dark. For this a key light interacts with the ambient light that falls on the trees along with the butterflies. The layer was designed to merge with a colour palette to create a more pleasant scene in accordance with the skin tones of the fairy. strong or mild. reflects. reacts and di uses into the air. camera angles and characters. These provided the ambience for the scene.800 x 1. Normal alignment. G-bu ers and Z-bu ers determine the display of light. Each light colour was set to match the colour palette of the scene. These were then composited in Photoshop. revealing and concealing areas. Making the character was the highlight of the scene. Maps were used to work together to result in uniformity between the dermis. 09 The lighting was 10 To generate the lighting three Photometria lights were used: the key light. Where the calculation misses the mark. The vegetation was created in 3ds Max and rendered with Mental Ray. The temperature of light is a technical aspect that can a ect the emotion of your scene. However. epidermis and subcutis skin layers and the specular and reflection aspects. near or far. 107 . The lights had an important function because in nature. 12 The backdrop was The lighting plan The greatest di culty in creating the image was deciding which technique would be better for the hair. front light and side light. The best option for this was to use Photometria lights before rendering the scene with Mental Ray. The key light is set to let the strongest points of light mark the silhouette of the character. The light shines. 13 To create the final image I separated z-depth maps for depth and occlusion maps to define shadows and contacts were rendered. render t r ime Resolutio 1.0n: 13 1 hou 11 The character’s shader was made with the SSS Fast Skin in Mental Ray. The sidelights give more depth to the skin tones and the clothing. with the toning following the colour palette. The skin needed to have the exact brightness to make it both realistic and fanciful.Character Volumetric lighting Refining the scenery and lighting done to highlight the curves of the character and to make the scene more fanciful. the artist has to compensate and correct. then working with lighting shader to achieve that result. it is not the same as using colour filters on lights to create colour. The fairy character was actually rendered separately and then the two images were combined with a colour map being used to match the ambience between the two. high or low. The lighting was done with a keylight and side lights. light flows. In the digital world lighting is a matter of calculation. based on the frequency range. Colour and light are two powerful tools that help enhance the mood of a scene that has been established by the composition. refracts. Once completed the background image was placed in the composition. Essentially the temperature of light is a physical aspect of the light source which a ects the colour of the light. The light is warm or cold.

DAZ Studio. as well as fantasy and sci-fi styles . I often only have a rough idea of the final result.php?user_ id=443303 Country Germany Software used Poser.renderosity. T 3D artists explain the techniques behind their amazing artwork Artist info Majorgaine Personal portfolio site www. As with all of my portraits. I experiment with a range of varied equipment before I decide upon a definite procedure. Vue Pro Studio. I had quite a clear impression of what I was trying to achieve with the image. above all. expression and gestures are of great importance when it comes to depicting a realistic face with a touch of fantasy art Majorgaine is a freelance illustrator 108 his tutorial describes the working process behind my portrait. the gestures and. At the beginning of my art projects.Software used in this piece Poser DAZ 3D Vue Pro Studio Photoshop Apophysis Modelling. Pardon. Bryce. without any exact vision. in the interests of establishing a chronological order to my workflow. painting Portrait masterclass Pardon 2010 In this portrait. However. From the start. even if the picture itself was not already formed in my head – this aspect evolved as the project progressed. I also used a Wacom gallery/browse. I will waive some of the experimental steps in this guide. Apophysis. I used several objects and textures from the library in DAZ Studio 3. I utilised Photoshop’s virtualPhotographer filter and the Rons Pinstriping brushes. the facial expression and look in the eyes are the most important elements for me. For editing in Photoshop. In addition to Photoshop. Photoshop Expertise Majorgaine specialises in portraits and landscapes. My policy is more intuitive than conceptual.

we use Photoshop’s extensive tools such as colour adjustment. The library contains figures (people. which you can find in DAZ Studio. In addition. etc) as well as poses and textures and lighting scenarios. Proceed as the following: Poses>(choose the character you want) Tosca>Farissa>Poser MATS>2BrowsBrown. clothing and accessories from the library and adjust to the figure. 3. we use a graphics tablet which enables us to work in great detail. Next you have to load the morphs of the figure. clothes. For the jewellery: Figures>DAZ’s Victoria Clothing>V4_FantasyCollarBig>Fit to blMilWom_v4b. hair and jewellery A Load the figure and the morphs into DAZ Studio b Choose the character and the textures of the figure the figure c Modify the character of d Dress the model and add hair and jewellery C The next step is to remodel the face. for the crown and earrings (first choose the figure’s head). For this. Problems and solutions To be able to work with DAZ Studio. it’s possible to modify particular features for expressions and visemes (facial cues which represent speech sounds) c. go to the scene and choose the figure’s head by opening the folder until the head appears (or select by clicking on the face). layer options. you have to start by equipping the library with objects and textures. The main job is nevertheless the editing of the rendered picture in Photoshop. Of special importance is to work with transparent layers. For changing the eye texture. Because we’re not only trying to make the image as detailed as possible but also give it a touch of fantasy. The figures get loaded morphs and. And finally. go to Figures>DAZ-People>Victoria 4. hair.Character Building up the portrait Arranging the scene in DAZ Studio a 02 Choose your character and Now you have to pick a character and a texture from your library. Then go to Poses>DAZ-Victoria 4>Morph Injections>INJ Morphs++ V4 A. For this. For the hair: Figures>AprilAoife>Aoife> Victoria4>Fit to blMilWom_v4b. 4. you can use its library within DAZ Studio. Next you can choose hair. To use the Poser library. from that point. textures or Photoshop plug-ins within our library. so you’ll have to use similar items from your own libraries and a little intuition to complete this exercise. then go to: Props>Chex>Psyche Jewels>Crown and Earring L d. d 3DArtist ● 109 . follow: Figures>V4 Morphing Clothes>Fantasy Dress>Fit to blMilWom_v4b. go to Poses>Tosca>Farissa>Poser MATS>3Eyes b.2. It is worth noting that this tutorial refers to the particular objects. When you install DAZ Studio. you can alter the face and body. B 03 Modify the character 04 Add clothing. Zoom in on the model. and the different brushes and filters. we used the Poser library. which can be adapted to the particular scene. If you have Poser. the textures 01 Figure loading and morphing The first step is to open DAZ Studio and load Victoria 4. For the dress. which is what we did for this piece of work. the amendment of contrast and posterisation. In the Parameters palette. 2. search for all the compatible folders and it should appear in the content column.

make sure you have clicked on the particular object you want to texture. Here you can adjust the format and size of the picture. use the controller on the Parameters palette.2 Base. To check the lighting e ects. For this portrait. Front-Back. the hair and the jewellery from the library. E 08 Render Settings and rendering 07 Choose and edit the lighting e Changing textures of the clothing. Now you have to choose each and every light in the scene layer and modify it in the Parameters palette for Intensity. For the dress: Poses>V3MorphingFantasyDress>Camelot Guenivere. Victoria 4. For the rendering options. go to Render>Render Settings.Objects and textures used We used the following objects and textures within the scene. After posing the figure. Color and Shadow Type (note the Deep Shadow Map has a much shorter rendering time). From DAZ 3D: Victoria 4. choosing the camera perspective and finishing the lighting. Check New Window to render the picture in its own window. we choose 3. choose a camera perspective for the final scene with the default camera. We also switched the rendering option from Fast-Time Renderer to Software Renderer for the final rendering. hair and collar f Change the camera justification and pose the model the scene g Choose and edit lighting for h The render setup for the final render image The basic lighting for this image was reused from an earlier project. the image can be rendered. For the hair: Poses>AprilAoife>2M Blonde and for the collar: Poses>V3FantasyCollarSet e. Side-Side f. h G 110 . For this portrait. Select a pose from the library which is as close as possible to what you have in mind. Up-Down or Bend. Twist. we modified the lighting until the face was best illuminated.000 x 3. Farissa for V4 From Renderosity: Psyche Jewels Finalise the scene Pose and light your model 05 Texture clothing.2 Morphs++. hair and collar Now take the textures for the dress. If you can’t find one that’s appropriate. V4 Morphing Fantasy Dress.000 pixels. do several trial renders g. then adjust the pose until it fits your scene. For this. V4 Fantasy Collar. You can also adjust the distance and rotation of the light. You’ll find that for every part of the model there are the options: Twist. F 06 Pose the model Before posing the model. Once Upon A Time: Camelot. Beforehand. pose the figure yourself. V3 Fantasy Collar Set. All other adjustments can be seen on the screenshot h. Aoife Hair.

Rons Pinstriping can be bought from the MarketPlace at Renderosity. www. you’re only doing this for the basic layer – the one that the portrait is on – so select this layer again. initially use a brush size of 35px. 111 . At first. At the end of the process.renderosity. Then. Now you have to pull this layer with the cursor under the Layers palette. For 10 Adjust the contrast The next step is to increase the contrast to give the portrait more brilliance in colour. Choose a colour and an in-keeping blending mode (in this case. DAZ Studio itself is a freeware program and can be downloaded from its website. The same steps can be performed for the lips or www.daz3d. you have to hem the jewellery and the clothes on this layer. Next you need to cut the image with the Crop tool. you have to draw single wisps of hair on special add shadows and then highlights to the hair with a brush size of between 1-2px. for example. Colour which was accidentally drawn over the edges of the clothes can now be removed carefully using the Eraser with a low-diameter brush m. Afterwards. and after choose the basic colour of the existing hair with the Eyedropper tool. but darker in tone. For this. For this. which are cast on the skin by jewellery and clothes. www. Create a new layer and name it ‘Background layer’. K 12 Edit the eyes and lips Now you can edit the eyes and the lips. Where to find the objects and other equipment Objects and textures for the DAZ Studio or Poser library can be downloaded from www. from green to blue – for this.runtimedna. has to be loaded in Photoshop (File>File open>Folder>Image (Pardon basic render)>Open. but this time with Soft Light blending l. Hard Light). J i 11 Paint the hair One of the most complex and detailed steps is editing the hair. change the eye make three separate layers (using the process described in Step 9). i Create a new layer and tint it j Adjust the Contrast for greater colour intensity separate layer m 13 Separate layer for shadows l Edit lips and eyes on di erent layers m Create a new layer to k Paint more detailed hair on a paint shadows for the dress and jewellery L To gain a greater 3D e ect. use a hard brush with a small diameter. choose a colour which is similar in shade to the figure’s skin. before choosing the colour for the Background layer and fill using the Paint Bucket tool I. Now you have to draw several wisps of hair line by line. make a separate layer for the small shadows.Character Painting in the details Start to edit with Photoshop 09 Load the basic render into Photoshop The basic render you just completed in DAZ Studio and saved as a PNG file. add a Hard Light blending mode. To manage a look that is as natural as possible. On the first two layers. With the airbrush (Diameter approximately 200). Proceed as follows: Image>Adjustments>Brightness/Contrast and increase Contrast to 17 j. hair which is not needed can be erased on the basic layer with the Eraser tool k.xurge3d.

showing the DAZ Michael 4 figure. Photoshop (2008) This is an image made with Poser 7 and edited with Photoshop. It shows the contrast of skin shining like chinaware and the various violet colour tones. you can level the di erences in the colour n. 17 Merge layers and adjust colour q White Elf DAZ Studio. To be able to work any further on the image. 15 Paint the glove n Edit the model’s shoulders and armpits with the Healing Brush o Create a new layer for painting the glove p Editing the eyes and lips and painting the lashes on another new layer layers and adjust the yellow tones q Combine all the o 16 Re-editing the eyes p Before the next step. With the airbrush. then draw over the parts that need correction. It’s convenient to make the Background layer invisible during this step. 112 . you can add depth and light afterwards o. The tattoo is completely made with brushes in Photoshop. Now create a new layer to give the eyelashes more density. use the following tools: Healing Brush (Diameter around 100) and airbrush (Diameter around 300). especially renderings. To merge the layers. First of all. Photoshop (2008) This is a simple render with DAZ Studio 2. With the Healing Brush. Porcelaine Poser. With lighter and darker tones and the airbrush. Also add shadow and light e ects to the eyes and lips on the basic portrait layer using the Dodge and Burn tools p. go to: Layer> Merge Visible and keep on working with the one layer.Artis t Majorgaine Born in 1962 and raised in East Berlin. n This portrait is made with Poser 7 and edited with Photoshop. they have to be edited to increase realism. The colour should be nearly black and the Diameter of the hard brush 1-2px. you have to merge all the layers together now. Now create a new layer for drawing the glove. I’m a freelance illustrator and graphic designer. Photoshop (2010) Showcase Keep on painting Continue to add painted details 14 Edit the shoulders Since DAZ Victoria 4’s armpits are set too high. hit Opt/Alt and a relevant part of the skin. I’ve delved into the digital arts. choose a basic colour for the foreground of the glove. The Opacity of the glove layer should be made approximately 75% to let the edges of the hand shine through – that way you avoid drawing over the edges. It’s advisable to make a copy beforehand to save any previous work for a possible re-edit. The whitening e ect was achieved in Photoshop with the Levels Eyedropper option. First of all create a new layer. I acquired all my artistic knowledge and skills through self-study since I refused to study arts because I opposed the ruling regime. Since 2004. Can’t Fight This Feeling Poser. Next decrease the yellow tones of the picture by 40% (Image> Adjustments>Hue/ Saturation>Edit>Yellows) q. For this. Today. change the background colour once again.

After using the filter. all colours white. apply an Exclusion blending mode u. S 22 Frame and signature 21 Layer for applications One of the last steps is to add some applications. you have to double the layer beforehand (Layer>Layer Duplicate). 19 Hem the image with the airbrush The next step is to hem the whole image with a soft airbrush. We use Rons Pinstriping. we achieve a soft shine e ect and a higher brilliance of colours. After this. You can do this step on a separate layer and merge this later with the one below s. Render time Resolution: 3. With this. the face can be erased to make the unfiltered layer shine through r. use the Subtract from Selection option. This way. In Layers. Afterwards re-illuminate the whole picture with the rendering filter: Filters> Rendering Filters>Lighting E ects> Flashlight. you’ll gain a covering e ect on the outer edges of the picture. which has to be installed additionally to the included brush presets. Lastly create another layer to add your signature with the graphics pen v. By choosing the soft airbrush. The Diameter of the brush should be about 1.000 and the colour the same as the background. all are merged in one layer (make the basic layer invisible for this).000 27 minutes r Use the virtualPhotographer plug-in for a soft shine e ect a large airbrush in the background colour s Hemming the image with t Colour adjusting once again and more lighting e ects with Flashlight u Create a new layer and U use Rons Pinstriping brushes write the signature v Create a thin frame and v 113 . which is not a basic inclusive of Photoshop but a third-party plug-in from optikVerve Labs. Next. From those. but a transparent e ect on the inner edges. Material 100. we choose the Fitting Brush application and firstly put them on separate layers to individually resize and erase what’s not needed. Make the diameter larger than the picture. the centre as the middle of the face.000 x 3. Exposure 0 and Ambience 18 t.Character Refining the portrait Add finishing touches to your image 18 Use the virtualPhotographer filter For the next step. you’re able to delineate a second rectangle inside the first and then colour the space in between with the Brush tool. To make a thin frame. To keep the sharpness of the face. delineate with the Rectangle Marquee tool on a new layer. r 20 Readjust the colour and light T After this. Gloss -33. Intensity 13. decrease the yellows again by about 40% to make it less dominant (see Step 17). we use the virtualPhotographer filter.



Easy-to-follow guides take you from concept to the final render Username: carlosortega3d Personal portfolio site http://stroggtank. UV mapping and texturing Artist info Carlos Ortega Elizalde Supplied on the disc is the model of the bow with UVs in OBJ format. 6GB RAM Expertise Carlos specialises in 3D modelling.obj Software used in this piece Maya Photoshop mental ray 116 . tesalia_bow_3da.cgsociety.or g Country Mexico Hardware used Intel Core i7 920.

I did a quick sketch in Photoshop to block the main proportions of the body and the zones the armour would cover. agile and strong. which consists of a dark magenta and white. in a special way. one of the pages of The Centaur. One thing I took a lot of care with was the modelling. 03 Most of the inspiration I had for the armour ornaments were the beautiful floral graphics created in the Arts and Crafts movement and. I went for keep-all elements in a stylised fashion. weapon proportions. as well as the basic colour palette. The armour. which has beautiful decoration. At the end of the project. Back then. as one of my first 3D works since centaurs are one of my favourite fantasy characters. an ancient mystical city Carlos Ortega Elizalde specialises in modelling and texturing esalia was created from scratch in Maya and rendered in mental ray. but that stage was enough for the still images purpose. so this year I decided to model the character again with more style and detail. As this is a female character.Character Step by step: Model a cute fantasy figure Tesalia 2010 A young female centaur visiting the ruins of her birthplace Arkadhia. 02 I changed some things from my original concept like thinner proportions and a di erent hairstyle. but balanced and solid at the same time. facial expressions and colour palette had to reflect the attitude of the character: cute. as it was tricky to manage extreme positions in face and body and avoid a harsh look at the same time. my skills were pretty low. The final rigging was one of the most di cult tasks. pure and delicate. 3DArtist ● 117 . Modelling T Concepts Inspiration behind the scene 01 I created the original model about six years ago in Carrara 2. This helped me to enforce the pure and elegant nature I wanted for my character. the rig could have used a bit more cleaning. yet dangerous. I created her as one of the two main characters for an animated story which I’m still developing. keeping cartoony proportions without being too childish. the silhouette had to be thin and delicate.

mental ray (2010) The Echidna. attended by just a robot and an octopus. trying to mix it with an elegant. cute and attractive look. I inserted several edge loops in each stripe of hair. all-terrain vehicle in a mission through the Ice Zone. though many of the details were refined later to suit the new style. aka The Wise. 07 The hair consists End of the Year Maya. I sculpted them by moving vertices by hand and using modifiers like Bend and Twist on each strand. Since this was a new version of my character and not a di erent one.Artis t Carlos Ortega Elizalde I’m a graphic designer and 3D artist from Guanajuato. but still be recognisable as part of a stylised. Mexico.150 x 4. Tonight is this 200-year-old wizard’s birthday party. I’m also a freelance 3D modeller although I often find that personal 3D design work is almost a full-time job in itself. then moved some of the new edges outwards and others inwards. to reinforce the simulation of the hair density in each strand and the flow of each stripe. but he can’t remember where it’s taking place! 06 The legs were modelled extruding from the waist edges of the torso. I created the horse body so it could be recognised as ‘female’ just from looking at the animal part. Photoshop (2009) Fulgencius. Photoshop. detail in the hair. Showcase Creating the model How the centaur girl was created as reference. He might be wise. focusing on Motion Graphics and 3D art most of the time. render t s ime Resolutio n: 3. 04 Using my sketch was probably the part on which I spent the most time. 08 To refine the 118 . I went for an athletic and slender body. I modelled the whole horse body almost as an animal counterpart of the human torso.2 00 4hour Fulgencius the Wise Maya. I imported it into Maya as an image plane to maintain proportions. of flat polygonal planes. cartoony character. 05 The human torso In the Ice Zone Maya. aiming to produce delicate but athletic legs. I currently work as a tutor in the media department in Guanajuato University. It had to have nice topology and decent anatomy. Photoshop (2009) This images shows a weird New Year’s party taking place in a space-based environment. then I extracted several strands to get a nice density of thin planes. I started using a cylinder to recreate the mane and tail’s volume. but he has a terrible memory. This model was created for an online speed modelling contest. I used only my old model’s head as a reference.

10 The basic bow shape was created from a cylinder. The grass. The environment which I decided to create was the ruins of the main city where the whole story plays out. I started with all the armour plates. The ground is a simple plane deformed with Maya’s Sculpt tool. I painted colour variations as well as an Alpha map for the tips of the hair. I modelled a series of arches and columns. 09 The last step for this character was to model the armour and bow. 13 The final touches 119 . from which I picked a couple to render inside an environment as still images. I modelled several pieces of ornamentation to use later as accessories for the armour. in which I sculpted some damage using Subdivision surfaces. adding a more ‘solid’ context for the viewer from a still image. regarding the modelling of the whole scene was the addition of plants and flowers. an arm bracelet and a diadem for the head. The bow’s decoration was added later as separate geometry. most of which consisted of extracted geometry from the body.Character Refining details Finishing touches and the environment Colours and materials I painted all textures by hand. so I only painted di erent skin tones and very subtle moles in the skin map. I duplicated the arches section to get a decent set of architecture that could resemble the ruins of a once powerful ancient city. The rest of the accessories consist of earrings. plants and flowers were created using Paint E ects and then converted to polygons. an Anisotropic shader for the hair and a Blinn shader for the armour. then tweaked and refined them to fit the way I needed. using some of the pieces I’d previously created. extracting the top face and tweaking the verts as I progressed. I kept my palette to a few colours – the dark magenta with gold hints to suggest royalty. I used the misss_fast_skin shader for the skin. while for the hair. I didn’t want to create realistic skin or hair (just personal taste). for the face and body to get several expressions and poses. 11 I created a rig 12 Taking inspiration from some Ancient Greek ruins. but included some wear in the armour to prove this girl knows how to handle herself in battle.

so this was a great opportunity. unwrapping. posing. texturing. Many great artists have done their versions of this subject and they did great work. It was a big challenge for me at that time to overcome technical challenges because this was one of my first Maya projects. I used ZBrush retopology tools for the task and reshaped the new topology to create the overall monster shape. which makes my job more di cult. lonely monster. I have always wanted to model Frankenstein’s monster because he’s a classic character with such a strong story. which I would use for sculpting a generic human bust. With that in mind. but even more challenging was to create something that would touch the viewer. This made my first base mesh. This time I decided to take a more artistic approach and use digital sculpting as much as I could. making a high-definition sculpt with new clean topology. rendering and. The best tool for shaping geometry at this stage is the Move brush. compositing. The first thing was to split all the work into di erent tasks: sculpting a base mesh. T Concepts Inspiration behind the scene 01 With every personal 120 project I do. I converted the ZSpheres to geometry. 02 After extending a few spheres from the central one to shape the shoulders. finally. I planned how to achieve my goal. . and for higher levels I mostly used the Clay Tubes brush. I thought the best way to reach the viewer was through facial expression and the look of his eyes that would tell the story about a sad. I am trying to learn something new through creation rather than using the same workflow over again. neck and face. making clothes. retopology. The quickest way for me was to make a simple ZSphere bust model in ZBrush. lighting. 03 After making the basic bust shape.Step by step: Build your own monster Frankenstein’s Monster 2009 My primary goal was to create a portrait that would have some sort of impact on the viewer Anto Juricic specialises in character modelling and texturing he saying ‘a picture is worth a thousand words’ was my primary guideline on this project and I hope this image can say a few words. the next task was to make a new topology that I could use later for texturing and rendering in Maya.

cgsociety. lighting Maya Software used in this piece ZBrush Silo Photoshop UVLayout Artist info Anto Juricic 121 .21GHz. 2GB RAM Expertise Anto specialises in character modelling and texturing Country Bosnia and Herzegovina Hardware used Dual core 2. modelling.Character Save yourself some modelling time by using the ZBrush model and maps.ZTL Easy-to-follow guides take you from concept to the final render Personal portfolio site anto-toni. Franky posed.

which is quite fast for this task. sculpted in ZBrush and rendered back in 3ds Max. Basically. but mostly I am satisfied by the overall look. that plug-in is already implemented as the hair and fur system. made entirely in ZBrush. I chose Mr Obama because of his characteristic facial features. Combing hair was really fun with the many brushes integrated in this tool and I found that using the Translate and Pu Hairs Up brushes alternately worked best for me. 07 Shave and Haircut is also powerful for simulating dynamics. by adding ambient occlusion rendered with mental ray. Obama Maya. 3ds Max. I was happy with the results and I added some clothes which I modelled in Silo. Clay brush and custom Standard brush. The main goal was to test and set up a pipeline and workflow for future works. especially the lighting and shading.Modelling the monster Bringing out the details 04 The best advice I can give regarding sculpting is to not rush in too soon with the details. I made the base mesh in 3ds Max. I’m very passionate about modelling and texturing characters and creatures. I also tested some new features in ZBrush 3. If you are working in 3ds Max. Photoshop (2008) This was one of my first fully completed 3D renders and I still like it today. I also added some simple geometry for the eyes and metal parts on the neck. Making the facial expression really gave life to this work and for that task I mostly used Move and Nudge brushes and Transpose tools for posing. 08 Rendering of hair was a bit di cult and after much trial and error I decided to render hair with Maya software render. 122 . so first I simulated some freefall of hair over the head geometry. 06 I have tried a few di erent solutions for hair and the one that works best for me is the Shave and Haircut plug-in for Maya. Showcase The Incredible Hulk ZBrush. which served as a great opportunity for practising the anatomy of the male torso. so make sure that you have used every polygon before stepping up to next SDiv level. Overall shape and form is more important than skin pores and a few wrinkles. I currently live in Bosnia and Herzegovina and I work in the Prime Time production studio in Sarajevo as a character modeller. This was my first Maya render. Photoshop (2008) The Greatest ZBrush (2009) This is a digital sculpture. Artis t Anto Juricic I am a self-taught and highly motivated 3D artist specialising in modelling and texturing. Again. for this step I used the Move brush. workflow is simple: I made a scalp geometry which I populated with hairs. ZBrush. I also rendered one additional pass to improve the overall look of the hair.5 R2 on this project and it was great fun. 05 After a couple hours of sculpting. I’m fairly happy with the likeness. I reused this lighting later on the Frankenstein’s Monster image.

For creating hair I used the Shave and Haircut plug-in. I rendered a few di erent passes: main beauty pass. in order to create real-looking skin. I used a few di erent face photographs and projected them directly onto the geometry inside ZBrush using the ZApp Link plug-in. di erent light types react di erently with this material and I recommend area lighting as the best solution. so the bigger the light.000 der t tests. like shadows and occlusion. and passes that subtract light. 10 My goal was to make the monster look more alive. extra reflection pass and ambient occlusion. the next step was to make clean UV coordinates. Most of the lights in this scene were area lights. The most important thing about compositing di erent passes is to understand that everything that emits or reflects light should be layered over di use in additive or screen mode. which is great for making fast and clean UVs on organic models. specular and bump. This shader comes with many slots for textures that need to be fed in. I repeated the whole process for the clothes. This task is important because texture relies on the model using these coordinates. After that. area lights react with the specular component of the Fast Skin material. making the facial expression was the most di cult since I did not do any concepts or previsualisation. giving you great control over the final look of the skin. 12 Basically. 09 After completing all 11 To achieve a realistic kind of look. the wider specular reflections. numerous 13 After render 4 5 minutes ren ime Resolutio 3. To do so.Character Textures and lighting Getting the right look and feel the geometry. should be multiplied. so every light in my scene has some colour and purpose. I imagine lighting as painting the image with light. and its great Fast Skin shader.000 x 3 n: . Also. because they can produce very accurate shadows and a soft feel. I hand-painted some missing details in Photoshop. For that task I used the headus UVLayout application. which does so really fast. 123 . front and back scatter. Biggest challenges Among all the technical challenges that I came across in this project. For rendering hair I used Maya. but I decided to use only the main ones such as overall colour. To make this image look realistic I needed a good understanding of how human skin reacts to light and to translate this to the mental ray skin material. Also. I planned to use mental ray for rendering.

a I enjoyed modelling characters much more than environments or props. and I gradually improved to go on to be a character specialist at everywhere I have worked since 124 .

SEAT. Haven Holidays All images © Andrew Hickinbottom AH: They needed me to create a stylised likeness of Shakira for a SEAT car advert. and now they are regular clients.cgsociety. such as Nexus Productions. With a lot more work going around in London compared to back in his hometown in the Midlands. a lucky-in-freelance character modeller currently getting creative under the bright city lights of London b pinups My predominantly pinup-themed personal work is an outlet for when I want to create something easy on the eye and different to most of the work I get paid to do Andrew Hickinbottom is a freelance character modeller ndrew Hickinbottom recently made the big move to Location UK Expertise Characters Software 3ds Max Client list Coca-Cola. stop motion. Panasonic. It’s something I intend to do in the future. either here in the UK or abroad? AH: I did a small job in Valencia for a month in January. which was nice – that’s the farthest I’ve travelled for a job. he’s always bumping into people who’ve been working on high-profile projects that he’s long admired. and be inspired by all the capital has to offer the 3D artist! Perfect short films as well. live action. music videos and As a freelance artist. I liked the end result. Imagination Games. The company has a large collective of award-winning directors and can produce content in differing styles: 3D. Comcast. Getting Shakira’s likeness. UVs and occasionally textures characters. given his art a new lease of life. in turn. Nexus does work for advertising mainly. With so many major production companies in the big city. How did the contract at Nexus come about – can you tell us more about the projects you’ve been involved with there? Have you worked in any other cities. 2D. Before. he is currently freelancing as a character modeller for regular http://andyh. I did some character modelling on a Coca-Cola advert a few years ago. Can you tell us more about that? Name Andrew Hickinbottom Job title Character modeller Personal website http://andyh. he worked remotely from Birmingham – the move means he can now work on site. where he models. and somewhat small on the screen – I guess it’s because there was just so much crammed into the advert and my character was just a small part of it. but has done title sequences for TV and film.cghub. International Olympic Committee. and the overall level of stylisation approved was tricky. Actimel. how do you find work? Do you find it or does it come to you? AH: I’m quite fortunate: virtually every freelance job I have done has landed in my lap. which makes life a lot more exciting and has. A You worked on a high-profile project at the London-based Superfad in December. you only saw her for a few seconds. etc. Some work in Japan would be good though! Andrew Hickinbottom: One of the 3D leads A Suzie Kickin’ Back is an illustration of my Suzie character lazing about b Bunny Girl is one of my most successful personal pieces to date had been trying to get me to work with them for some time after seeing my stuff on the internet. then an Olympic Committee ad. but after all that work.Character We talk to Andrew Hickinbottom. and things are looking up. b 125 . I have yet to chase down ideal clients.

having been doing it as a hobby since my late teens. creating a clichéd dragon monster or old man. and I gradually improved to go on to be a character specialist at everywhere I have worked since. I get swept away and won’t stop until it’s finished! 126 AH: My predominantly pinup-themed personal work is mostly an outlet for inspirations that gather in my head. pretty much. V-Ray is great – especially for lighting – although I’m still pretty new to it right now. How’s that going and what kind of new possibilities are they bringing to your work? and take advantage of ZBrush’s mesh manipulation and refining tools. but it’s certainly a powerful program. Softimage and LightWave in various AH: It took me a while to get used to ZBrush’s unusual interface and I have only learnt the basic tools so far. and why have they been your tools of choice? AH: 3ds Max. easy to understand and has some great modelling tools – especially the new graphite modelling tools in Max 10. If I see some artwork that I admire. but I’m going to strive to keep my simplistic style You’ve also recently started using ZBrush and V-Ray. and it’s free. AH: At the first studio I worked at many years ago I was the texture specialist. quick. I try to create an illustration or Your pinup characters are possibly what the 3D community know and love you most for. and I can’t really imagine using anything else at the moment. Once I have started and got past the difficult “Is it going to work?” part. I enjoyed modelling characters much more than environments or props. and for when I want to create something easy on the eye and different to most of the work I get paid to do. Would you be happy to tell us a bit about your workflow when creating a 3D character illustration? . What software have you mastered in your career so far as a character modeller. It’s nicely laid out. then I gradually found out that modelling was my most useful skill. I’ve always admired aspects of character design – ever since I watched cartoons as a kid.d e c What was the pivotal moment when you knew that character modelling was your thing? How did it all start? capacities during my many years at different studios. rather than going down the realistic route. It’s all too tempting to go nuts and ramp up the detail. but I’ve been using Max the longest. or if I see things in real life that inspire me. I’ve used Maya. Sculptris is a good alternative to ZBrush.

I would like to do a very simplistic. 127 . AH: Looking at the posing and construction theories of good old cartoons – Tom & Jerry. once I have started and got past the difficult “Is it going to work?” part. Taking pictures can be useful for reference if I see anything that can help. slice-of-life piece rather than a pinup. What kind of research do you have to do and references do you need in order to pull this off? AH: Since moving to London I have had quite a few ideas for personal work. I add things to it if I get sudden ideas. compositions and colour choices. It’s a bit more of an ordinary. Getting a flat. and of course. Pinup. I’m really pleased with the results. though. just nice. I’m not sure if I want to pick up the pieces and carry on with it or not. because I sometimes lose the drive to do unpaid personal work when the initial spark has gone from my mind. However. glamour and adult photography/art in general is good reference. as far as I’m aware. focusing on the simplicity of the shapes and the appeal. pose and composition. I have my long un-worked short film. such as composition. and in a retro kind of way. No super-realistic lighting. simple characters. and I think it’s my best work so far. especially when you are among so many great artists in the same book. As far as future projects go. Bugs Bunny. despite the old joke! Your work is popular with CG publications. I tend to get swept away and won’t stop until it’s finished! How do you keep yourself motivated until that point? Any tips for those struggling to see a project through to completion? AH: I find it useful to keep a note of ideas AH: Surprisingly. dynamic hair or advanced shaders. interesting people or lighting schemes. Model sheets for animated films are good reference as they show varying poses and expressions. shiny areas. I would also be keen to do something that encourages me to be bolder and more daring when it comes to my proportions. like the Ballistic Publishing titles. I suppose having your work in books and magazines can only be good for exposure and getting your work circulated and known among potential clients. I built the model fairly quickly without much detail. etc – help you understand how they simplify the forms of the characters to create clear poses. The lighting was very ordinary: just a Key light.Character 1 I wanted to make a character in a similar style to Shane Glines’ or Bill Presing’s pinup work: nice and simple. Her PVC clothes used a simple raytraced shader to reflect a bright white plane I positioned o -shot to get the white. Are you working on any new personal projects at the moment? Can you tease us with any info on these? tell us what kind of benefits having your work printed in the likes of EXPOSÉ can bring about? c Grannies was my honourably mentioned entry for the CGTalk ‘Spectacular’ competition d Family characters made for the board game Beat the Parents E Suzie & the Lil Nipper is a Gil Elvgren-inspired illustration of my ongoing Suzie character f This figure was created as a collectible vinyl toystyle soldier design f that spring into my head wherever I am – a text file on my phone usually does the job. Can you The dynamic poses of your cartoons are what bring them to life. illustrative piece that pushes the look that I adopted for my Trixie character. I have not had any job offers directly connected to my work being in print yet. but I don’t have much time to work on anything. Some retrostyled cartoon art doesn’t really translate well to 3D as the shapes are abstracted depending on the camera angle. Nevertheless. illustrative look without cheap use of a cel-shader is quite fun and can be approached in so many ways. flat. I have to act quickly. Trixie Trixie is a kinky character inspired by Shane Glines’ retro pinup cartoon girls character based on these different influences. too – having some dodgy pics can genuinely be ‘reference’. It reflects what I’d like to see in CG more: more innovation with the look and style of 3D characters. it’s cool seeing your work on paper. Keeping inspired is definitely the key! I’m always looking around on sites like CGTalk and CGHub for new and exciting artists to be inspired by. quite shapely. I recently made a new character that was inspired by random girls who I’ve seen around London in nice weather. a Back light and an Ambient light to flatten the scene.

but it’s an impossibility. My output resolution varies. I thought I’d enter and try my hand at caricature for the first time. lit and ready to go about three years ago. One week the theme was: ‘Photoshop Thom Yorke from Radiohead’. and it was a special project for me as I had to work quickly. didn’t have time to obsess over every detail like I usually do. and sometimes you get ideas. and it was my first attempt at a caricature. I had to work fast. and how you’d like to see it go in the future? AH: I had an idea for a simple short film featuring my office girl. I don’t really need a very powerful hardware setup. just quick. and how does your hardware handle the job? Can you tell us a bit about your current setup? AH: Well. but I would have to find an animator who is motivated.2 Thom Yorke A website of which I’m a member ( does weekly challenges where you are given a subject. bunny girl and office nerd characters shortly after I made them. Maybe it’s time to do something new. This was my first attempt at a caricature: Thom Yorke from Radiohead We would love to know more about the short film – can you tell us how this started. I fine-tuned the composition. and it encourages me to use V-Ray more as the render times are drastically reduced. You see a lot of interesting things travelling. no morph targets or rig. How important is it as a visual creative to experience the world? What kind of resolution do you work in.b3ta. should they ever appear in a book or magazine at some point. I had the whole thing storyboarded. someone I know well and trust. above all. I recently replaced my four-year-old computer. modelled. I may revisit it. though. and invites people to Photoshop them in creative ways. It was quite fun to do as I was only creating this one image – no body was modelled. Being away from computers for a while also helps! Can you tell us about your inspirations and what influence can you see in your own work? AH: I love the work of Shane Glines. When I got to the animation stage. and the fact that I don’t use advanced rendering and shading much. dirty modelling and plenty of cutting corners. it’s important to take a break and recharge your creativity if it gets in a bit of a slump. made are about five years old now – I’m worried that they may look quite dated. due to the non-realistic nature of my work. I realised I lacked the experience to make it look as good as I wanted. canvases or prints for sale in the future. At the end of last year you went travelling around Japan and then spent some time in Valencia. The three characters I g Maid with Love was inspired by visits to maid cafés in Tokyo AH: To be honest. but yeah. retro stylings i Debbie was inspired by random girls that I’ve seen around London this summer g 128 h Tokyo Girl was inspired by Harajuku teen fashion . I’m pleased with the results. not for a holiday. but I usually make my images big enough for print. I rendered my Trixie character out in a huge resolution. I would have liked to do the whole thing myself as a challenge. so now things are a lot faster to work with. as mine often does. As the image challenge only runs for a week. where you’re at. pacing and story through animatics and storyboards. talented and. I find the streamlined construction. However. laid out. as I intend to do some large posters. I experimented with mental ray for the first time on this image and tried using Final Gathering and Subsurface Scattering. I was in Valencia to work.

It’s less technically minded and meticulous than making characters for animation too. Generally. I loved the loose. I intend to improve my drawing as I feel it would make me a better artist. Bill Presing. Keeping inspired is definitely the key! i and the flow of the shapes on his characters really fascinating.Character h Taking pictures can be useful for reference if I see anything that can help. I can see things being more exciting and fulfilling in the future now I have moved to London. After seeing the results of a recent 3D print of my Trixie character I had made. interesting people or lighting schemes. eg Cloudy with a Chance of Meatballs. AH: More illustration/print work. so how about 3D art inspirations – who do you tend to follow/admire most in the 3D community? 129 . the theme and the overall design treatment. though. What’s next for you – or what would you like to see on the cards for 2011? Your main inspirations are 2D. I would love to get a collectible figure/sculpture made for sale at some point in the distant future. I’ve been attending the great Dr Sketchy burlesque life drawing classes in London because they’re a bit more relevant to my pinup work. if it looks good for the purpose of a still image you can cut corners and generally work faster. I find Pixar a big influence – especially its human characters. Certain films click with me design-wise. I tend to follow a handful of 3D artists in the community – the majority of stuff I like is from random artists. I find it more satisfying being in creative control over the character. and perhaps put some prints/ posters up for sale. I’ve just got to focus and stay productive! AH: Although a lot of my design sensibilities and inspirations stem from 2D art and illustration. I do admire some 3D art. rubbery and cartoony look of that – they really pushed it and made it stand out. Like most 3D artists. Generally. as seen in films like The Incredibles. and just because they’re fun! I would like to get my website back online. Dean Yeagle and oldies such as Dan DeCarlo and Gil Elvgren are some of my main influences too. the composition. I have many influences and a number of favourite artists. such as composition.

I adjusted the colour shades. From the beginning I tried to figure out an overall colour for the picture and a light composition. I like their funny atmosphere. . despite the fact that she is not a typical pin-up girl. When I was creating the first concept I was thinking about old pin-up pictures and the light humour of retro-futurism. but I placed some classic cigarettes and traditional paper playing cards. Most of my time spent on the piece was to create an appearance of the three small aliens. An important part of my work was also Photoshop. I’d had enough of classic tough women in rough poses. I made it modern and the dress of the waitress more detailed. I started work on this picture because of an ongoing competition on CGSociety website. for a greater sense of authenticity. I wanted to make a cheerful and humorous picture with humans and aliens Michal Suchánek specialises in character modelling obody can doubt my inspiration for this picture. cleared small imperfections and. and I added some new details like poker chips. It was important to me that the girl should create a pin-up feeling. 02 An inspiration for the waitress in Space Drink were the images of pin-up girls from the Fifties. I added the e ect of chromatic aberration in some parts of the Space Drink 2009 N Concepts Inspiration behind the scene 01I wanted to evoke 130 ● the atmosphere of a familiar environment despite the fact that the image’s story takes place in space. something funny. Sometimes it was not easy. 03 I wanted to make aliens on the scene with their own characters. organised by CGSociety. About a year later I did a makeover for this image. I like the fun idea of smoking aliens playing poker. I tried to make them funny. No more slimy. and the final scene was rendered in V-Ray. each of them has its own part in the picture. I wanted to do something more light and.Step by step: Create a futuristic bar scene This image was originally created for the competition called Uplift Universe. When I was creating the image I was working primarily with 3ds Max and ZBrush. more importantly. scary monsters that the entire internet is full of. One of the best illustrators for me is Gil Elvgreen. There are no hightech machines.

lighting Artist info Michal Suchánek Personal portfolio site www. 2GB RAM Expertise Michal specialises in character modelling 131 .cz Country Czech Republic Hardware used Intel Pentium 4 CPU 3. styling.4GHz.Software used in this piece 3ds Max V-Ray ZBrush Photoshop Character Easy-to-follow guides take you from concept to the final render Modelling.michalsuchanek.

I prefer to pose models inside of ZBrush after years of modelling and rigging in Max.5. ZBrush 2. I unwrapped the UVs in Max and then I posed models in ZBrush. Drunken Lou and Pink Greedo also have only the upper half of the body. I unwrapped the UVs of models (head and body) in Max and then I imported them to ZBrush where they were ready for creating normal maps. I tried to make it realistic and funny. the rest of the body is not visible. the internet and many. such as cards and cigarettes. 05 The girl’s body render t ime Resolutio n: 2. My inspiration for this picture was a comic Rocketeer and the classic style and humour of pin-up girls. is modelled in standard “Da Vinci pose”. which was something completely new for me. 132 . but I think there is a humorous retro feeling. many hours of hard work. Showcase After I finished Space Drink I wanted to make another picture with a pin-up girl theme. This old base mesh was creating with the Box Modelling method. A lot of people tell me the main character looks like Angelina Jolie. Photoshop 7 (2006) 07 I modelled only 08 The other two aliens Bob’s hands and upper body.786 x 3. After that I modelled props. I used an old head model for her face.” The truth is that I was little bit tired of making girls. that I modified according to the needs of the new image. tutorials. I started preparing a low polygon head and body. ZBrush 3. see our 06 Let’s first alien called Bob. The posed low poly mesh from ZBrush was exported back to 3ds Max. This alien was the funniest for me. Back then 3D art was not so well known in the Czech Republic. Photoshop CS2 (2009) 04 First of all I started modelling the girl. V-Ray. but it was probably more of a coincidence than deliberate. I think this is a faster way than rigging the whole mesh. but nobody has shown up for a very long time. ZBrush 3. were created through the same method as Bob. They are looking out for their enemy. For making the best expression in the face I used reference photos from the internet. they are right. I liked the whole technique. Closer 3ds Max 2009. I wanted to do something di erent.Michal Suchánek Artis t I started working with 3D when I was about 17 years old. but I still didn’t want to make some dull depressive fantasy picture.5. because I love his expression. An older image where I first tested the ZBrush.7 44 hours 8 Mountain Patrol 3ds Max 2009. Well. Photoshop CS2 (2009) The story behind Mountain Patrol is: “The two longtime companions patrol the border of Windy Mountains. There is not as much stylisation as you can see on the Space Drink waitress. Modelling the figures Creating the aliens and girl Rocket Girl 3ds Max 2009. What I know now I got from books.

11 At the beginning of sculpting it is important to focus only on the shape. and the second layer is simply the background of the interior. Their resolution is about 4. Now he has five! I like the idea that every eye looks elsewhere. A stylisation. The whole scene was then rendered into two layers – the first one is the foreground which holds the aliens and the girl. The view in space and the smoke in the background were both matte painted in Photoshop. I started work on textures. Originally I wanted the pink alien Greedo to just have one eye. There are two boards in this scene: the blue one is on the left-hand side and the yellow one is placed on the ground. Di use and specular maps was hand-painted in Photoshop.Character Adding fine details I modelled basic meshes representing the background of the image. light direction and colours. There are two coloured additional V-Ray lights with less intensity and one strong back light. a bloom e ect and increasing highlights – was all done in Photoshop. I also tested di erent sizes of the characters’ meshes. A composition of the layers and a final retouching – which included a colour saturation. models I exported all the normal and displacement maps from ZBrush. 12 Skin imperfections. An accurate silhouette and natural shapes are important for a natural look of characters. 13 After refining the 133 . I like to use coloured boards to help light the scene by the appropriate colour. This solution was easier for me than using the Hair and Fur modifier. I used the ZBrush’s Zmapper tool for normal maps. Retro colours and lighting Space Drink was rendered in V-Ray.000 pixels. wrinkles and skin pores are aspects of realistic and believable characters. expressions of all characters and their colours are important for the overall feeling of the picture. I made some stu like bottles and glasses. After I decided on a final composition and a setup. and then I started experimenting with locations for the props. but during the process of making the picture I started to add other eyes. Details can be added later. Refining the models and setting the light 09 In this part 10 Time for adding some details! Every character has three textures. I used V-Ray SSS shader with a combination of 3ds Max’s standard Oren-Nayar-Blinn material for the skin of the aliens and the girl. The hair of the girl is also textured planes. and I used a V-Ray Light with V-Ray shadows for the main light source.

Step by step: Create a friendly dragon The Final Warning 2009 Blending attitude and kindness with a menacing and powerful appearance in a stylised character Carlos Ortega Elizalde specialises in 3D modelling. but after many poor results I decided to compose the final image in Photoshop from di erent ZBrush renders. since I was able to retain full detail from the sculpting. I decided in this case to go for a roguish-looking dragon. I like to retain the personality of the character if I’m happy with the original concept in the first place and I always try to emphasise clean modelling. and a basic colour and lighting theory are very helpful if not essential to achieve a solid result. T Concepts Inspiration behind the scene my personal projects with some quick sketches (in digital or on paper). expressions and poses. maybe steal some sheep or burn an old village just for fun. The original purpose of the image was just creating a plain model for an online forum challenge. I try di erent complexions. but after more dedication it led me to the creation of a more solid character with some untold story behind the final piece. 01 I always start 02 at a cli ’s edge. it was intended to be in mental ray directly in Maya. about to commit some kind of prank. UV mapping and texturing his tutorial focuses in the creation of a stylised dragon character. One of the main di culties in the process was the rendering. other times it leads to a very unique result even nowadays. although good skills like texturing. for example) when sometimes it isn’t the best solution. to block overall proportions of characters in this case. along with his hands and legs in a position that could suggest he was planning something. menacing but appealing in some way. I often try to avoid the colours I frequently expect in a determined situation (a green dragon. avoiding the use of displacement maps. attitudes. This was also a good choice. My original idea was to put the dragon 03 I love to work and experiment with di erent colour palettes. when it’s pretty impossible to create something 100% original. 134 . even more when I’m working with fantasy or stylised scenes. UV mapping. I focused more on the facial expression to re-create the dragon’s intention.

2GB RAM Expertise Carlos specialises in 3D modelling.Character Save yourself some modelling time by using the posed dragon character in OBJ with UVs created here.cgsociety. the_final_warning.obj Modelling. UV mapping and texturing Software used in this piece Maya ZBrush Photoshop UVLayout CrazyBump Artist info Carlos Ortega Elizalde 135 .or g Country Mexico Hardware used Intel Core 2 Duo. sculpting Easy-to-follow guides take you from concept to the final render Username: carlosortega3d Personal portfolio site http://stroggtank.

Fangs and horns were modelled from a cube. Workers only ride them for maintenance purposes. the character was never intended for animation. 06 Right from the planning stage. I rarely create reference images. Mexico. the distortion was pretty low. SplitPolygon. since I already know what I want him to look like in 3D space. I prefer to use the original concept or even nothing at all. but after adding the rest of the details I ended up with this stylized version of the famous time machine. Extrude. The whole process didn’t take much time. They were also modified to carry a human pilot. mental ray. 07 Hands. 136 . When it comes to personal 3D 05 Once I’ve blocked the main shapes. starting from a six-sided cylinder and then sewn to the main mesh. Fulgencius. is actually not that wise – he is a 200year-old wizard with a poor memory. moving the existing vertices to match the concept I have. UVLayout (2009) Modelling the dragon Working on the creature’s body shape work. Final touches like the shells layout and UV mirroring were made back in Maya´s UV editor. I start to add and tweak more geometry using the following Maya tools: InsertEdgeLoop. moving the resulting vertices over the torso. I started working with 3D about 6 years ago. Maya. SlideEdge and MoveComponent. So. but their free will caused many accidents. I did the UV unfolding in UVLayout. and then extruding and tweaking again until the tip of the tail. to avoid the use of BlendShapes or a face rig to achieve the desired expression later at the posing stage. Dorsal spikes were created by extracting the matching faces and then extruded outwards. I modelled the face as I wanted in the final image directly as I was moving forward. Back To The Past Maya. among others. legs were made the same way. Photoshop (2008) Autonomous racing vehicles modified to watch the city limits and the military facility’s boundaries. In this case I tried to keep as few shells as possible. although 3D is almost a full-time hobby. mental ray. wings and The Zcuintli aka ‘Yellow Dog’ Carrara 5 Pro. The machines still do their job by themselves. Mexico.Carlos Ortega Elizalde Artis t I’m a graphic designer from Guanajuato. Started as a speed modeling exercise as an homage to one of my favourite sci-fi machines. using Carrara Studio and now Maya for the last two years. I currently work in the media department in the Guanajuato University. Photoshop (2009) 08 Once the model was finished. also known as ‘The Wise’. I often start from a 2x2x2 polygon cube and from the nose area. doing motion graphics and 3D art. Showcase 04 Fulgencius The Wise Maya. I’m also a freelance 3D modeller. even with tricky parts such as the armpits. Photoshop. I kept using the Extrude tool over the neck edges.

a ZDepth and a flat colour pass. the result was satisfying. keeping them exaggerated in some parts and subtle in key zones like the face. The final touch was to correct colour with Curves to gain a warm tone. I exported a 4k displacement map. I painted extra shadows and put smoke from stock brushes. 11 I posed the character inside Maya to match my sketch. All those renders gave me full control over the final image composition later in Photoshop. The stripes. As for the lighting. The result was this roguish dragon leaving his crime scene with a satisfied attitude. rim and fill light. but the dragon looked kind of weak. I wanted a warm atmosphere . Once done. so I used CrazyBump to quickly generate one from the displacement map. 13 In Photoshop. 137 . levelling up the blue in the shadows and an orange/yellow in midtones. The displacement map helps in many ways to shade specific areas in the body. I exported several renders from ZBrush using di erent MatCaps. The posed OBJ was imported as a 3D layer into ZBrush at the lowest level. Most of the scales were created using custom alphas. previously setting my canvas to a pretty high resolution.Character Lighting and colour Getting the right look and feel render t rs ime Resolut 3. so I decided to pose him into a gallant flying position. I wasn’t able to render a proper normal map from ZBrush. using a basic round brush to create di erent tones while staying in my chosen palette. I only used the Standard brush to add wrinkles and folds. eyes and extra scales are hand-painted. various light sources. Normal mapping Due to some hardware limitations. I extracted the blue channel to simulate a cavity map over my main texture and enhance the contrast of the scales and wrinkles. 12 Back in ZBrush I composited the ZBrush renders. Although the topology wasn´t that even.000 4 hou 09 I imported the model into ZBrush for detailing.but also a painting-like mood. masking the proper areas of the di erent layers to gain the desired volume. 10 Using an UV template from Maya as a guide. Finally I added subtle motion blur in the wings and depth of field in the completed scene.000 x 4 ion: . the fact I rendered three di erent light sources in ZBrush helped in the composition to simulate a key. I painted the base colours in Photoshop.

Instead I wanted the character to be almost normal in appearance. I only had a short amount of time to get her ready for the cover. all styled with a retro twist. Once the main model was complete. or mutant hybrid. the Rocket Girl. She also has to be visually appealing so the reader would actually want to recreate her. a helmet and also a pistol for her to hold. which has been done many times before. She needed to be both organic and have hard surface elements. which came out in October 2010 Antony Ward is a game developer and animation expert hen designing Jade Raven. so I opted to output a quick Maya render and add in most of the details in Photoshop during postproduction. 03 So the reader also experiences Silo’s hard surface modelling tools. which I will share in this tutorial. We then strip her down and dress her in loose clothing. her initial design has to cover both organic modelling and hard surface modelling. which can be reused on numerous future projects. but with an added something. 3D Modeling in Silo. 01 Because the purpose we make sure we first create a full figure. 138 . rather than the future and give her everyday clothing and a powerful rocket pack. It’s this process. In the end I decided to take inspiration from W the past. we add a simple rocket pack to her back. and then have more refined cloth details sculpted in later. plus I didn’t want to go down the route of the cyborg. and the shortcuts I used. I had to find a concept that fit in with what had to be covered in the book. Designing the Raven Retro Fifties inspiration cover organic 02 To modelling of this character’s creation is for a tutorial. which will initially be modelled.Step by step: Add textures and light to objects Flight of the Raven 2010 Jade Raven was originally designed to be a subject in my book.

16GHz 8GB RAM Expertise Antony has expertise .uk Country UK Hardware used Core 2 Duo 3. lighting Easy-to-follow guides take you from concept to the final render Artist info Antony Ward Username: Anchuvi Personal portfolio site www.ant-online. character and vehicle modelling and rigging Software used in this piece Silo Maya Photoshop 139 . rendering. in game artwork and animation .co.Character Modelling.

We know we want her to be up in the air. It’s also important to add lights to the base of the rocket as we will later be painting in the flames. Maya. Photoshop (2009) I decided to brush up on my game art skills and create a real-time character from the ground up. Silo. I wanted to create someone with a futuristic feel. Materials and textures Giving the character the right look 04 mock up a background image plane so you can get a proper feel for the scene. During this time. I have worked for some of the biggest companies in the industry and have experienced nearly all areas of game development. using similar methods I adopted for Flight of the Raven. with character modelling. Maya. you want to add lots of ambient lighting. first blocking in the main colours you want before adding subtle reflections to her visor and metallic areas. and how it should be lit. It also helps to pick out details previously lost in the shadows. the lighting and the camera position. As this scene is shot in the sky. with plenty of clouds and blue sky behind her. which naturally emit light. set to work on the main For this image. Photoshop (2004) 08 The final step is to apply a rim lighting layer to the materials. To add more detail. We opt to use Maya’s misss_fast_skin_ maya shader to achieve a subtle Subsurface Scattering e ect. MEL scripting and rigging being my areas of choice. to give them more of a denim and leather appearance. we also apply basic tileable Texture and Bump maps to her jeans and jacket. This was back before Normal maps and sculpting became commonplace in the games industry meaning the model and textures were among some of the key areas to focus on. so we’ll work on these first. Her body will be the trickiest part as we’re looking to create more natural skin tones. Athria was born. 140 . I took an existing 2D concept and brought her kicking and screaming into 3D. Photoshop (2008) 07 Now move on to 06 Next. 05 The next job is to nail Red Sonja 3ds Max. Having these and the background in place will help dictate the final look and feel of the image.Antony Ward Artis t I’ve been working in the games industry for close to 16 years now and have been freelance for the last three. which means a bright scene. Kila is one of the characters I created in my first book. She was built in Silo and then made ‘game ready’ in Maya with all texturing done in Photoshop. colours for each element. Before starting work. Kila Maya. animation. Game Character Development with Maya. I was looking to develop my highresolution modelling skills and this seemed like a natural step forward. which the Rim light does perfectly. Showcase Athria Silo. the rest of her clothing.

we wanted to have complete control over how each element looked. The whole body is an obvious choice and enables you to isolate the character renders from the background. The character’s now ready for final editing adjustments. render out various layers of the image. using the resulting image as a mask. We focus on the hair first. The book is published by Elsevier and is out now. the 11 Once Ambient Occlusion pass will darken the existing rim lighting. which isn’t rendered. as the 3D model is too flat. it’s time to start work refining and tweaking the colours. 13 With all the layers rendered. 8ho we render a 10 Next full-scene Ambient Occlusion pass.Character Lighting plans and rendering Apply the finishing touches urs render t ime Resolut 2. also including the main lighting from her rockets. applied. 09 Rather than try to achieve a final render in Maya. To do this. This also enables you to add more depth and highlights around the edges. almost completely redoing it. beneath her so the photons can reflect back up onto her lower half. which you can then combine in Photoshop and tweak as much as you like. but you can also add a mask for her skin so you can work on it separately. so you need to next render a rim lighting layer which will brighten everything back up. 12 Finally you have to decide on which areas you need to mask o and create masks for these. The final steps are to enhance the background and tweak the overall shading and lighting. repainting her lips and eyes before adding the seams into her jeans and jacket. Because she’s in flight.480 x 3ion: .508 3D Modeling In Silo shows in detail how to create Jade Raven from concept to final model. we place a basic Polygon plane. 141 . Next. simply make the existing Rim light white and turn the materials black. Postproduction work Once all the layers are in Photoshop. To do this. it’s time to bring them into Photoshop and organise them into separate layers. This adds much needed depth and detail to the render. as well as painting in more detail. move on to her body and clothing.

along with some extra Rim lights.martinruizl. I have tried to create a wet. I also used an HDR environment for reflections and lighting Website www. and simple Country Czech Republic ush. ne le is e ho sh w a le s hi ha w her. Software used Maya. She uld look at girlfriend’s mot hing that she co et m so te ea cr d to seafood I wante l! ea m r he ng yi enjo 2010 it t é p p A n o B Software used in this piece Maya Photoshop ZBrush 142 . ZBr Photoshop One of the most important things in this image is the octopus’s skin. Subdermal and Color slots of the mental ray Skin shader teresting and to create an in e: pl m si ite to my qu ve the picture the image was the canvas to gi The idea behind on t likes ou ly it al t re in since she and then pr w kitchen. fleshy and jelly-like skin by painting the main colour texture in ZBrush and sending this texture – with a slight colour temperature offset – to the Epidermal.Artist info Martin Ruizl Incredible 3D artists take k us behind their artwor The main Area light acts as a kitchen window in this scene.

but the render time was hell! 143 .Character I chose to use mental ray’s Bokeh shader for the depth of field effect – I like it.

Software used in this piece ZBrush Maya Photoshop Easy-to-follow guides take you from concept to the final render Modelling. sculpting. texturing 144 Artist info Chris Nichols Personal portfolio site www. 6GB RAM Expertise Chris specialises in characters and creatures Country Canada Hardware used Intel Core i7 920.

I Concepts Inspiration behind the scene idea of the design possibilities I collected as much reference material as possible. as I wanted to see what had been done already. but wanted to make sure I had edge loops in the right places so I could get the necessary details into the face. 03 I started out by quickly modelling a head and body that I was going to use in ZBrush. I’m not too concerned about the colours or surface textures as this point. I wanted to show o some of the strengths of the latest version of ZBrush. such as ZBrush’s Polypaint for texturing and Decimation Master for exporting hi-res meshes that have been modified to retain their high level of detail while being under a million polygons. I had about three weeks in all to model/texture and render the scene ready for the event and wanted to try out some things I hadn’t indulged in before. firstly of artists’ interpretations of Cthulhu. 145 . my version of Cthulhu begins to take shape until I’m happy with the overall look of the design. namely a few of the brushes and tools and the amount of polygons it can handle. Next I collected pictures of squid and various other cephalopods to give me some ideas for shapes and textures. but just want a good idea of what I’m about to model. All in all I was presented with some interesting challenges. I had done a sketch a while ago and dug it up to consider modelling it. but enjoyed the project thoroughly. 01 To get a good 02 Starting with simple sketches. I could have used a generic base mesh.Character Step by step: Create a Lovecraft legend Cthulhu 2009 I wanted to create something squid-inspired because I like the texture and to play with scale and colours to make a dynamic image Chris Nichols specialises in modelling characters and creatures n November of 2009 I was asked by Pixologic to present at the Vancouver ZBrush User Event and had some ideas to make my own version of HP Lovecraft’s Cthulhu.

but learned a lot about texturing and setting up shaders. Photoshop. Showcase Creaturing the creature Cthulhu starts to take shape to ZBrush to start the sculpting. Rendered in mental ray. I started to manipulate the model into a menacing pose and commenced sculpting all the fine details into the skin surface. Starting with the head. Spin VFX and CIS Vancouver. 04 Exporting the geometry The Merc Maya. 05 When I had This is the first character I modelled. I sculpted a lot of the rough bump details using the clay brush and went over with alphas for the finer detail. Photoshop. So I then had my UV’d animation mesh with all the levels of detail from my ZTool transferred across so I could continue refining the model. Next I imported the body base mesh and started fleshing out the main forms just I like did with head. colour-corrected in Photoshop. but in case I wanted to animate it later I went ahead and retopologised the mesh then UV’d it. in ZBrush. I used di erent alphas to build up my colours and surface texture. This can take a bit of time to refine the edge loops. I spent a long time painstakingly laying out each scale much of the time. Photoshop.Chris Nichols Artis t Growing up in Australia. ZBrush. and worked on short films and TV shows locally. ZBrush . ZBrush. Polypaint in ZBrush. a hair plug-in for Maya. 07 Using Transpose Rock Lizard Maya. It was really used as a learning project. mental ray (2009) I made this as a model/texture study and to test out Shave and a Haircut. mental ray (2008) 06 I exported the new base mesh into ZBrush and accepted the option to transfer the details from the old ZBrush model to the new animation mesh. mental ray (2009) I made this as a texturing exercise inspired by photographs of Galapagos iguanas. keeping everything symmetrical. helped decide the scheme. I got the head to a point where I felt there was a sense of completeness without getting into too much detail with the face. I modelled all the geo out in Maya first. In 2007 I moved to Vancouver and have worked as a modeller/texture artist at such studios as Bardel Entertainment. Screenshots. I kept going back and redoing parts of him until I finally finished it o in 2008. 08 Beginning with 146 . to understand the modelling and texturing process. I worked out the patterns and colours that would cover Cthulhu. I began 3D back in 2004 after completing graphic design school. referring back to my various references of cephalopods. UV’d the meshes and sculpted the face expression and the skin details in ZBrush. that began back in 2006. a complete mesh I exported the model back to Maya and rebuilt the animation mesh over the top. Gunslinger Maya .

This way you’re only limited in detail to whatever your UV map is set up as. ZAppLink exported the changes back to ZBrush.Character Refining the detail Making the monster come alive was painted to a certain level of detail. subdermal and overall. toenails and rocks were mostly painted with Polypaint and ZAppLink. di use. imported the decimated meshes and creating shaders for all the geo.000 x 2ion: . once saved. it was time to set up a render in Maya. which were used to create a translucent slimy skin. and three colour cards for reflections. I began texturing the eyes using the same technique as before. Using photos and di erent brushes. but this leaves you with a fairly low-res texture. This condenses the creature mesh from 17 million polygons to 500k for export. base and anything else at a high resolution using ZBrush’s plugin. render t rs ime Resolut 2. skin 13 The material was set up using mental ray’s SSS shader and the colour map was converted into multiple skin layers such as epidermal. I exported out the posed model. Clicking ZAppLink will export the screenshot to Photoshop where it can be edited at high res and. I set my document size to 4. I then rendered out six passes. I used a simple rig of about three area lights and one spotlight. 12 In Maya I set UV map details Cthulhu UVs were all in one map for this project as I wanted to do 80 per cent of the painting inside ZBrush. I refined the surface.554 2 hou 11 Now that the creature was modelled and textured.360 and zoomed right into the area I wanted to refine. and the texture maps were refined further in Photoshop with numerous rock and stone overlays.480x3. The fingers. reflection and multiple speculars and then comped them all together using Photoshop. an IBL node with an HDRI mapped to it. the 09 Once creature 10 After the creature was complete. To get crisp enough details I recommend blocking out the main colours with Polypaint. project those details onto the mesh. Decimation Master. up the scene. I started using ZAppLink to export screenshots into Photoshop. giving it a higher res of detail using the Polypaint work as a guide. 147 .

texturing Artist info Software used in this piece 3ds Max mental ray Photoshop ZBrush Daniel Schmid Username: DanielVFX Personal portfolio site http://danielvfx. texturing and Country Mexico Hardware used Dual Xeon quad-core 2.Easy-to-follow guides take you from concept to the final render Modelling.cgsociety. He is a co-founder of Exodo Digital Workshop .33GHz 8G RAM Expertise Daniel’s work includes shading. lighting.


Step by step: Create Pixar-style artwork Well Done
Create a cartoony character with vivid colours, which is both charming and visually appealing to the viewer
Daniel Schmid specialises in lighting, rendering, shading and texturing


his is a quick tutorial based on the creation of the image Well Done. The idea came from our concept artist at the company, Salvador Ramirez (http://www. The minute I saw the concept drawing I started to visualise it in 3D.

Soon I had fellow workmate, Omar Sealtiel (http://, interested in modelling the character so I could work on the textures, shading, lighting and rendering. My main focus was to experiment with lighting techniques I hadn’t previously tried. I wanted to

achieve a Pixar look, and also to give the viewer a pleasant image full of bright colours and with a good composition. I dedicated a lot of time to the smallest details such as lighting tone, texture quality and overall mood so the image could ultimately exude a warm feeling.

Designing the girl
Inspiration behind the scene

where my sister teaches, I notice how nice it is to see the kids at play and enjoying themselves. It makes me think to myself, “If this works for real life, it could make for a fun digital painting as well!” Once back home, I draw this little girl from memory.

01 On a visit to the school

02 I use primary colours

and funny proportions to enhance the cuteness of the character. I also search for references that I correct later to give me a nice guide so that I can paint the textures as clearly as possible. The overall aim is to make her look interesting and mischievous.

beautiful girl with pigtails who I feel is reminiscent of Pixar-like characters. All she needs is to be given a few articles that will tell us something about her and make her look more natural – hence the star on her forehead and those yellow rubber boots. Concept complete!

03 I end up with this


Daniel Schmid

Artis t

I have worked as a 3D artist for nine years in several animation studios in Mexico. In the last few years, I have specialised in lighting, shading and rendering. Now I work as CG leader giving the final look to work at Exodo Digital Workshop of which I’m a co-founder.


Creating the model
How the figure was created
Character model by Omar Sealtiel

05 For the hair, I use 04 To properly define

planes to define the primary locks. After this, I add smaller planes ready to start populating, repeating this process over and over until the point in which I use renderable splines to add finer details to certain areas, eg the pigtails.

volume, I model from general to specific; this way, I can draft the main attributes of the character. As the goal is to produce a still image, I model the character in her final pose. The downside of this is that this makes the texturing process more complicated.

La Hacienda 3ds Max, V-Ray, Photoshop (2004)

The inspiration for this scene came from stepping into Guillermo Fernandez de Castro’s lithography shop one day, and thinking it would make a nice render. This scene took about two months to complete, because I was only using my free time to work on it.

The Barren Citadel 3ds Max, Photoshop, mental ray (2008)

This was the result of an eight-week matte painting workshop I took with David Luong. All the city was modelled and roughly textured in 3ds Max. The final matte has four passes: Global Illumination, Ambient Occlusion, Z-Depth and Volumetrics.

basic model topology and creases in the cloth, I export the character to ZBrush. There, I minimise the perfection by reducing the model’s symmetry, giving a more organic look. I export from ZBrush with three subdivisions.


After I’ve polished the loops of the

needs to be simple yet visually appealing. My colleagues and I think through the elements of the scene for a good composition. After a few tests, we decide to go with a wooden floor, a simple wall, a bureau and a make-up box.

07 The model of the background

Magma Memories Photoshop (2010)

This is the first from a series of three matte paintings I have to complete this year. I’m trying to experiment in natural landscapes and then hope to move on to urban landscapes. This is my first matte painting in which no 3D was used at all, just pictures.

to model as the furniture topology is fairly simple. The model is made using primitives. For the edges, I use a Bevel profile, and likewise for the make-up box. As for the concertina supports of the box’s lid, I use a shape with an extruded spline.

background 08 The is quite easy



Finishing the design
in this image is to work with the skin shader and this is what I dedicate most of my time to. I’ve discovered from previous projects that there must be wellestablished lighting before testing the shaders. This is why I build a rough lighting setup before anything else.

09 My main goal

Giving the character the Pixar look

10 I always thought

the lighting of the piece should be subtly contrasted; this way I can get delicate light bouncing in parts where visual attention is critical. The lighting setup is the basic threepoint light formula: a light simulating the sun, a Fill light in the left side and a Back light simulating the reflection o the wall.

render t ime
Resolut 2,688 x 3ion: ,500


the scene’s mood with a basic lighting setup, I focus on the skin shader. I use the SSS Fast Skin shader, which can be found on Zap Andersson’s blog (http://mentalraytips. This shader gives you more control over reflections and also the material specularity.

11 After I define

the overall look of the shader, I proceed to texture the most complicated elements of the scene such as the sweater, the bag and the skirt. This means I can get a rough idea of how all the elements are working together and also check if some tweaking is needed in the texture values or the lighting setup.

12 When I’m happy with

Colours and materials
The biggest challenge for me in this image is to achieve the look I have visualised with the combined e ects of the lighting, skin shader and the character’s clothes. If we look at the original concept art, one of the main characteristics of the little girl is her multicoloured sweater. As a result, its modelling turns out to be a significant element as I don’t want it to look too rigid or heavy. This is why I decide to go to town with the knitting texture. I achieve this with a good Bump map and some fine tweaking in the Di use channel.

13 After I texture the background,

I work on the paintbrush in her hand. For this I create a new file so I can control the lighting and rendering parameters properly. The last step is to gather everything in Photoshop in three layers: the character, the background and the brush. With a few final tweaks, I have the result I want.



Artist info
Murea Radu Iuliu
site Personal portfolio k www.sensestudio.t Country Romania Software used y 1.5, 3ds Max 2009, Vra Photoshop CS5 Artist bio dering was to The goal of this ren and also to relate to the viewer . This is express movement use of the gained through the balance k of sky that gives a lac ore to the image theref ling of accentuating the fee ow the thr o als movement and resenting beam of red light rep the centre the tra c that shifts lding. bui of attention onto the rt Hall Image name Conce


Grand designs ................................................. 158 Texturing and lighting architecture ..........164 Creating a stylish museum building ..........168 I made this: Viktor Fretyán........................... 172 Interview: Kuan Studio ................................. 174 I made this: Anton Cherenko ....................... 179 Creating a mansion ........................................180 I made this: Luis Tejeda.................................186 Interview: F10 Studios....................................188 I made this: Arkin Esref ................................. 193

Vray.Adam Grania Personal portfolio site http://eden-3d. Image name Bahai Temple 154 Artist info .cgsociety. I came across a photo of a temp le in Chicago. I decided to give it a try. It was a marvellous harmony of composition that immediately got my attention. Being aware that modelling such a beautiful temple wouldn’t be an easy task. a trial of skill and patience which was worth all the time and e Country Poland Software used 3ds max 2010. Photosho p Artist bio While browsing the internet. It turned out to be a tremendous adventure.

Image name NYC 43rd Stre et Artist info 155 . Vray and Photoshop Artist bio Since I have always been fascinated by New York I decided to create the 43rd stre et with a view towards the Chry sler building and Grand Country Denmark Software used 3ds Max 10.Architecture Dennis Kaya Iversholt Personal portfolio site http://latter.

Maxwell Render. 2010 Rudolf Herczog Personal portfolio site Country Sweden Software used CINEMA 4D. Photoshop 156 . which I modelled using tourist photos Rudolf Herczog. Fisherman’s Bastion.Artist info A project I’ve been working on for some time.rochr.

I also placed the pivot axis of the building centrally in the image to enforce the sense of mathematical geometry. Hover Country UK Software used formZ. hence the portrait format. 2010 157 .Architecture Artist info Derek Jackson Personal portfolio site www. Maxwell Render. Photoshop I wanted a vertical composition to give a sense of height and stacking. Maxwell’s Shift Lens was used to reduce the amount of foreground yet keep the vertical lines parallel Derek Jackson.

Grand designs 158 Wholey Building © Desmone & Associates Architects .

including Pro’s ability to generate reports and export models in a greater range of file formats. But what if you’re a creative that doesn’t work full-time in the 3D space. with a tool that looks like a pencil. Google’s SketchUp Pro is taking swathes of new creatives into the 3D world. endpoint to endpoint. its users are free to concentrate on what they want to design and build.Architecture Disregarded by 3D purists as being feature-light. and who don’t have the time to truly conquer NURBS and polygons. they often didn’t have the time to master the likes of 3ds Max too. SketchUp began life as a general-purpose 3D creation package. and Style Builder. and released the current version – SketchUp 7 – in 2008. It was created by @Last Software. which allows you to create 2D documents and presentation.” explains Wadsworth. as well as set designers and hobbyists. But as well as the years of study it took them to learn how to create buildings. a small local development or even to model an entire city. it’s designed to be used by those who want to model as a means to an end. but it’s mainly used by interior designers and architectural illustrators. It comes in both Pro and free varieties. so it’s just as good at redesigning your kitchen as it would be to plan an extension. despite the fact that doing things digitally was obviously going to have major advantages. But despite SketchUp Pro’s high-end features. And that’s fine if you’re a modeller or an animator. It is extremely scalable. but instead needs to dabble in it to serve the needs of your wider job? What if you’re an architect? Or an interior designer? The complexity of 3D software slowed the migration of these types of creative profession to computer design for many years. but the free version remains a great package for students or those just getting started. the attention of the giant search engine was well and truly grabbed. Instead. which enables you to customise your display styles within the program. But then came SketchUp… and everything changed. There are many other di erences between the two versions. It also comes with LayOut. is not a 3D program aimed at 3D experts. “Draw an edge. despite its power and potential. its users continue to be impressed by its straightforwardness. 3D software is incredibly complex and can take years to really master. Poz Watson discovers why architects and interior designers are leading the charge A s everyone reading this magazine knows. connect three or more 159 . Google bought the package in 2006. you work full-time in one program and you have the opportunity to learn all of its little software tricks at the same time as you learn your craft.” And that being the case. but when the developer released a plug-in that enabled it to work with Google Earth. SketchUp is designed for 3D modelling just like 3ds Max. “There are only a little over two-dozen primary modelling tools. and the former retails for £354/$495. Architect and illustrator Lewis Wadsworth (http://lewiswadsworth. rather than animators. Maya or Blender. But most interestingly. with the USP that it was easier to learn and start using than any of the others. puts it simply: SketchUp has “an utterly transparent interface.

He is a big fan of SketchUp too. Adam Warner. ease of use equals speed of use. and bang. a freelance designer who specialises in architectural illustration.” Argentine Ricardo Cossoli is a partner in Three Dimensions ( The world is your oyster after all… Palazetto adsworth © Lewis W edges. and are then taken into a program like 3ds Max to add some of the more CPU-intensive items such as vegetation. senior designer at Lowney Architecture.” Using SketchUp end-to-end isn’t an option for everyone though. just off the coast of Antarctica. blogspot.” And of course. are pushed to SketchUp’s polygon limitations. a company set up in 2008 to provide high-end architectural images for real Larger projects always start with SketchUp. As a structure located on Deception Island. cars and other highpoly-count items.” Tim Sloat.” Alternatively. given that most of its users admit that they have to use other programs as well to get their work done? Greg McHugh. as with 3D Warehouse. whether a small cottage or a large apartment building… and we use SketchUp for everything from design to modelling an entire project. It was so easy to learn and very intuitive. allowing you to utilise a world of data into your own projects. “We always try to make the best quality images possible. Architect Lewis Wadsworth explains that the combination is “very useful for conceptual work. and are then taken into a program like 3ds Max to add some of the more CPU-intensive items such as vegetation. which means it 160 . terrain and satellite-photo texture into SketchUp. so the immediate local terrain you see in the rendering is in fact largely imported from Google Earth into SketchUp.” So why is SketchUp so loved. regardless of the size of the project. “Larger projects always start with SketchUp.” But simplicity alone is not enough to account for the app’s success. and says. tells a similar story: “We began playing with it four years ago when looking for an alternative to Revit’s clunky concept design tools and it quickly became the concept and schematic design tool of choice. The application only presents you with the tools that are applicable to the job at hand.Thiel Chapel © Desmone & Associates Architects Go global with Google Earth Being part of the Google family means that SketchUp integrates happily with Google Earth. you get a surface! Hit that surface with the Push-Pull tool and you turn it into a volume… Draw an edge on a surface in SketchUp and it splits it into two surfaces… Push two objects up against each other and they become one object. in a depressed economy. you can turn your hand to a bit of geo-modelling. and use SketchUp to create elements to be included in Google Earth. For instance. cars and high-poly items Stormhouse © Lewis Wadsworth estate and construction. explains. It’s simple to import a bit of the virtual globe. and many companies and individuals use it as one component part in their workflow. SketchUp backs this up with “a sort of intelligent second-guessing.ksfhome. if I don’t have enough survey information for a project or if I need a site model fast. not using any other modelling program. are pushed to SketchUp’s polygon limitations. I also use Rhino to make more organic-looking elements. from a home furnishings and interior design firm in Washington state (www. which won the 2009 BSA Unbuilt Architecture Award. says simply: “I hate changing software – but the first date with SketchUp won me over. At times. As Wadsworth notes. Wadsworth obviously couldn’t visit himself and “could only find some dated surveys of the site. com).” Wadsworth made use of Google Earth on a project he calls Stormhouse.

I collaborated with another designer at the architectural firm which had just introduced its sta to SketchUp. Sloat says.Architecture costs less. you have a pretty powerful arsenal of modelling tools at your disposal. they won the bid. The firm specialises in commercial and mixed use projects.” The team also made use of 3ds Max and Google Earth. the first thing I do is open up SketchUp on a PC and start modelling stu . The software’s name is not inappropriate. “It allows us to quickly experiment.” Oakland Safeway © Tim Sloat/Lowney Architecture Oakland Safeway © Tim Sloat/Lowney Architecture The design for the new Oakland Safeway (pictured) was primarily created in SketchUp. I almost said ‘sketching stu ’. Wadsworth says. Of course.” Needless to say. aerial imagery and site visits to construct the immediate surrounding context. California Lowney Architecture (www. We produced some very impressive presentation materials in a three-week period. and works closely with the boss Ken Lowney. its users can forget about how they create things. The creation of images to show the community was vital throughout the project. explore and experience design possibilities in three dimensions. “Our SketchUp-generated walk-through movies are our most powerful presentation tool when it comes to communicating the experiential aspects of our designs to clients or the public. and the architects to “tackle the concept and schematic design” of their projects.” SketchUp on the job Architectural firm Lowney explains how it used SketchUp to design a new Safeway store in Oakland. “It’s powerful enough to do professional work but not so powerful that it bogs down one’s ability to get fast and ‘friendly-looking’ results. the state of that information is not always ideal.lowneyarch. but also used surveys.” notes Warner. given that Lowney “not only constructed the proposed project in SketchUp. as well as is a full-service architectural company based in Oakland. almost as easily as drawing by hand. Sloat admits. which has employed them to “design new stores and expansion/remodels in more urban areas and in communities especially sensitive to the need for creating architecture that relates directly to the community. SketchUp has come the closest yet to re-creating that experience. I produced interior room designs with SketchUp and Artlantis. “Workflow is a challenge between Revit and SketchUp [since] we can easily export 3D information from one into the other. Expressing his views on the app.” The proposed design has been well received and is currently “in the process of being entitled for construction by the city.” Lowney also uses Revit for site plans “and for studying the complicated grade and floor level changes as they related to the project along its block-long length. but really with SketchUp the one is the other. California. McHugh’s firm is a small one. The intuitive and immediate connection between the tip of a pen and one’s mind is something that CAD technology has been striving towards for years for the every-day architectural designer. the great thing about working with a program like SketchUp is that you can tailor it precisely to your needs by making use of all its Ruby Scripts and plug-ins. and Sloat notes. and one of its largest clients is the grocery retailer Safeway Inc. But perhaps the real reason that SketchUp has become the de facto tool of architects and set designers alike is that by being first and foremost 3700 Bigelow Blvd © Adam Warner/Desmone & Associates Architects an intuitive program.” Sloat adds that the program is “unbounded by the need for constant technical input (like most BIM programs require) for free-flowing idea generation. “If I have an architectural project in mind. He primarily focused on the building exterior. Senior designer Tim Sloat has been with the firm for five years. “We participated in a competitive design contest against a much larger architectural firm. and concentrate solely on creating them. and it recently partnered with a medium-sized architectural firm on the pitch for the $13 million expansion of the Lucky Eagle Hotel. “If you combine the native tools with several of the great scripts written by talented developers on the SketchUp forum.” And that ease of use was needed.” 161 .

so if you’ve created something you’re proud of then you can also upload your own models to share with other people. all these lines. SketchUp is also easy to present with. it’s easy to go straight from designing to presenting. with the ability to manually explore the model in perspective 3D during meetings. “When I worked for other is the place to go. http://sketchup. your SketchUp designs can be rendered in the 3D Warehouse Victoria © Greg McHugh Cork Factory Restaurant © Adam Warner The world is a big old place. So. Sloat explains.” says Wadsworth. once you have put the detail in. That doesn’t seem to happen with SketchUp’s more ‘painterly’ images. “With easy-to-apply and edit Beach Hut © Adam Warner textures.” Of course. a building design that relied on lines as a shorthand for window mullions or expansion joints in plaster. 3D Warehouse was designed for the purposes of collaboration. whether you want to search or upload. google. the public – not all of whom may be familiar with the process. There you’ll find thousands of 3D models that you can download and use in your work – everything from detailed real-world landmarks to more generic components to all the trees. simple but effective ‘face me’ components and seemingly unlimited combinations of ‘styles’ that we can tailor to the project and client. then just head on over to Google’s 3D Warehouse. The scene tabs facilitate easy 3D presentations to clients. waterfalls and scenery decoration that your heart could possibly desire. your models could be included on the 3D building layer of Google Earth. “I found clients could be intimidated by utterly realistic images. “SketchUp uses lines as a means of expressing edges and design compositions much the same way one might use lines drawn with a pen. for instance.Office Interior © Tim Sloat/Lowney Architecture And what Sloat calls “friendly-looking” results are crucial in a situation where you’re showing your designs to a wide variety of people – the clients. isn’t it? And if you don’t have the time or inclination to model all the buildings that surround the building you’re designing. 162 . becomes a muddy mess. but the building must be modelled to a much more detailed level at this stage if it is to achieve legibility. and couldn’t see past such triviality to the more important design considerations. And if Google deems them good enough. “The lighting might be more realistic and the glass might actually reflect like real glass. once transferred to a true rendering program. They became agitated over carpet colours or curtain patterns.” And this ease has meant that some users don’t even follow the usual model of rendering their sketches into ‘finished’ 3D models. and the design information they might have been suggesting are invisible and only the faces matter. so those friendly images can be produced on a regular basis. So suddenly. However. etc.” And as well as being easy to design with. Sloat adds. the planning officers.

163 . free-flowing items. com/vray_for_sketchup) too: “I use V-Ray for all of my rendering.” So while some programs may hungrily add features with every new release.artvps. John Bettis and Luca Paganico traditional way and some fantastic results created. global illumination or anything like that. and also adds. but we decided to stay with V-Ray because of the successful integration between the programs.googlesketchuptutorials. “To render all of our images we now use V-Ray but started working with a free program called Kerkythea and.” Other users opt for Shaderlight (www. you could take lighting into consideration while developing your design. or dump the whole ‘real-time’ shadow idea in favour of a quick rendering system that would generate shadows from multiple light sources.sketchupartists. Become a SketchUp Pro If you want to learn more about and then more can be found at www. you can find out more about the app from the o cial site’s blog (http:// sketchupdate. plants. Arc-vis pro Cossoli says. http://sketchucation. But the SketchUp developers haven’t really updated the function since I first learnt the program. and www. when you need SketchUp to be the end software. “Support for proxies. the first place to head is http:// sketchup. I couldn’t be happier with the results I get from it.blogspot.vray. I really don’t need reflections. etc’ real-time shadows – in other which is what most users or LumenRT (www. sculpted.” Warner echoes this plea. “It’s still di cult to create more organic 3D items. there is another problem: “SketchUp was the first program I used that had Despite the affection the architectural community clearly feels for SketchUp. If you then want to venture further afield. including its training information. noting that if there were “more modelling tools then you could avoid having to use so many plug-ins.” Warner is a fan of V-Ray (www. and Wadsworth wishes “Google would deal with Twilight Render (for beta testers). though this is just personal taste. and there’s all the information you need to get started. If you’re tutorialmad. ‘It’s still difficult to create more organic 3D items. For Wadsworth. www. SketchUp’s appeal to the architectural audience seems to lie in its continued is a more general architectural forum that has some keen SketchUp users. such as rocks. Once you’re up and running. there are features that many wish it had. And with rendering tools. I just want to be able to place some light sources in my SketchUp model to see how the lighting a ects my design and where the shadows McHugh admits. such as rocks. connection to Google Earth and Warehouse 3D and the vast array of scripts available online – might its charms begin to appeal to the wider 3D community? and instantly see the results in the application window.Architecture Concert Hall © Ricardo Cossoli Delahouse © Ricardo Cossoli Savoy Restaurant © Chuck Sanders. For my work. can also be located at has plenty of info. higher polygon count and particle systems” to the wish list. eight years ago.pushpullbar. free-flowing items. If you don’t already have the program.” Other programs have pushed this technology dramatically forward. as well as some great tutorials. although it’s fairly self-explanatory. plants. Despite the a ection the architectural community clearly feels for SketchUp. you can easily download the free version here. raytracing. there are features that many wish it had.” and Cossoli concurs with this. briefly. sculpted. McHugh admits. better animation controls. More of those keen users.

8GB RAM Intel i7-860. 8GB RAM Expertise I mainly work on architectural visualisations Software used in this piece 3ds Max Photoshop After Effects V-Ray Materials.cgsociety.Easy-to-follow guides take you from concept to the final render Artist info Viktor Fretyán Username: Radic Personal portfolio site radicjoe. lighting 164 .org Country Hungary Hardware used Intel Core 2 q9550.

03 This project was anything but subtle. clients prefer a more generic. I’m looking for this kind of drama in most of my work. it means I had a deadline and had to follow certain requests and guidelines. the end result was not satisfying enough for my taste and I decided to make my own version of the rendering. The composition. Hungary. I wanted every image to be really vivid. I mean. As often happens. There are no clean or empty surfaces in the scene. I think it is always an interesting challenge to make a successful image of a place that shows o both an interior and exterior at the same time. 165 . I can rarely satisfy my own expectations for the project. I have to like the design too in order to make nice renders. I decided to make the greenery as spectacular as possible. Consequently. As an architect. the lighting and the materials are quite dramatic. I will explain how the materials for the surfaces were applied and how the lighting was set up. 02 As I said before. It is designed by Satoshi Okada and is under construction at the moment. In this tutorial. I love to play with light and shadow. less dramatic look regarding lighting and composition. Since this was an assignment. since the architecture was so pure. Clients always seem to have a di erent taste in renders and. T Design inspirations The style for the scene 01 Satoshi Okada is a Japanese architect who designed the Forest Refuge known by almost everyone thanks to Alex Roman’s interpretation. I was really excited when I got the chance to work on his new design. trying to figure out what it is. as well as with the colour of the light.Architecture Step by step: Texturing and lighting architecture Normafa House 2009 It’s an interesting challenge to make an image that shows off a building’s interior and exterior Viktor Fretyán has experimented with 3D art since school and specialises in architectural visualisation his image is part of a set of renders on a detached house in Budapest. this image is not part of the renders I delivered to the client. the topic is always important. Every little spot of the image has something on it.

It isn’t as nice. I started using 3D many. VRay. I love the raw concrete material and it features everywhere on these renders. I would like to render daylight and night shots as well as interiors and exteriors with di erent seasons. This altered version of the original render tried to capture the feeling of a child dragged through a museum. Obviously.5 metres. Japan. I can control each one individually. After E ects (2010) map is set like this. although it appears as if there are more. 04 There are no made in the same way. I used only one concrete material. 06 A typical dirt KUMU Art Museum of Estonia 3ds Max. Photoshop. I was working on that project for quite some time. Years later. it is perfect. you’ll figure that nothing has a constant reflection but depends on the angle you look at it. 05 The floor was In waiting. 3ds Max. Hungary. This will be my most grandiose work once it’s finished. this way. personal practice piece I made over a weekend and it included four renders of Tadao Ando’s first realised project in Azuma. It is set in the simplest way it can be: using Hard Wax mode. I found it was actually a good way of making money so I started to dig deeper into arc-vis territory. V-Ray.Viktor Fretyán Artis t I am a 26-year-old architect from Budapest. but those scratches were done externally in Photoshop. many years ago when I was in elementary school. Photoshop (2009) This is a small. Showcase Row House 3ds Max. I enjoyed working on this project especially because I did it in only a few days. 166 .. a 6m-high plane wall needs a completely di erent radius to a 15cm-high vase on a shelf. I used to render a separate ambient occlusion layer. for these purposes. I added the dirt map to every material’s Di use slot. but even plaster walls or fabric. This is the project I am currently working on. And I don’t only mean water or glass. It has a slightly higher IOR setting to get more reflections and the VRayDirt is only set to 1. The same map was used for Reflection and Bump in greyscale too. It is the main aula [atrium] of the Exchange Palace of Budapest. while studying at university. Photoshop (2009) This is one of my favourite renders. 07 The curtain is made from a translucent material. It is similar to using a two-sided VRay material.. effects and building primitive models. The same bitmap is used again for all slots. Material surfaces Adding textures and materials complex materials in the scene. If you do just a little research into everyday objects around you. I used colour correction to adjust the map. I started months ago. I experimented with small animations. but I just can’t seem to finish it because the building has so many great views. The modelling part was insane as you can see on the render. but that meant every object had the same radius of dirt. 08 My final advice regarding materials is always use Fresnel Reflections. V-Ray. It has a VRayDirt map in the Di use slot which has a Radius of 3 metres. but much faster and.

000 12 ho 11 The three lamps on the ceiling will provide the main light in the room. Attached to it. 09 First. 10 Now put in render t urs ime Resolut 2. For these.Architecture Lighting the scene Balancing the interior and exterior Modelling the scene As you can see. we need a global di use light (sky light). once it’s all textured up. Note that this is not a light source. This is probably one of the main reasons I stick to architectural renders: the geometry is always the least complicated. I used small VRaySpheres with a Radius of 0. it will be balanced out. there is a VRaySky which is put in the Reflection/Refraction override. I am really bad at this and everything you see in this image is made from primitives with the fewest and most basic of tools. 167 . It’s a bit bright. 13 This shot of the house from another angle provides an alternative perspective and is a good example of the balance between the two colours – the warm and the cold – and how well they can work together. there are no complicated models in the scene (except for the trees which are not modelled by me).250 x 3 ion: . I particularly love the night shots because of this ambivalent lighting: the blueish outside colours complementing the warm colours of the interior and vice versa. Even the leaves on the ground were scattered manually instead of using the Scatter tool.1 metres. the main light source that stands in for our sky here. We need some supporting light sources from each side. but that’s okay since the override material is white so. 12 And here is the result of the I also needed three VRayPlanes to light the ceiling around the wooden walls on the left. I always want to get over this part as soon as possible. so it doesn’t produce any shadows. It’s a simple bitmap I downloaded from CGtextures. That was achieved by simply adding a map to our environmental override in the VRay render window. I used VRaySpheres as lightbulbs. It is going to be a VRayPlane positioned above our scene facing down and tilted a bit towards the camera. as opposed to a car or anything more organic.

I knew I had to do my own version of it in 3D Viktor Fretyán specialises in architectural rendering 168 .Step by step: Creating a stylish museum building KUMU Art Museum 2010 I was mesmerised by this museum some years ago and. ever since.

org Country Hungary Hardware used 2 x Intel q9550. they kindly agreed to help by supplying all the information needed to start the work. which they’d acquired from the architect. the landscape of this industry has been totally reshaped. this is a good example of making something look great with the simplest of tools! over the internet.cgsociety. 8GB RAM 1 x Intel i7-860. In the end. only a few were useful. I considered this to be ten di erent projects rather than just one. In fact. After the first appearance of Alex Roman’s renders. Some of them were quite influential. since each shot di ers not only in lighting and composition. you will find there are no secret tools – no surprises coming up. I’d have to work harder than before to get any recognition. but most of them were just to gain a sense of the building’s geometry. out of about 150 photos. I came across the website of two students (Ankit Surti and Samuel Gwynn). 8GB RAM Expertise Viktor’s passion is architectural rendering. As you read through this tutorial. Therefore. I always aim to create renders that move the viewers inside emotionally. 169 . It’s as if you can virtually smell the rain. Contacting them.Architecture Design inspirations Easy-to-follow guides take you from concept to the final render The style for the scene Artist info Modelling Viktor Fretyán Username: Radic Personal portfolio site radicjoe. I knew that if I wanted to make something significant. Tha t’s more or less the only part of 3D he considers himself good at 01 The first step is always to do some research: I gathered every photo that I could find of the building from the internet. instead of making one scene and shooting renders from di erent angles. 03 In terms of colour mood. The most interesting render out of the bunch is probably the above scene with the snow. I tried to make every render individual. but in almost every other aspect too. Don’t ever be scared to ask fellow artists for favours. Software used in this piece 3ds Max Photoshop After Effects V-Ray 02 While doing research I think a major change has happened over the last two years in the field of architectural visualisation. I loved this photo and wanted to make a render with the same feeling. including the o cial drawings. who had already modelled the building in 3ds Max some years ago.

Applying Turbosmooth and scaling and rotating them several times. I ended up with some natural-looking winter trees. Late Afternoon 3ds Max. Having switched to Adaptive Interpolation. FFD Box as well as the editing tools for editable poly. models started out as single boxes. Just by pulling vertices and extruding polygons. I converted it into editable poly again and added a Shell modifier. After that. the other 05On side. I quickly outlined the posts. V-Ray. Symmetry. Daytime 3ds Max. The horizontal joint lines of the building’s metal cladding were formed with a Displacement modifier. The tools I used the most at this stage were Lathe. yellowish light from below. except it wasn’t curved. extruded the parts. What I especially liked about this shot is the composition. Photoshop (2010) details as precisely as I could – even the ones I knew wouldn’t be visible from such a distance. Sweep. I had created three kinds of branches.Viktor Fretyán Artis t I have a very strong passion for architecture and have never really tried any other areas of 3D. I created rectangles for the outline of the wall and the windows. 08The leafless tree 170 . converted it into editable poly and used Slice Plane to cut it as needed. Photoshop (2010) This is where I tried to achieve the atmosphere I referred to in Step 3 with that evocative photo of a field. V-Ray. I did everything using only standard primitives or splines converted into editable poly images. light and shadow. in a few minutes. The aeroplane that curves across the sky adds a bit of dynamism as well. I prefer the work of artists who create a balance with colours. I made sure to watch the position of the pivot. I love renders with an artistic touch. drawing a spline of only two vertices which were set to Bezier Corners. V-Ray. I used splines again. 06I modelled the KUMU. The horizon line is kept very low. making the building look like it reaches very high and the camera correction also adds to that feeling. 04I started with it was quite similar. then converted them into splines and attached them. I was aiming for a very bleak image with the sun almost set and just moments away from the breaking of a storm. Fall. KUMU. Spring. I loved the colour balance between the cold blue coming from above and the warm. chamfered the edges a bit and attached them into one editable poly. Main Lobby 3ds Max. Showcase Modelling the building Constructing the shapes the main volume of the building. KUMU. which is the green metal wall. This was actually the first render I took. I moved it to fit the plan. so that I didn’t have trouble o setting the railings when using the Spacing tool along another spline. Technical achievements alone are not enough for me. 07For the railing in front. Photoshop (2009) I decided to showcase portfolio images all taken from this particular project.

trick to doing glass that not many people use. I then applied a di erent glass material to it with the same settings. Once I’d applied a rectangle with a Sweep modifier.037 x 2 n: . it was ready. but this time I just used a darker blueish colour. I used a VRayLightDome. I took a snapshot of the viewport from the top and drew a very large bitmap. Usually an HDRI might be used in the Map slot. As for the rest of the scene.Architecture Refining the details Bringing it all together 2-3hours re ime Resolutio 4. I just added a little Noise Bump and simulated the double glazing by cloning the glass and pulling it back a few centimetres. 171 . I cut the holes in it by simply using the Boolean tool and adding a subtle Noise modifier before turning it into editable poly again. I applied it to the terrain by using a Planar UVW Map modifier. 11 There’s a little 12 Another problem that can occur when glass panels are lined up is the reflection breaking at the edge of each panel. 09 The terrain was 10 This might be disappointing for some. To tackle this. I put an HDRI in the Reflection Override slot). I selected every second panel in a chessboard pattern and rotated them a little in all directions. but a slightly altered Noise Bump. Lighting the scene For the main light source.659 nder t modelled using a simple plane that was distorted with FFD Box to follow the slope. Next. The Environment Override was also checked in with a black colour to ensure the background didn’t a ect the lighting. I used smaller VRayPlanes and VRaySpheres with a warm orange colour. but the snow e ect was achieved using a 2D Displacement modifier. I found a drawing of a section of a window and drew the outline with a spline. rather than a particle system like PArray. a 13 Modelling window is one of the easiest tasks. I set the Multiplier to 1.5 and made it invisible as to not a ect the reflections (for which. I used the Soft Selection controls to pull up vertices near the walls. but can add a lot of realism when done right.

the modelling part was the least interesting for me. V-Ray.Artist info Viktor Fretyán Username: Radic Personal portfolio site rg http://radicjoe.o Country Hungary . such as thi Living Room by Night 2008 The composition is always interesting for me. In fact.cgsociety. Nowada or rather than the interi the architecture itself en wh era us vio m a pre decoration. This is fro r renders were smalle in sts ere int in ma my s one. Software used 3ds Max Photoshop Incredible 3D artists take k us behind their artwor As always. it is one of the most important aspects of rendering. I wanted to create a nice living space that is both in order and a mess at the same time 172 . I constantly find myself browsing through free 3D libraries on the internet just to get over this part west from my This image isn’t the ne more interested in I’m ys. portfolio. interiors.

I considered it my best so far. diffuse light from the right Software used in this piece 3ds Max V-Ray Photoshop 173 . so I decided to make a really highresolution render.Architecture Back when this render was made. the IES light sources from the left. the small reading lamp. The final image is 10.000 by 4.000 pixels. and a warm. which really helped bring out all the details The lighting of this image is also interesting because there are several light sources in the scene to make it really vivid: the TV itself and its backlights.

Spain. decided to get together and form Kuan Studio in Montevideo. but our next step is audiovisual postproduction and videogames Company Kuan Studio Founded May 2009 Company website www. To achieve this. The name Kuan comes from the Chinese classic text of the I Ching. V-Ray. I Luis Linares is the co-founder of Kuan Studio Contemplating the project and listening to the client are key elements at the studio. with which the team feel an affinity. meaning contemplation. Rodrigo Peña and Luis Linares. we focus on architectural visualisation and products in 3D. that brought them together to form Kuan.We talk to Luis Linares of Kuan Studio about the philosophy of his new architecture company.kuanstudio. Uruguay. based in South America A Interior Bridges “Watching a classic movie in a modern space” Currently. they concentrate on taking care of details and have a deep sense of loyalty and a responsible commitment to the job. architects and real estate group investors in Panama. architects in Uruguay and Argentina t was as recent as 2009 that three men. as they share opinions in order to reach the best artistic result. which is excellence in the visual communication of projects. Photoshop. Agustín Gutiérrez. architects in Switzerland. It was their common vision and the same Country Uruguay Software used 3ds Max. and is also the 174 . After E ects and AutoCAD Expertise 3D animation Client list Images of products for a design studio in Barcelona. Each member of the team has a specific role on each project: the project manager is responsible for each project to assess and follow up to the final product.

meaning contemplation. We decided that we wanted the interiors of the o ces seen through the windows to appear relaxed. We sought the light that you get from a cloudy sky. with which the team feel an affinity Advertising office This is a personal project inspired by the Facebook o ces. In postproduction. with which we were very pleased. with little direct sunlight on the scene. because this is an advertising agency and did not need to be formal. 175 . the colours of the vegetation and overall image to get a result that blends serenity and simplicity in architecture. working on all the vegetation in 3ds Max and V-Ray. We looked at all the details in the modelling phase. Through Photoshop we retouched the grey walls of the building. the details in di erent parts of the building and the environment are greatly enhanced.Architecture The name Kuan comes from the Chinese classic text of the I Ching. from the smallest to the largest.

B Shower Spa “Refreshing the mind and body in a concrete setting (Mediterranean client)” C D 176 .

so we’re only able to name a few here. Next. E entering into the Swiss and German markets. however. there’s the animation and modelling manager. and finally. either in-house or externally where necessary? What software tools do you regularly employ and why? this particular image we wanted to transmit C Close-up Spa “Close-up of the good life… enjoying the peaceful nature of the sea (Mediterranean client)” D Mediateque “Montevideo’s cultural reflections at dusk” E Loft “Mixing materials for a unique modern style of living in a house in Punta del Este. such as luxury residential buildings and large commercial spaces. Who are some of your main clients? What are the main services that Kuan Studio offers and the areas of CGI that you cover? a warm and comforting mood in the house we were in charge of visualising.Architecture visible face to the client. the art director is responsible for lighting as well as the realisation of the scene in each project. For postproduction we use Photoshop and After Effects. Luis Linares: Currently. Uruguay” We work on every scale across the industry and we take each project as a new and unique challenge 177 . the postproduction manager is responsible for giving the final touch to each image. we use 3ds Max for complex modelling. How many people typically work on one of your projects. we focus on architectural visualisation and products in 3D. We have had clients in Panama for important real estate projects. LL: We are currently designing a catalogue of bathroom artifacts for a recognised European brand. commercial or residential. any clients require confidentiality. but our next step is audiovisual postproduction and videogames. lighting and texturing. because in Do you tend to work more in industry visualisation. We are now LL: We work on every scale across the industry and we take each project as a new and unique challenge. What is the most interesting or rewarding residential project you’ve worked on? LL: The House in Switzerland. or is it an across-the-board approach? LL: As a first phase. As an engine for rendering. we primarily use AutoCAD to model different parts. we use V-Ray.

Also. Spain. which help to enhance the atmosphere in this image. also fire and the stove that further reinforce a pleasant atmosphere. LL: We are a new studio so we have not felt the crisis as others may have. we are in preproduction stage for an independent 3D animation film.The House in Switzerland The House in Switzerland is a project that we loved and enjoyed throughout the production process. we hire external contractors. If there’s a bigger project or we have several projects at once. What are your plans and ambitions for the company in the future? growing on a worldwide scale and enlarge our clients’ portfolio. The building and visualisation industries have both been affected by the global recession. There are specific design elements that were modelled exclusively for the scene. and to grow as an architectural visualisation and postproduction studio. Postproduction was the most important stage to generate this space. We had a good impact abroad and good reviews of our work for the time the studio has been open LL: There are three people who work at Kuan full time. we have been commissioned for modelling and rendering a catalogue of bathroom artifacts in Barcelona. Panama” G Bridges Building “Modern style of living in San Francisco” 178 . This working methodology is based on practicality and efficiency to achieve the best results in a timely manner. Can you give us some idea of the actual production pipeline for producing an image or set of images for a client? F LL: In the visualisation of products. we begin the final rendering of images and/or videos. where we send previews to the client to make the necessary corrections to get the best result in the final product. and we had a good impact abroad and good reviews of our work for the time the studio has been open. It starts with the modelling process. and we all participate in all the stages of creation. From the exchange of ideas with our client came the goal of creating a warm mood using the wood as a motivator of the scene. Has your country and your type of work been affected as well? G LL: Our plans and ambitions are to continue What kind of work have you been doing recently in the animation and product visualisation fields? F House “Cooking and living with style in San Sebastian. Once the previous images are approved. We wanted to convey the cold contemplated from a warm place using multiple items such as wood that symbolises the warmth and serenity. contrasts and e ects allow us to illustrate the idea of the desired space. LL: We want our customers to feel at ease and comfortable. since colour corrections.

Anton Cherenko Personal portfolio site pot.cherenkoart. as far as memory resources were concerned The first step was to find an interesting point of view. GH House was desig Bekerman at th ned by Ronen e Israeli firm.blogs Country Ukraine .ronenbek lenge on erman. ed for participan ts to place in a co choice. The GH House architectural design was great in that there were many good views to explore and choose from. but I wanted to find a unique www. Software used 3ds Max . Du nsky Kornhauser and was provid Architects. one that would distinguish my image from the others The GH House 20 10 Software used in this piece Architecture 3ds Max V-Ray Onyx TREE After Effects Photoshop In order to achieve a more realistic view of the water’s surface. After E ects Incredible 3D artists take k us behind their artwor Artist info The trees and bushes were generated using OnyxTREE’s TREE STORM plug-in for 3ds Max. converted it to editable poly and changed the vertex locations for my canal form This was my en try for the GH Ho use Archviz Chal www. ep the basic ho use geometry. I made a plane. 179 . The envir nt ext of their onment was at the discretion of we just had to ke each artist. which were converted to V-RayProxies to make my work with the scene and image render possible. First. Photoshop OnyxTREE. I created ripples originating from the boat and lamps.

com Country US Software used 3ds Max 2010. at 38. Grass-O-Matic. as some of the areas didn’t work out right with Bump maps and Displacement maps would have been far too heavy during render time. I decided to place each stone block individually. Photoshop CS4 Expertise Ryan makes a living largely from his architectural and interior visualisation business in Denver his rendering was especially important because of its high profile. The most interesting part of the project was that Link was still designing it as I was creating it. mental ray. For that reason. the architect had very stringent ideas of how it should look in both building materials and the general feel of the rendering.000 square feet. With that in mind. The rustication around the garage also proved quite time-consuming. it looks much better on the final render. which sounds laborious. which could have led to a logistical nightmare. One of the biggest di culties was figuring out the pipeline to implement all of the greenery around the estate.ryanknope. It is very close to Washington DC and. 180 . but in the end. This was accomplished by using several MAX files that were rendered T out and the layers blended in Photoshop. it was satisfying to help shape the building and o er my thoughts and opinions during the creative process.Creating a mansion Mansion At 6 Evan Way This was created as a photorealistic detailed rendering to aid in the sale of the largest home on record for its area Ryan W Knope is a freelance 3D artist with 13 years’ experience in the visualisation industry 2010 3D artists explain the techniques behind their amazing artwork Software used in this piece 3ds Max mental ray GrassO-Matic Photoshop CS4 Artist info Ryan W Knope Username: RWKnope Personal portfolio site www. In this case though. it was an important property bound to interest those wielding great power. Larry Link Jr is an old-school architect and used a lot of terms that I had not heard before – many dating back to Greek and Roman architecture.

Once approved. size and positioning. Enough space to satisfy all client needs. texturing. I then moved on to the detailing and refining.Architecture Modelling. Boxing out the structure and defining a viewpoint was my first step. An Edit Poly modifier was used to pull the walls to the desired height. This allowed me to work on the foreground and side landscape while Link was still designing other elements of the home a. I also defined a camera angle. This boxed-out structure mainly consists of renderable splines for the walls and roofs. Boxes were added for the chimneys and patio elements. This made it much easier for me to lock in the framework from the very beginning. a Use renderable splines. Try to confirm a camera early on 01 Boxing out the structure Concept The concept for the mansion came directly from the architect. Larry Link Jr. boxes and Edit Poly to define the structure. postproduction Information about the home: Developer/Owner representative: Michael Sotir Tel: 443-392-6752 Estate Home with great bones and classic new architectural plans. The goal at this stage was to get approval of the overall shapes. A solid early plan and viewpoint was defined by the sketches. Builder is in place to finish home to new owner’s desires. 181 .

Rendering the grass with the trees took a lot of patience. I quickly realised my machine had a very difficult time dealing with more than one grass mass at a time. 182 . Each grass area had to be separated and placed into a different scene. then added another Edit Poly modifier. Some I kept as instances and some I did not. pillars and roof The window mullions. Next I copied a previous spline and matched it to the contour of the walls so that I could use the Spacing tool to populate the tooth along the spline without having to place each one. it was too easy to use ProBoolean rather than cutting them properly in Edit Poly. ProBoolean still saved me time. The stool and apron were created using Chamfer boxes. In the end. in Edit Poly’s Edge Mode. Each tree was between 750. The roof began as renderable splines for each section. A bunch of render settings had to be refined because of the model densities and proxies used. because there were so many. The remainder had to be fixed and welded. An Arch & Design material was applied that included the Round Corners value activated in the Special E ects Material tab.Problems and solutions The most problematic modelling element was placing the vegetation and grass. I used a box for the glass panes. This was both good and bad. I had to buy 2GB RAM to solve the issue. Edit Poly was added and the roof pitches created by pulling the top set of vertices c. 04 Roof rake and frieze c For the roof rakes. I began by extracting lines from the top of the exterior walls. I drew a profile shape for the tooth detailing.000 and 1. Edit Poly and the Spacing tool to add the roof rake Next it was time to cut out the windows.000. From there I created several ridges via renderable splines on the top and bottom of the rake bounds. This eased the tension initially. extruded the shape and capped the object. This was a bit tedious. I preferred to send Link a screenshot showing the windows as boxes through the wall. Next I placed these sets around all of the other open window gaps. with some re-cut in Edit Poly. Thinking about my workflow. This showed location and I could get approval without having to cut them out. For uniform architectural features such as railings/beams the Spacing tool is a great device for saving time d. casings and sashes were created using renderable splines. because I was not willing to sacrifice sampling values. About 95 per cent of the windows were cut using ProBoolean without flaws. Beyond the walls Adding in the main features b 02 Cutting out the windows b Place boxes to get window location and size approval c Roof. 03 Windows. because once I had the boxes in place.000 polys or more. The grass was even heavier with geometry. Pillars started as splines and were lathed. with vertices edited to match the existing depth. but use it carefully b. but I kept track of which were real windows and made tweaks to di erently shaped windows. The white backboard also started as a renderable spline. but then I had to place the trees into the respective grass scenes to get the shadows to work properly. window and pillar creation process d Use splines.

such as Chamfer boxes. then the doorframe and detailing were added with di erent size renderable splines. g Basic construction used 06 Constructing the chimneys The chimney construction was pretty straightforward. The hole was cut into the wall via Edit Poly. adding a bevel and a lip was quick with Edit Poly and basic objects because of distance and shadowed areas d f Construction of the chimney 05 Quoining the corners The quoin stones started o as a box.Architecture 2 8 rend Resolution: 5. once again. These blocks needed to share the same colour as the main stucco finish. The material has a Di use and Bump map and both maps were given a Blur of . the objects were instanced and rotated. box mapping added and an Arch & Design material applied. bevelled and scaled to create the front block detailing. Edit Poly. which I then extruded. For the corner stones. f 07 French doors Making sure that the distance from the camera was kept in mind. Box UVW mapping was used. g 183 . The reverse joints were instanced and mirrored e. The hole edges were then chamfered and boxes with the windowpanes inserted. The chimneys were created fairly fast by blocking them out with basic objects. saving me from having to chamfer all of the edges f.01 g. so I copied the stucco material and added a rough stone texture to the Bump map slot. An Arch & Design material was applied with a Bump map in order to simulate stucco.000 x 2.988 er time hours e e Boxes are extruded to define shape. yet e ective objects. Chamfer boxes were used for the shutters. the doors were created as simple. This material also had the Round Corners option applied. vertices were moved to Edit Poly. Once massed. The doors themselves started as boxes and the holes cut using. though slightly di erent from the average design. cylinders and renderable splines. The blocks were then alternated in size to create the necessary pattern.

h i 09 Applying the rustication 2 Before rendering the final passes. I processed all of the scenes at a high resolution and lower sampling rate (1/4) to make sure that everything lined up perfectly. Photoshop CS4 (2009) The World Has Moved On 3ds Max 2010. Sumiyoshi is a ‘Luxury Living Community’ that has now been constructed in Japan. mr’s Photographic Exposure control was set to Daylight Clear Sky. unless as a last resort h. Once I confirmed all locations and objects as matching. I used Slice Plane to cut through the object. I painted in a lot of shadows and highlights for realism. I set up the render settings and rendered the scene out at a lower resolution (1/3 final size). ZBrush (2009) A fun project for a contest. 184 . I used a sampling rate of 4/16. Sumiyoshi Master Plan 3ds Max 2010. To create an even softer lighting feel. It won second place. Final Gather and Global Illumination were used because of interior and overhanging porch areas i. This same lighting rig was utilised for each scene file. adding more segments to deform. Final Gather and GI were set up. which turned into a money-making career before I had graduated from high school. Block it out 08 Applying the rustication 1 Finish the mansion’s masonry The rustication began as copied quoin blocks. Around the circular patio balcony above the garage doors it took longer. Once rendered. This developed into an obsession over the next year or two. Photoshop CS4. My freelance visualisation business has been going strong for about 13 years. unless as a last resort Ryan W Knope I started 3D in late 1996. Created for Ecocentrix. I placed actual geometry as I didn’t want to use render-hungry Displacement maps. From there my love for the art has never faltered.Lighting and post-lighting The lighting rig started out with a mr Sun and Sky. although I noticed some areas needed some fill lighting. The arch rustication had to be edited quite drastically in Edit Poly. It’s based on a town in Stephen King novel. I added softened white highlights in Photoshop. This went along pretty quickly until I got to the arches. Once I had the left side complete. I then instanced to create the right side. I placed each block one by one in horizontal rows until I could instance them up. I placed actual geometry as I didn’t want to use render-hungry Displacement maps. It is too easy to nudge a camera or move something by accident. but the same methods were used. Fill lighting was used in and over the patio above the garage to help simulate the artificial lighting from inside that room. and over the last two years it has gone international. The Gunslinger. This greatly increased the realism of the shadows and detailing in the model. with BSP2 on. For the final render. I also set up an Ambient Occlusion pass.

Hardly befitting when it came to this multimilliondollar property! 11 Postproduction 1 Once I blended the layers. I inverted some layers to check the hard-edged bounds. but they don’t detract attention from the property l. I had the smoke going straight up and the architect gave me a lesson on how straight rising smoke is indicative of old city slums. Originally. I used varying intensities and shade values. you can never be too careful! Next I began to use Dodge and Burn tools in Photoshop. I began placing each bush.Architecture j 10 Combining the renders in PS k Once rendered. Lastly I set the blending mode to Multiply. so that he could begin picking bushes and flowers. l l 12 Postproduction 2 As Humans Control Nature 3ds Max 2010. h Quoin blocks are resized to fit the smaller areas and cover upper patio walls Smoke i Render settings that I used were not far from defaults sets to be combined prior to postproduction j Some of the di erent render k The areas applied with Dodge and Burn tools. painting on the mask accordingly. I began with a smoke stock image which I found online. I tried to accentuate the highlights and darker spots. the di erent images needed to be brought into Photoshop to be lined up and blended using layer masks. I put the main house in first. With all of the rendered layers in position. Including people was a question from the start. keeping them on di erent layers and assessing shadows and highlights. then inverting back to normal. Starting the vegetation. Around a lot of the trees I added some taller grass stock from the vegetation library for variation and realism k. This layer’s blending mode was set to Overlay. For the blending. l 185 . In my opinion people can ruin the integrity of a rendering. I created copies of the original layers and turned them o . plus a grass detail overlay postproduction added as finishing touches l Various items of Smoke usually does not rise straight up as there is often some wind that whisks it away. blur and reduce the opacity. it was time for postproduction detailing j. where less wind tends to be present. The inspiration was my terrarium. saving them just in case something went wrong with my edits. then began adding the tree layers. For that reason I decided to only place them on the upstairs patio at 75% Opacity. Next I added detail to the yellow frieze with a blackand-white pattern. I had to mask the image. I sent the architect the thumbnail shrub library. Photoshop CS4 (2009) This project started as a contest image and then became an obsession for two months. This gives an element of scale. For the chimney smoke. Since there were areas of similar colour.

trying to get a modern look for the house. I used 3ds Country USA. Z-Depth. Software used 3ds Max Photoshop Incredible 3D artists take k us behind their artwor I chose to make a combination between wood and metal with no brick. specular. I added a red tree to add distinction to all the dark green vegetation It took me about three weeks to finalise the image. of course. refractions. I used a free plug-in called Ivy Generator to do the growing ivy on the wall For the final composition.tutorial-lab. V-Ray. VRay and Photoshop for the final retouching. Spain . shadows and. the render ID with which you get more precision to separate different parts of the rendering by selecting a colour 186 .Artist info Luis Tejeda Username: 3dluis :// Personal portfolio site http luistejeda. reflection. I rendered in different passes. The most important ones were occlusion.

Architecture For the lighting I used VRaySun and a V-Ray camera. I used V-Ray displacement for the grass. I wanted to make the scene inviting to this beautiful house at a certain time in the day. There’s something very serene about a sunset and I wanted to capture this feeling Software used in this piece 3ds Max V-Ray Photoshop 187 . I elaborated a lighting schem e that would ac centuate di erent areas. With some post production. I later added de tails for more re alism. made it darker and erased some parts to make grass patches 2009 Peaceful House This image was an entry for a co ntest where postproduction wasn’t allowed . then in Photoshop I duplicated the layer. I think for exterior shots like this one you can achieve better results.

We talk to Nick Homer about running a small architectural visualisation company in di cult economic conditions a Pressing all the right …to see very positive images of it in full glorious colour. that have been very apparent over the last year or so. The core I What are the main services you offer and areas of CGI that you cover? 188 . A A golden hallway in a hotel designed by LCE Architects b Hotel concept in an urban setting from LCE Architects t’s unusual for anyone to start a business in the middle of a recession. so the team can expand when needed without the overheads. but that’s exactly what Nick Homer did with F10 Country UK Software used 3ds Max. though. If F10 needs other skill sets. West Pier Trust keys team is made up of only three people. and risks. ensuring low overheads and great value for customers. an architectural visualisation firm on England’s south right in the thick of the vibrant and creative North Laines area. as it used to be in its heyday. F10 Studios is based in the heart of Brighton. it can call upon some of the many other local creative companies on the doorstep. but there’s a large network of reliable modelling and visualising freelancers. V-Ray. Blue Edge. By starting out when times were hard. Photoshop Expertise Architectural visualisation Client list LCE Architects. was a very welcome change Nick Homer is the managing director of F10 Studios Company F10 Studios Ltd Founded 2008 Company website www.f10studios. Nick was able to run a costconscious business.

Architecture b 189 .

and with VRay on top. lasting a month or two. so there are always 190 . in the detail. We love to create punchy dynamic images that stand out and grab your attention. We have all been using Max for many years. There are many creative companies based around us. was incredible. Fortunately local structural engineering firm HOP was also able to provide several digital drawings.” Rachel Clark. I think people are so used to seeing colour c weapons of choice and everything we do is created by them – maybe with the odd help from another plug-in or two.West Pier In April 2009. The reaction that the set of images received from people. creating compelling imagery that assists architects and developers all the way from concept design through to successful bid applications and marketing tools. To make images convincing. but on the whole it is a very good bit of kit. and has been a helping hand in some very high profile wining bids such as London 2012 and Glasgow 2014. we find we have a very effective tool set. which was vital for adding all these details. It needed to be a very detailed model. so there were plenty of 3D challenges like modelling from 100-year-old design sketches and worn-out black and white reference photos. a high level of detail was essential. F10’s brief was to capture the true beauty and romanticism of the much loved piece of seaside architecture as it was in 1920. and we feel we did. and the job of pulling all the information together was a huge task in itself. and creating many weathered materials – quite complex V-Ray blend materials were extensively used. Who are – or have been – some of your main clients over the years? NH: Our team has many years of experience working with many UK and international architects like Fosters. and so it is second nature now. Some of these prints had not seen the light of day in years. recreating the West Pier in Brighton. How many people typically work on a project. photos or paintings of it burning down or in tatters. We have also worked together with LCE Architects on a number of projects. and we are looking forward to working with them on future projects to help our cause. some dating back to the 1860s. that to see very positive images of it in full glorious colour. The West Pier Trust also provided plenty of reference photography from the Twenties. and we strive to add as much as possible in the timeframe. was a very welcome change. Like most software. the difference is What is the most interesting/rewarding architectural visualisation project you’ve worked on? NH: Our work last year with the West Pier Trust. Creative director Glen Bruckland said: “The first challenge was piecing together the original plans and drawings.” Nick Homer: We aim to go the extra mile with both stills and animations. who were very passionate about the pier. said: “Being able to preserve and show o to a new generation this wonderful part of British architectural history is extremely important to us. either in-house or externally? NH: A project can range from one person for a day or two for a quick CGI. general manager of the West Pier Trust. The goal was to help regenerate interest in the Trust’s plight. it likes to throw in challenges from time to time. In order for the images to be convincing. which assisted with the main structural modelling. F10 Studios was approached by Brighton’s West Pier Trust to graphically restore the pier and provide visualisations that illustrated the pier in its heyday. Is there are particular style or philosophy that you bring to your projects? NH: Understanding the key messages and What software tools do you regularly employ and why? NH: 3ds Max and V-Ray are our primary working out the most effective approach to each individual project is vital. In all it took over a month to model. as it used to be in its heyday. The stunning visuals produced by F10 have done just that. with detailing going down to individual nuts and bolts. was a very interesting and rewarding project. through to collaboration between ten of us and other companies in the area. which has established itself as the de facto standard in arch vis rendering.

through to collaboration between ten of us and other companies in the area lasting a month or two e International fountain design project f c Busy at work in the F10 Studios o ce.Architecture d A project can range from one person for a day or two for a quick CGI. where a small team means low overheads and costs for the client d A mixed use architectural visualisation theme for Blue Edge f A private residential project showing the latest design thinking in terms of materials and style 191 .

opportunities to bring different specific skill sets on board. We work very closely with our neighbours Blue Edge (, as their skill sets complement ours very nicely – with them producing a broad range of visual solutions that our 3D content can be used in.

Can you give us some idea of the actual production pipeline for producing an image or set of images for a client?

NH: The process can vary depending on the
client and the stage of the design process that we get involved in, but the basic formula

is to start with understanding the key messages. From that we can decide on exactly what the views are of, and so what needs to be modelled. There is no point in modelling things we don’t see, so it’s very important to get this signed off straight away. We then take the client’s 2D Cad files and import them into 3ds Max. Plans, elevations and sections are positioned in 3D, and a 3D model built up from these. We stay in close contact with the architect during this modelling process, as quite often designs are not final or are incomplete, until we have all structural design signed off.


Undoubtedly there has been a slowdown, although there is still plenty of work out there. F10 was set up at the beginning of the recession, and keeping overheads down was always a priority

While working on the lighting and materials, and with all views signed off, we can start adding the extra design details into the 3D model. When all this is complete we render the scene out, using V-Ray elements so we have total control when we are in Photoshop. We will always do a load of elements, in particular a good selection of Multi-Matte elements for individual object control, an AO pass, depth, and also various lighting. Reflect and refract ones are always handy.

Have you been involved in any, or would you be interested in working in, the Gulf states, which house a number of very highprofile projects?

NH: We have done some big exciting

international projects, but not in the Gulf states yet. We would love to get involved in projects out there with other worldleading architects.

The building and visualisation industries have both been affected by the global recession. Have you noticed any kind of slowdown, and what have you done to counter this downturn?

NH: Undoubtedly there has been a

slowdown, although there is still plenty of work out there. F10 was set up at the beginning of the recession, and keeping overheads down was always a priority. In this competitive market this means we can keep costs low without sacrificing quality, which seems to be a winning combination with our clients.

What are your plans and ambitions for the company in the future?

NH: We want to continue pushing ourselves
creatively and technically, and improving our work so our reputation continues to grow. We would love to get involved in supplying architectural work to the documentary or film industry. If there’s a film being made that is set in Brighton 100 years ago that needs some scenes set on the West Pier, then we can definitely help with that right now!

g A concept hotel designed by LCE Architects showing a luxury development fitting into the natural environment

h National Park, design led by Mark Keville of LCE Architects


Artist info

Arkin Esref


Incredible 3D artists take us behind their artwork

Website Country UK Software used 3ds Max 2011, V-Ray, Photoshop, ZBrush

Times of day are always important in visualisation. I really enjoy sunrise and sunset, so I went for a morning feel with the Sun slowly rising and casting a warm glow

Quite a bit of time was spent thinking how the actual site would work; where rebars would go; where they would be stored; what I could add to the scene to make it a little more convincing, etc…

Construction site at sunrise 2011
Software used in this piece
3ds Max V-Ray Photoshop ZBrush

I was surfing the internet as usual looking for inspiration when I came across images of construction sites in Dubai. They showed modern towers going up in a desert environment, and I instantly thought to myself, ‘I’d really like to do an image of this.’ So I began to gather reference images and analysing construction sites – the feel, the atmosphere, etc. I felt that creating a morning image would be best suited to representing the calm before the scene becomes a busy, sprawling construction site…



Interview: Daniel Simon ..............................200 Creating a futuristic flying vehicle ..............210 Get that post-apocalypse look ..................... 214 Creating a magnificent Spitfire .................... 218 I made this: Simeon Patarozliev................. 234 Modelling a sports car .................................. 236 Lighting the Silver Arrow .............................240 I made this: André McGrail.......................... 245 Building a concept car .................................. 246 I made this: Neil Maccormack..................... 252



Personal portfolio site www.skinnercreativ Country UK Software used Blender & Photoshop Artist bio This was my entry for NVART Competition the 2010 held on The the create a futuristic veh me was to icle inspired by the work of concept designer Syd Mead wh famous for designing o is for films such as Alie vehicles ns, Blade Runner and Tron. Image name Orion 5

Chris Skinner

Artist info


Personal portfolio sit e .mx Country Mexico Software used Maya, mental ray, Photoshop Artist bio Inspired by Syd Me ad wanted to portray a work, I wa quiet sci-fi scene, hav rm and main character a veh ing as a icle, something huge and heavy that can look protective and safe at the same time. Image name The Fle a

Carlos Ortega

Artist info


Artist info site Personal portfolio . r Image name Trakke Transport 197 .com www. the the uristic Fut design and render a le as Syd sty Vehicle in the same was my t Mead artwork so tha 10 to goal. Photos Neil Maccormack Artist bio as an entry The image was made ad for the CGtalk Syd Me being to me competition.bearfootfilms d Country Switzerlan Software used hop LightWave 10. I used LightWave ge ima model and render the some r and then painted ove areas in Photoshop.

Vray. Keeping this in mind. I went with a look and feel that decidedly looked futuristic but at the same time incorporated elements from current or yesteryear vehicles. Photoshop Artist bio The concept behind this piece was to design a futuristic automobile that was equipped with ammunition and had defence capabilities. Image name Karmelion Country Dubai Software used 3ds Max.198 Artist info Paul Wesley Personal portfolio site www.

Transport 199 .

Puma. Bunkspeed Move.Company Cosmic Motors Founded 2005 Company website Country Born in Germany. lives in California Software used Autodesk Alias. Rocket Racing League. 200 . mental ray. Marvel. Copyright Daniel Simon (www. Honda Cosmic Motors © Daniel Simon Studio All Cosmic Motors images featured are from the book Cosmic Motors by Design Studio Press (ISBN 978-1-933492-27-8). Autodesk Maya. Photoshop Expertise Vehicle concept design Client list Disney.

a vehicle concept designer using 3D to stunning e ect in his hyper-real visions of a parallel universe mechanics A concept designer creates products that do not exist. It’s about sparking dreams and fantasies in others – and what would the world be without that? Daniel Simon – vehicle concept designer a Cosmic Motors Gravion Racer 25 “Pilot LaGata Donner posing with her winning turbine-powered circle racer” 201 .Transport We talk to Daniel Simon. yet makes people believe that they could.

It’s fun to know a little about everything – aircraft. Nothing extraordinarily new. He also successfully launched his own fantasy label in 2005. all that matters DS: It’s being out of your comfort zone almost every day. nothing. It’s all about the lifestyle: palm trees. Prior to his move to California to work as a vehicle designer on such blockbusters as Tron Legacy for Walt Disney Studios. But it’s not all glamorous: to bring his visualisations to hyper-reality he relies heavily on 3D software and spends a fair portion of his time indoors behind a monitor. for which he designed a global print ad for D futuristic soccer boots. anatomy. materials. There is no package to start from. architecture. blue sky and seductive pilots. animals. I imagine being in a pricey rental photo studio. it is an interesting subject. But after months behind a computer it’s a relief to get outside in the sun and do a production shoot with a real model. Mechanical beauty and female attraction is haunting me all day. no pedigree. fashion. photography. Daniel worked for a number of years for Volkswagen Design and its related sports car brands. Other clients have included Puma. and The First Avenger: Captain America for Marvel Studios. For artists. What are your general feelings about 3D modelling and rendering for concepts? DS: CGI is just a tool for me. A concept designer creates products that do not exist.When I render. so to speak. My life is too short to render images that no one will remember tomorrow b aniel Simon visualises vehicles of all kinds for feature films in Hollywood. What does working in concept design mean to you? You design stunning vehicles and work with beautiful women. history. it’s not about creating production data (although if it comes to manufacturing a vehicle for a movie then very much so). but it’s challenging. I guess. which is a ‘virtual studio’. It’s not easy to stay away from cheesiness and remain classy. manufacturing. cars. Cosmic Motors. Bugatti and Lamborghini. Let software engineers (and God bless them) talk about it. But no one talks about their tool as much as 3D artists about their software. Your art will be seen by a widespread audience from all cultures. Sure. ships. I choose my angles. backgrounds. You can get lost with so much freedom! A concept designer questions everything in the beginning of a project and does extensive research. colours. but don’t over-hype it. lenses. Like a pencil. yet makes 202 . c Daniel Simon: We all look for balance in our lives. It’s a tool and they change every year. as an exterior designer. space. colour… I love this variety and could never go back to a job that handles only one of these things. and why? people believe that they could. What aspects of your job do you enjoy the most. etc wisely. so I try to combine it in my work. where he envisions a fantastical parallel world. It’s about sparking dreams and fantasies in others – and what would the world be without that? So. but more about a spiritual impact.

“Let’s make it into a book. the mood.d Cosmic Motors Camarudo Mono Sport Pod “Made for impoverished racers. perspective. saw my website and dropped me an email saying. etc wisely. full-leg soccer boots” 203 .” I fell off my hammock on a Brazilian beach when I read it. the angles… When I render. The same applies to rendering: for me. I choose my angles. this cockpit is a practical mix of used spaceship parts” Transport e is what you do with it. I imagine being in a pricey rental photo studio. rendering is photography. Scott Robertson. I get so tired of seeing another picture of a HDRI rendered sphere or bauble – who cares? It’s amazing technology and I am still blown away by it. Say something with your rendering! Think about the lighting. How did the Cosmic Motors book opportunity come about. lenses. your feel for proportions. colours. materials. from the galactic story and concepts to the 3D and hyper-real illusions? f DS: In 2005 the president of Design Studio Press. My life is too short to render images that no one will remember tomorrow. the colour temperature. and how long did it take to produce. refurbished by heavily armed gangsters prone to style” f Puma ad campaign “The design brief from the client asked for experimental-looking. b Cosmic Motors Nembiquarer “An exhausted stewardess taking o after a long day on board this lavish business truck” c Cosmic Motors Nembiquarer “This cutaway drawing reveals the truck’s tight interior due to its military pedigree” e Cosmic Motors Galaxion 5000 Gangster Coupe “A streamline limo. We polished the concept of it and all was done in 2007. but why post it on a blog? I don’t get that. dynamics… It’s the creative mind piloting the tool. backgrounds. Your eye. Everybody can take boring photos with a badass camera. I flew to LA.

com Hardcover: ISBN 978-1-933492-28-5 Paperback: ISBN 978-1-933492-27-8 g Cosmic Motors Ice Train at Factory Facility “This composite of render. Cosmic Motors. CoMo. located in the centre of the Galaxion galaxy. This volume only scratches the surface of many of Daniel’s ideas. rendered to perfection and accompanied by hyperprecise design drawings and sketches. and is available to order at www.Cosmic Motors “COSMIC MOTORS is an independent manufacturer of vehicles of all kinds. jet engines. as it is a ectionately referred to by its fans. They are all 3D-built from scratch. photograph and Photoshop painting emphasises the titanic size of the Arctic machine” 204 . was founded by the famous Redooa brothers in the Galaxion year 8966-B.designstudiopress. aircraft graphics and scantily clad female pilots is clearly visible in this collection of fantasy vehicles. so it’s no wonder that work on a second book just started. “CoMo soon became a shooting-star company among the big established vehicle makers in the Galaxion system and countless record-breaking CoMo vehicles steadily caught the attention of the public…” Daniel Simon’s passion for car Cosmic Motors book cover Order at www. 176 pages. is published by Design Studio Press in hard and soft cover.designstudiopress.

I am learning every day. I built a teapot in three days and I immediately saw the power of the tool. try different versions.000 pixels in true resolution. The extensive research also takes up quite some time. But basically. so I guess I’m stuck behind a 30-inch monitor trying to model and machine my ideas. It’s the design work. Per published vehicle I would have about five unpublished. but I am not a fan of that (although some accidents I’ve had have led to cool results). Everything is built from scratch to fit perfectly into the design look. DS: I rely on Autodesk Alias on a Windows 7 workstation. so there’s lots of work to do. You seem to be happy in the old-school world of drawing as well as the computer world of 3D modelling. I’m still not happy with the Gravion Racer on the cover: there is something weird about it in front view. It’s not about the modelling – that’s the fast part. location and postproduction. go back to the drawing board… For example. 64-bit. I was born with a thrill for design. Sometimes I have a day for a model. Some are easy. At that time I was a car designer at Volkswagen. For fast visualisation on productions I run Bunkspeed Shot and Move. became a good friend and an endless source of inspiration. some drive me crazy. I was dependent on modellers – extremely gifted talents – but I struggled with the process. and why? out quickly – I am not even saying on paper. could be digital. I also run a Mac for administrative work. so it’s great to be able to make adjustments with either more 205 . I believe somebody who can draw can work more efficiently in 3D. dealing with full-size clay models. logos have to be designed. I hate computers – I’d rather be the singer of a famous band – but hell. quality showcase. work on Cosmic Motors took about seven years – two years full-time. add a week or so for costumes. Also. For creative lighting and rendering I like mental ray through Autodesk Maya. Most people rely on happy accidents on the screen. sometimes up to two months. I model NURBS. I don’t reuse parts or download stuff. so I am still fine-tuning it. which equates to about 66 megapixels.Transport h Cosmic Motors Camarudo Mono Sport Pod “Built for junior racers to compete for lucrative spots in more powerful racing classes” In total. If it includes a real human model. On a feature film it’s different: it’s all about speed. to render one image I need a few days to find the right angle and lighting. In my work on movies I’ve found that every director is different. 3D software was a blessing for my creativity. It took forever! It was both fun and torture. Most images are 10. But I wanted the book to be more than a quick brain fart – it had to be a timeless. but sometimes I get stuck with old techniques. 16GB RAM and a Quadro FX4600 graphics card (it will be fun reading this again in a few years!). How long did it take for you to perfect your technique? DS: I wish it were perfect. Graphics take days to finish. Can you tell us more? DS: A pencil is a great tool to throw ideas What hardware and software is essential to your workflow. I do many revisions. dual quad-core processor. All maps are custom-made. render daily. Scott. a concept designer himself. Bummer! DS: For each Cosmic Motor I would say oneto-six months per vehicle. It was 2003 when I started 3D modelling. What work is involved in the creation of your hyper-real concepts. and how long does the production of one of these images generally take? Then. different versions.

i Cosmic Motors Detonator Mk2 No6 “Built for bike fanatic droids and unsuitable for humans – the posing cosmic siren is misleading” 206 .

Transport I am fascinated by Daniel’s mastery of detail that is complemented by a thorough facility in three-dimensional realisation of his stunning designs Syd Mead – artist. illustrator and conceptual designer 207 . futurist.

Accept small steps but always think quality. We can talk about it after its release. I moved back to Berlin and opened a design studio there. which is about six-to-twelve months. Sometimes I get hired for one week only. DS: Most feature film projects in What was it like working as vehicle designer in LA on Disney’s Tron Legacy? Hollywood hire about a dozen freelance concept artists – preferably members of a local union – so-called concept illustrators. which later became Cosmic Motors. Through my website happened the book. and this is one of them. but publicity gets you jobs.k Cosmic Motors © Daniel Simon Studio l j sketches or more 3D to get the best design results for the director. blue sky and seductive pilots k Cosmic Motors Nembiquarer Luxury Truck “The front wheels – housing propellers – can swing forward and pull the truck out of the swamps” l Scene of Starting Grid Preparation “Hand-drawn with ball pen and shaded in Photoshop– a fun exercise between computer hours” 208 . for various reasons. Your work has also been featured in numerous art. and how your earlier experiences helped pave the path to these opportunities? Continuing the feature film theme. And I try to be present online – producing a book trailer for YouTube was surprisingly successful. to spark ideas. what’s happening to Daniel Simon Studio? DS: It’s idling in the Galaxion Universe. After I finished. In the feature film design world many things get changed before they hit the theatre. and what other marketing tricks do you employ? DS: Private me is rather humble. design. My local hometown paper interviewed me first. Daniel Simon Studio. a year later Playboy magazine called. I closed it to follow the irresistible call of director Joe Kosinski and production designer Darren Gilford. DS: I can only say this for now: I guess I will be proud of no more than three movie projects before I die. automobile and lifestyle publications. I’m never really done with a movie though until it’s released. I felt it was the right time in my life to take two years off and work on my dream. nerdy interest in all sorts of vehicles. I’ve lived in Los Angeles ever since and work with great people. DS: In 2005 I quit my comfortable design job at VW to move to Brazil to work on my own designs. I hope I can contribute to projects using my experience from the automobile industry and my quiet. through the book happened Tron. palm trees. Can you tell us how you got into feature film work. both print and online. Well. It will look incredible! j It’s all about the lifestyle: cool machines. But the work on this one was different. There is so much talent! I am fi nding my niche amongst them as a specialist for vehicle design. Try to be unique in some way and promote that. I like to stay on board from the fi rst concept phase to fi nal set build supervision. you’re currently working on The First Avenger: Captain America. What are your contributions to this title and how long do your roles on movies like this tend to last? Now you’re working on feature films. two weeks after the opening. to design vehicles for Tron Legacy. How important is it to promote your work in this way.

but I’ve never found the time to bring it to the market. and that reflects in the design. But are there any new aspirations for the future. well. it somehow looks lame and fat. 209 . The freedom can lead to terrible proportions.Transport m Cosmic Motors Camarudo Mono Sport Pod “Brunella XII is the most successful semi-droid on planet Oosfera” You toured through Japan last year with a series of lectures in Tokyo. Each decade of the last 100 years has been defined by what manufacturing process was used in the making of vehicles. Can you tell us more? DS: Proportion is everything. or childhood dreams yet to be realised? When your work on Captain America comes to an end. how part lines run over surfaces. The same applies to shape language. And the lectures were incredibly different to Western events. The way panels connect. Love it! DS: Everybody should travel to Japan.” And then you model something on the computer and start fiddling with volume that you scale up You come across as an artist who has fulfilled many dreams in his career already. so much etiquette. There are so many movie directors out there I want to work with. what’s next for Daniel Simon and Cosmic Motors? DS: If I design vehicles all day I’d better DS: Los Angeles is fast. “Ooh. and a thin line. You think you are advanced? Yeah. That’s the art. A quarter inch here or there will make you think. bent. or even has a crest line. Every Each decade of the last 100 years has been defined by what manufacturing process was used in the making of vehicles. And then there is the next book… In your lectures you talk a lot about proportions and design language. “Oh. Knowing all those subtle differences is only the beginning of a creative adventure and down 20 per cent or so. and that reflects in the design. how sexy!” or. Between a beautiful face and an ugly face there might be only 3 per cent difference. so much bowing! And people are very humble and disciplined. It’s the same with cars. scale model collection for Cosmic Motors. so next should be a pilot’s licence. As for the work. For years I’ve worked on the launch of a know how to fly them. It’s so subtle. graphic and computer design. Sixties. Osaka and Nagoya on car. What was this experience like and how did it come about? inch of that country is designed. Our eyes are so trained over the years to unknowingly find something attractive. my own movie. This city hits you every morning in the face with irresistible job opportunities. That can’t be so hard. right – welcome to Tokyo. Some day. A certain type of radius decides if a vehicle looks Forties. You never know. Knowing all those subtle differences is only the beginning of a creative adventure. I felt like I was on another planet. too. or Nineties. Maybe a helicopter licence one day. You can find some of the best designers there and nobody shows it off. if glass is flat. or not.

Step by step: Creating a futuristic flying vehicle Future Flier 2010 Software used in this piece 3ds Max V-Ray Photoshop CS4 Unfold The mass of the aeroplane is quite simple so that the geometry of this type does not cause problems. even for beginners at model building Michal Kwolek is an experienced professional artist who specialises in 3D modelling and texturing 210 .

The modelled ship now has the look of the original concept drawing. I could start the modelling process. The dimensions weren’t exact – it was more important to get the lines of the vehicle sketched out. At this stage I did not care about details – it was all about creating the right shape of the car so that when it came to modelling. made in Photoshop. the poly modelling for the detail parts was Country Poland Hardware used Intel Core 2 Quad 2. The plane materials are standard materials in 3ds Max. in less than two weeks. lit and rendered in 3ds Max 2008 using V-Ray. even for beginners at model building. Similarly. mainly because a few test renders were needed to get the exact glow and desired e ect. 211 . it would be much easier to keep the form in the right shape. When working on the Future Flier craft. The modelling work was established quite quickly. After creating primitive models. then this model was rendered and composited in Photoshop. modelling Concepts The inspiration behind the scene 01 Formula 1 cars Easy-to-follow guides take you from concept to the final render Artist info of the Sixties were characterised by simple and beautiful shapes. viewed from the side.kwolek. The mass of the aeroplane is quite simple so that the geometry of this type does not cause problems. I wanted to re-create this basic shape. T 03 After an initial vehicle concept I decided to draw a more accurate version. Here I have also modified the vehicle to fit the proportions of the interior elements. The concept was based on the form of old F1 cars.40GHz.Transport Concepts. The most di cult part of the project was the lighting and rendering. When I had the necessary pictures. The first step of the work was therefore to collect reference material for vehicles from those years. The base for the simple model was constructed mainly from primitive shapes in 3D. 02 The first stage Michal Kwolek Username: kreska90 Personal portfolio site www. his tutorial shows the process of creating the Future Flier image from conception to a final render. The postproduction work was done in Photoshop. 8GB RAM Expertise Michal specialises in 3D modelling and texturin g was to work on the shape of a simple sketch. the hangar and equipment were very straightforward. The image has been completely modelled. The typical car shape looked like a long tube with a hole in the front.

Next I added the modifier ‘Symmetry’ to the shape of the tube. but at the last minute I decided to put them on wheels. with the other side being created automatically. Creating it in 3D (originally it was a simple bar sketch) was a pure pleasure. though from time to time does simple rendering and animation. the shape of the two halves was a mirror so the second half was a reflection of the first. max3d. 06 In the next stage 08 When the ship was initially in place it had metal-strut feet. ropes and cables made lines. It was completely created in less than two months. The background and water were created in Photoshop. it was to be realistic. The cylinders were distorted at the bottom edge so as to look as if they were subjected to a load. Andrew 3ds Max. and is 32 years old. Therefore I modelled a simple block. Showcase Modelling the vehicle Creating the sleek lines of the craft 04 I made a model of the ship using the poly modelling method. V-Ray. it was time to start the fine-tuning. The tube was converted to polygons on the object and I removed the field along the y-axis. previously interested in it as a hobby. Not bothering too much about the details. I created the main elements of the ship. All the elements still used the same Symmetry modifier so that only half of them had to be modelled. I started from a simple tube shape with a small amount of polygons. Photoshop CS3 (2008) The work of Kids was created for a competition organised by the Polish portal. Unfortunately. It also qualified for a CG Gallery Choice Award. Photoshop CS3 (2009) Minotaur was formed in a free moment at work. I focused on the shape of the vessel and the proportions between di erent parts. Modifying the first section modified the second as well. The chassis design of the undercarriage is a typical light aircraft arrangement. I just wanted you to be able to see it at first glance. He’s been a computer graphics professional for eight years. V-Ray. it brings much joy to me. I had the idea of making a steampunk plane named Andrew. All kinds of tubes. it now looked liked a perfect tube. it detracts from the whole image. When I decided that it had the correct proportions. He mainly deals with modelling and texturing.Michal Kwolek Artis t Michal was born and lives in Poland. Minotaur 3ds Max. Maybe someday I’ll improve it and make the Minotaur a realistic figure. Now. But I went away from that approach to a more cartoon style. I then cut a hole in the middle and modelled the edges so that they formed a basic cockpit outline. At this stage the most important point was to capture the correct proportions. 07 When I was 212 . It has (like the hull) been completely treated by the Symmetry modifier to make it faster and easier to finish. probably nearly three weeks. This allows you to obtain a symmetrical shape which saves a lot of modelling time. I really like this picture. I made it with appropriately matched tubes that look like pistons. For six years he was working for an advertising agency using 2D graphics. Kids 3ds Max. which were modelled from cylinders. Then the front and ends of the hull were modelled so that the geometry bent inwards into a distinctive air inlet shape. 05 When I was happy with the balance of the preliminary modelling of the ship. Originally intended to be a hero without a shirt. It’s an amazing idea with large chimneys on a plane – I like this type of invention. This image qualified for a CG Gallery Choice Award. aligning the engine I didn’t really care about the technical validity of the construction. pistons and valves. especially the modelling of the kids and their parents. Currently he is working in the studio as the general graphic artist. This work took first place. The model took quite a long time. Photoshop CS3 (2007) Reviewing the work of Daniel Frost. because a realistic weapon graphics. V-Ray.

I had taken a cable to connect things up and use fuse boxes and all kinds of electrics. as well as smaller items of equipment. So I prepared a Di use. First of all I modelled a simple chair and then the handlebars for the steering control. Most of the objects were created from simple solids subject to minor modification. The floor needed a higherresolution texture as the camera was positioned quite low and close to it. I wish I had the room to include a convincing character as well. and a light orange-pink colour was created outside. Besides those. These were placed inside the cockpit. I modelled it with a cube. A V-Ray light to simulate sunlight. The hangar doors were fixed open so that this sunlight could then come in from outside.096 resolution texture map turned out to be high enough. however. bottles. but this didn’t matter as they were in the background. Most of the textures I got free from cgtextures. using a spherical shape. thicker layers of gauze and I added an undulating shape of the roof. The walls of the hangar. Refining the model and adding textures 10 Initially I wanted to present the vehicle in a neutral environment. Bump and Specular channel render. Other textures were already lower resolutions. 1 0 hours rend er t 11 The modelling of Lighting the image I wanted to present the scene at a certain time of day with the sun slowly setting westwards. but the perspective would have looked o with someone in it. With time. 12 The UV maps 13 The textures were prepared in Photoshop. The side structures were done with lines. giving them a proper thickness and rendering options. ime Resolutio 4. it was time to add the details inside it. Knowing that the ship would only be visible from one side helped simplify the UV mapping.250 this scene ends with creating the hangar interior. the whole thing slightly asymmetrical so that sides were not very equal. All these elements were modelled with simple shapes and applied with symmetries. I also tweaked the reflections on the paintwork so that they had a more realistic e ect. The aircraft was also illuminated with spots of light arranged around the area where it rested so that it was nice and bright. were prepared for the vehicle using the Unfold program and exported. Mapping was prepared only for those elements on the side nearest the camera. That concluded the modelling process. possessed a simple map that was added directly in 3ds Max. mainly for the vehicle itself. Then I added seals around the windows and small air vents in the hull rear.096 x 4. I used the interesting shapes of the structures and accessories to create chequered shadows around the hangar.000 x 2 n: . 213 . It needed barrels. despite the sunlight outside. boxes of tools and such elements. Then I was ready to take on the UV texture making. I decided the hangar would be more to the A 4.Transport Adding fine details 09 Having the basic vessel and cockpit completed.

Open Road 2009 Step by step: Get that post-apocalypse look Software used in this piece LightWave 3D modo Photoshop Create a barren post-apocalyptic scene – featuring a Mad Max movie style vehicle – finished with a grungy concept art look Waldemar Bartkowiak specialises in modelling and texturing 214 .

It needs to be rough. Finally. To get the 2D feel. Plus the survivors can load various objects/ resources. which highlights that there are few to no survivors left. the car was customised to make it less recognisable. etc. we found the big. 03 You can’t have a post-apocalyptic vehicle without weapons. Most of the parts need to be rusty. Using parts from both of them. all the layers will be composited in Photoshop. brand new. and the amount of time you spend on planning your piece at this stage will definitely pay o later. LightWave 3D will be used to match the background. 02 For the base. we used a combination of two popular pick-up trucks: a Dodge Ram and a Ford F-150. We want to design a truck that looks as if it could actually have been built in reality.glogow. procedurals and hand-painted elements. the main goal is to create an image. like you might see in the Mad Max movies. but uses 3D tools. or Fallout computer games. a combination of 2D and 3D skills will be Country Poland Hardware used Quadcore Q6600 2. using LightWave 3D and modo. Of course the car also needs custom tyres and a di erent engine that will stick out from the car body. This research part is very important. 01 The idea is to Texturing. realistic car renders out there. which they may discover in this unfriendly environment. using photo textures. rendering and compositing. To create the image. We chose the cliché setting – on some desert road. lighting I n this tutorial. We opted for a pick-up truck for the vehicle as it will be able to carry a greater amount of armour. 215 . 8GB RAM Expertise Waldemar specialis es in modelling and texturing Artist info Waldemar Bartkowiak Username: mancubus build a post-apocalyptic style car. put together from di erent parts – look mean.mancubus. Militia in some countries use pick-up trucks as weapon bases/ fighting vehicles called ‘technicals’. fuel and equipment. We feel that concept art really complements the rusty pick-up truck in a postapocalyptic environment better than any other style. While looking for references. Then. multiple passes will be composited and then combined with overpaint techniques. you can go on to look for other details and references like rucksacks. fuel canisters. which has the feeling of 2D art. mean Russian Kord machine gun that seemed perfect for the main gun. but give it an illustrative finish. The car will be modelled with a large amount of detail.Transport Easy-to-follow guides take you from concept to the final render Design inspirations The style for the scene Personal portfolio site www. For lighting. You can find a lot of shiny. but we want this artwork to stand out from the crowd. dirty. weathered and damaged. showing it has been built from junk and that it has a long history on the road.7GHz. pieces of armour.

but still holding his treasure. which allows me to do a wide range of CG work from drawing concepts. Refusing to let it go. You may need to paint extra highlights on the cloth surfaces to make the wrinkles more visible. scratches. I was trying to get a book cover/ poster look. and starts to slowly sink in the swamp. but the main part of the texturing was done using a Wacom Intuos 4 tablet. Greed LightWave for the base and to add a touch of realism.cgtextures. something has gone terribly wrong. ZBrush. Fusion (2009) Showcase This is my admission for the Polish CGTalk contest. modo. leaks. Don’t forget to add rust to the rest of the metallic parts of the car. Next. The most dusty parts are. Material surfaces Adding textures and materials 04 The texturing process for this project was quite unique in that the decision was taken to hand paint most of the textures instead of using photos. etc. After slaying the monster and returning with the treasure chest. The story behind it feels like a cheesy.Waldemar Bartkowiak Artis t I’m a 3D artist from Poland. He was defeated by his own weakness – greed. To get this e ect. You can also paint drips onto the rusty surfaces under bolts. break them up with some procedurals. he gets stuck in the swamp. we used a combination of photos from CGTextures and handpainted stains of darker rust. On the left side of this image. finally comes to an end. you want to achieve a weathered look. Incident Zero LightWave 3D. 08 The last part of this stage involves painting dust textures. you can see it with a Scratch map applied. this is the time to add the important small details for the finishing touch – such as bullet holes. With the chest full of gold. Photoshop. completing numerous quests and dangerous tasks. You want to end up with di erent variations and stages of decay for di erent parts. and less on the top. In a desert laboratory. like this one. create a mask to get rid of the paint from the metal parts and to show the grey steel underneath. you can see the clear metal. he dies from exhaustion. of course. To do this. you’ll need to use a combination of procedurals and grungy brushes. Try to keep the rust to the seams and on the most exposed areas where there is little to no paint. You can also add some grunge or noise to make it more interesting. so they will need extra layers on the treads. Try to add more dust on the lower parts of the car. creates a great grungy look. while on the right. For my day job. to add the rust to the plates. and also defines the shapes better. We included quite a lot of dust to tone down the colours and make the car blend better with the background. but in my spare time. 216 . My favourite areas of 3D art would be modelling and texturing. This enhances specular highlights. while researching a new bioweapon. Also. I tried to achieve a more illustrative look than a 3D render. which combined with Ambient Occlusion. Paint all the edges with a grungy brush. 05 After applying the base colours to the parts. and make them brighter than the rest of the surface. We did use some pre-made textures (predominantly from www. I like to create more stylised artworks. Procedurals add some variations to the colours and change the tones. The life of a noble knight that fought many battles and monsters. lighting and animation to composition. 06 Now. he was too heavy to move. by using previously created masks. I have a generalist background. A squad of special forces soldiers is sent in to rescue surviving scientists and to retrieve research data. Photoshop (2008) make 07 Next. it’s time This is turntable sculpt from my demoreel called Greed. the tyres. B-class sci-fi movie. scratches in all the metal textures. Start by painting the base colours for the various parts. I create realistic assets.

incorporated into the background. Knowing that the final object would be quite heavy. 11 When you have Modelling the scene While modelling. the biggest challenge we faced was the placement of the details. By rendering everything separately. Color passes for di erent parts of the scene. This is particularly important as we are going for a very stylised and unique look. guns. We wanted to create the feeling that everything had a purpose and had been placed there for a reason. etc) and replaced the proxy models with finished ones. 13 Once all your passes are rendered. We modelled all the details as separate pieces (engine. for example). 1 hour rend er t 12 Once the car is ime Resolutio 4.096 x 2 n: . The base car was modelled from two di erent trucks and later armour layers and details such as screws were added all over – modo’s Mesh Paint tool is excellent for doing this. In LightWave 3D. split the rendering into separate passes such as Occlusion. Firstly work on matching the light angle and brightness. Many polys could have been removed by replacing them with various textures (tyre thread. work in Photoshop to combine them in the right way. At this stage. Don’t worry overly about the environment itself at this stage. so you can then work on matching shadows. Try working with black-and-white images. 217 . which avoids a straight CG render feel. you can start working on the final composition. so the colours won’t be a distraction. The model ended up quite heavy. we started with a proxy model of the car and placed all the proxy details on it. rucksacks.444 the car angle sorted out and the strength of the light matching that in the environment. ammo boxes. you can also start working on the background to give it a more painterly finish. Reflection/ Specular. but with a highly detailed final result. while also trying di erent colour gradings to experiment with the mood. you give yourself more freedom within the composition. try to get the light to match the background and get the same ambient lighting on the car. We also wanted to show the empty road to bring a sense of loneliness and isolation to the scene. Paint the car render itself to fix any errors and to increase the concept art feeling. as you’ll be heavily overprinting it later. Combining and blending all of your passes in Photoshop is the key. you need to find a fitting background. Shadows. 10 When happy with the final staging of the car. but we wanted this model to be able to withstand close-up scrutiny. We have painted some city buildings in the distance to add a little story to the image. use Camera Projection to project the background image onto the ground plate to easily match the shadows.Transport Lighting the scene Creating the environment 09 Before you start to work on the lighting. and concentrate on the contrasting and corresponding shades of grey. We did many tests with various photos and tried many angles to e ectively blend the car into the environment.

com Country Canada Expertise I have been modelling highly detailed aircraft for over three years to use in my aviation artwork Creating a magnificent Spitfire 218 Spitfire Mk5B 2010 .cg-artworks.Software used modo 401 Photoshop ZBrush 3D artists explain the techniques behind their amazing artwork Artist info Dieter Meyer Username: Deetz Personal portfolio site www.

The greatest challenge you will face on this project is the ability to keep the model entirely in SubD without the need to freeze the mesh. Scotland. of course. The benefit. we’ll cover all the aspects of UV mapping and texturing the Spitfire. T 219 . so this tutorial’s workflow can easily be applied to other software. it has been regarded as one of the best fighter aircraft ever built. most 3D packages o er the same general methods.Transport Model and render a realistic Spitfire for an animation or for compositing in your artwork Dieter Meyer specialises in aircraft modelling he Spitfire first flew in 1936 and made its combat debut in 1939 defending a Royal Navy base in the Firth of Forth. There is a great deal of work to modelling an aircraft and I may not be able to cover every aspect of the detailing process. However. is you can control the subdivision level at render time for a higher or lower level of detail depending on your needs. It also allows for a much easier UV mapping process. This project will require a high level of skill and a good knowledge of working in modo. This article will focus on the modelling of a Spitfire Mk5B. I will be covering the major sections of the aircraft and the general process I follow in creating highly detailed models. In the second part of this tutorial. Since then.

02 Adjust to fit blueprint Your next step is to begin adjusting the vertices so they line up with our blueprint. Artis t Dieter Meyer I grew up in South Africa before moving to the UK and finally to Canada. 03 Continue matching adjustments Now continue the process down the length of the fuselage starting with the side profile and then switch to your top view and adjust the width of your edge loops. Use the Edge Slide tool to move the edge loops and pay attention to how they match the flow of the fuselage. Start by adding an edge loop at the rear of the cockpit. This was an interesting project for me as I had not done a bare metal finish on an aircraft before. Next we’ll need to add five edge loops at the tail to create the base of the rudder and begin adjusting the vertices vertically to match the drawing. We don’t want a bulky looking base here. P-47D Thunderbolt modo 401. don’t worry about the rudder yet a. d b Use the conveniently flat it needs to finish o looking fairly sharp. Photoshop (2010) Showcase Modelled and rendered in modo 401 with all of the textures created in Photoshop. The last area to deal with will be the cockpit.Starting the model Creating the fuselage Modelling a Box out the fuselage using a cylinder with six segments and eight sides 01 Box out the fuselage b c The first step is to box out the basic fuselage by making a cylinder with six segments and eight sides. The nose of the Spitfire is nice and flat so we’ll line up the top of the cylinder here. Everything must taper to the rear nicely c. 220 . realistic edges 05 Onto the cockpit 04 Refine the rudder base Here we’ll continue to refine the base of the rudder by adding three more edge loops to help control the thickness. but it was around 2000 when I started using Photoshop and 3D software to create digital art. You will need to arrange the edges after the bevel so they provide a continuous flow with no triangles d. Press Tab to enter SubD mode. Bevel the two faces that make up the cockpit inward and down and delete them. Next we’ll add more edge loops to sharpen the surrounding area of the pit. Take the first set of vertices and make them into a circle to match the spinner b. Give it a basic oval shape and extend it from the base of the spinner to the end of the fuselage. nose of the plane to line up the top of the cylinder c Add extra edge loops with Alt+C and Free mode selected d The cockpit area after adjustments to produce smooth. Make sure its centre is zero on X and delete the two cap faces. I’ve always enjoyed drawing and sketching and using an airbrush to create artwork.

The wings will not join to the fuselage but sit against it.Transport Those distinctive wings Giving the Spitfire its edge 08 Add the distinctive curve Now we’ll add more edge loops along the X-axis to give the wing its curved shape. Remove the faces that are adjacent to the fuselage e. made in modo 401. This is the Alfa Romeo I made for the combination render with my Macchi 205. we’ll use this later when we cut out the control surfaces. Move the vertices on the top edges upwards to give it a rounder shape g. learning about race cars from the Thirties and Forties – very powerful! Alfa Romeo 12C modo 401. Use the top view for initial placement and then the front to get the needed angle. modo 401 being the software of choice with Photoshop used for textures. Extrude the edges adjacent to the fuselage to get the basic wing fillet started. Use Alt+C for Loop Slice and change the count to 5 with Symmetry enabled. g Adding more edge loops h h Placing the wing fillet to form the curve of the wing to sit flush with the fuselage Towards Kharkov modo 401. e Included on th Spitfire Mk5 e CD is the full B modo 401 so model for the finished you can study result. Photoshop (2007) 221 . and then scale the end down using the Action Center>Selection option. Next we’ll add some edge loops to start creating a better wing shape. using various views making the leading edge of the wings round 07 Hone the wing shape Move the front top and bottom edge backwards to give the wing’s edges a round form. and depicts the advance on Kharkov in early 1943. Photoshop (2010) This image uses my previously made Marder III H. making sure it’s very thin. g 09 Join wings to the fuselage f 06 Create the wings Begin by adding a cube with three segments on the Y. Once you have made the fillet. e Boxing out the wings and f Adding edge loops and tailplanes. You will need to add edge loops as you go and continue to refine the shape. Repeat this process for the tailplane f. The backplate is a combination of photographs I took with a lot of painting in Photoshop. add a small bevel to the edges that are nearest the fuselage to simulate the folded steel h. Use the Loop Slice (Alt+C) in Free mode with a count of 2 to add the edge loops. Do the same for the rear of the wing. This was an interesting project for me. Use the top view to ensure the rear edge lines up with the aileron edge on the drawing.

An easy method to organise your meshes is to right-click on the layer and choose Fill Colour or Wireframe Colour to better distinguish them. Use the Bridge tool with three segments as we’ll need to join the vertices onto the trailing edge of the aileron. Rolling and climbing 10 Form the ailerons – Part 1 In order to cut out the aileron. you may find it’s hard to see which piece is which. we’ll close the gap in the wing and then join the vertices on the trailing edge. Once they have been added. Using the same technique for the aileron. Make sure to deselect the vertical edge on the aileron or it won’t work. Use the Join option rather than Join Averaged so the trailing edge remains exactly in place j. 14 Sharpen up The last step for the cut-out area will be to add one more edge loop with the Edge Slice tool (C) at the corners in order to make them sharp. k Refining the aileron’s shape using edge loops 13 Close the gap j Using the Bridge tool 12 Form the ailerons – Part 3 l Filling in the gaps on the m Sharpening up the cut-out The last step before returning to the wings will be to add four more edge loops to give the aileron some nice. C is the shortcut for the Edge Slice tool we’ll use. The same process will be used to complete the tailplanes at the back of the aircraft m. making it very handy. Cutting in the control surfaces of the wings 11 Form the ailerons – Part 2 i Cutting the ailerons (wing-flaps) into the wings to add faces to the aileron wing created by the aileron area of the wing Now select the edges of the aileron and bridge them so it’s a solid piece. Take the front upper and lower edges and pull them back to give it a rounded front much like the wing k. first we’ll need to add two more edge loops that will form the sides of the aileron. N for a new layer then Ctrl+V to paste i. This can be done without creating separate materials. i l j m 222 . select the faces that make up the aileron and Cut>Paste them to a new layer by using the shortcuts Ctrl+X to cut. Once this has been added. crisp edges on the sides. join the two vertices on each corner l.Organising your meshes As you model aspects of the aircraft. Next an edge loop that surrounds the cut-out area will need to be added.

Use the Edge Slide tool to arrange the edges on either side of the cutout mesh so they won’t intersect. o Adding the stencil of the wheel bay to the wing mesh p Cleaning up the vertices to form a complete circle q Finishing o the wheel bay. using the Polygon Pen tool. but don’t add any depth. 18 Mould the edges Now we’ll add edges to the corners of the circle and edges to where the shock will lie using the Edge Slice tool (C). add edge loops to sharpen those edges on the corners. 223 . As always. With the cut-out layer underneath your wing layer. double-click the outline to select the stencil and extend it inwards and downwards (using Z) very slightly. Even after I have finished an object. I prefer to see the entire shape take form and frequently use the ‘X’ Symmetry option. then finally down until it’s deep enough to hold a wheel. Begin by creating a six-sided cylinder on a new layer. You will also notice that the top of the wing received the stencil – this can be deleted by using Backspace p. Connect the vertices together to form a complete circle. use the Stencil option and Last Selected as the drive mesh o.Transport Wheel bays n Creating the wheel bay reference meshes We have to put the wheels somewhere! The Symmetry option Many 3D modellers like to work with half of the object and then duplicate and join the edges. 19 Final wheel bay touches o Use the Bridge tool and Edge Slice tool to connect the edges together to form a cap on the wheel bays. Use the drawing provided to edit your shape so it matches the circle of the wheel bay q. trace out the area where the shock will lie. q 17 Going full circle Hide the cut-out mesh layer. p 15 The shock process This step is one of the more di cult tasks of making a SubD aircraft. adding caps and sharpening corners with edge loops 16 Position your meshes Arrange the cut-out mesh in blue as shown. select first the wing layer then the cut-out mesh layer. Select the faces that make up the stencil area on the wing and Cut>Paste them to a new layer. Then. These two meshes will be used as the shapes to trace onto the wing n. sometimes I may need to go back and edit the surface. The Symmetry option makes edits and modelling certain areas a snap. Then opening Geometry> Boolean>Drill. It will require more patience and work to get it absolutely right. Once this is finished. these will be used later when we make the landing gear.

for all elements the construction is the same. When I model an aircraft. then extend the edges of the opening inward to give it depth. Select the faces in between and Copy>Paste to a new layer r. Using the Slice tool (Shift+C). Start with a cube or cylinder as a base and avoid adding segments initially as this just creates problems. it may lead to an incredibly high-poly SubD model. add two cuts. Let’s add a frame and some glass 20 Place your window cuts First we need to add some edge loops to control the mesh when we make our cuts for the window opening. If your model is one piece. Y and Z. Use the Edge Slide tool with Duplicate on to position the new edges. Select the faces that make up the front area and Cut>Paste them to a new layer. add edge loops around it and the corners to sharpen the shape s. you may need to add a ton of edge loops. r t u 224 . 21 Adding depth Now we can position the edge loops around the window area to be cut out. which allows me to better control the density of my mesh. constantly keeping in mind that I want the edges of the canopy nice and sharp u. Now we’ll begin refining the shape by adding edge loops to isolate the frame and window area t. 23 Divide the canopy The next part of this construction will require us to separate the front and sliding section of the canopy for further refining. r Isolating the cockpit area in order to cut out the windows window of the cockpit 24 Focus on the details s s Cutting out the rear t Box modelling the canopy area using edge loops to refine using the Edge Extend tool (Z) u Adding depth to the canopy Once we have refined our canopy to something close to the real thing. Now we can continue on the front section without having to add unnecessary subdivisions to the rear section. make sure to name it accordingly. Copy> Paste the faces that make up the window to a new layer. Keep it plane and simple Although I may not have been able to show how to create every element of the Spitfire here. In Polygon mode. one to the nose at the seam of the engine and then another in line with the aerial.Cockpit Problems and solutions One of the difficulties of working with SubD is that in order to refine a specific area. Place the cube into position and move the vertices to the general shape. I use the major seams on the body panelling to break the model up. I select edges and use the Edge Extend tool (Z) to do this a few times. we need to separate the glass areas onto new layers and give the canopy frame some depth so it doesn’t look too thin and unrealistic. 22 Begin the canopy Now we can get started on the actual canopy for the Spitfire. Once again. Pay close attention to the flow of the aircraft and try to use as many reference photographs as you can to help with modelling accurately. Building from a very basic primitive will help you see where edges should go in order to refine your mesh. We’ll start o with a basic cube with two segments added in X.

z Adding the cannons and intakes to the Spitfire 225 . Lastly. Use your drawing and delete the areas that aren’t needed. just don’t extend it to give it any depth. by creating a cylinder with eight sides and three segments and scale the edges to match the drawing y. torus and a disc. For the intakes. Use a cylinder for the cannons.. from the front view. The disc. Add two edge loops to sharpen it up w. Let’s start by making a torus for the tyre and delete the inner faces. The cylinder will be the shock. 29 Spit-fire power The last details to add are the cannons. create the spinner. after a few bevels will be the rim of the wheel. 26 Add the wheel bay doors Now we’ll use the cut-out mesh we removed earlier from the wing to make the wheel bay doors. w v Adding the wheels to the wings using a cylinder.Transport Wheels and whatnots Adding the final details 28 Get in a spin Since we’re going to show the Spitfire in flight. start o with a cube. For this tutorial. torus and a disc model the wheel bay doors starting o with a cube w Using the cut-out mesh to x Creating the plane’s rudder x y y Adding the propeller placeholder and spinner 25 The wheels on the plane. Using the front view. Align the cube into position and scale down the rear edges until they’re almost touching.. The drawings provided don’t really show the detail in the wheel or shock. Visit the website provided to add further detail to this area of your model v. we’ll use cubes and control the round edges by placing edge loops slightly away from the edge z. create a disc that matches the diameter of the blades. we’ll use a cylinder. 27 Rudder time To make the rudder. We’ll need to sharpen the corner near the top the same way as the aileron corners x. Then begin to add edge loops using Loop Slice (Alt+C) and refining the position. Use your Edge Slice tool (C) to add extra edge loops as shown and then use Polygon Thicken to give it some depth. texturing and lighting your new aircraft. we’ll need something to act as the propeller blades and the spinner cover. v HALFWAY THERE… Now that we have a Spitfire ready to fly. named aptly for their explosive power on the Mk5B and some intakes. the second half of this tutorial will show you techniques for UV mapping. deleting the rear face that extends into the wing. We’ll then place it in a scene and really give it some life! There will be final scene files in modo plus OBJ models so you can texture using your preferred program. Use the cylinder primitive.

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render and composite the Spitfire model mid-flight onto an authentic sky backplate Dieter Meyer specialises in aircraft modelling N ow that you are halfway through this tutorial covering the creation of a Spitfire Mk5B.cgtextures. we will create a single You’ll find that modo has excellent UV mapping features and. but for the purposes of this tutorial. it will make the process very easy. Textures will be created in Photoshop with additional textures downloaded from www. The hardest part of this section will be the UV mapping. 227 . So far I have showed the workflow for the modelling process using modo 401. before compositing the final renders to a backplate in Photoshop. In the second part I’ll cover the aspects of UV mapping the Spitfire. The last stage will concentrate on lighting and rendering the Spitfire.Transport Texture. prepainting the model in modo and then perfecting the textures in Photoshop. Further reference material for the Spitfire can be found at and http://spitfiresite.supermarineaircraft. it’s a good time to look at what you’ve done.096-pixel map that will hold all of the once they are understood. I generally create three or four highresolution maps for a model.

so select both and then activate Fit UV’s with the Keep Proportion option. was really fun to texture. Switch to the right view and then select Project from View. Photoshop (2009) . this is okay. select UV maps and then New Map. I initially created and named several mesh layers for the model. the fuselage. Areas that have been UVed will be assigned a new material to keep things as organised as possible a. It may be easier to select the edges in the model pane and move them in the UV pane c. on the top tool bar. As we progress through the tutorial. in contrast. Hit the left square bracket (ie ‘[’) to highlight polys not currently selected and click Project from View again b. b 05 Continue to adjust the map Areas in red indicate that the map is intersecting with other parts of the map. rendering a 02 Preparing a new UV map Switch to the UV tab. 04 Adjusting the UV map Select the left side of the fuselage and scale it in the V to –100%. Now select the UV Symmetry: V. the Macchi 205 proved to be quite a challenge in terms of modelling. 03 Project from View Select the brace on the cockpit and press ‘H’ to hide it for now. Hide all layers except for the one you’re currently working on – in this case. Macchi 205 modo 401. a Organising the mesh layers b Mapping with the Project from View option c c Adjusting the edges to avoid stretching and overlapping Artis t 228 Showcase Created entirely with Subdivisions. On your Lists tab. We don’t want to do it for both UVs though. we’ll need to adjust the UV border to compensate or our textures will look stretched. Hit ‘3’ for Polygons and. we will combine the di erent layers into a single mesh with one UV map. in the top view. just press ‘A’. type in ‘Fuselage’ and hit Enter. Do the same for the rudder. texturing. select all of the polys on the right side. If you can’t see your model in the right view pane. In some cases.UV mapping 01 Mesh layers Getting started with UVs in modo As part of my workflow. Start by selecting the edges at the nose and pull them forward until there is no more red showing. UV mapping. but not for the fuselage. but. Because the fuselage is rounded.

UV mapping without Project from View 07 Multiple objects Since we have six exhaust ports. Me-262 modo 401. Ctrl+V to Paste the UV map. select the edges on one portion of the UV map. Photoshop (2009) I wanted to start adding some armoured vehicles to my collection and thought this little armoured car would fit well. Select the polygons of the UV map. In Edge mode. then move it over slightly to the right. we don’t want to have to UV map each one individually. use the UV Relax tool to edit the UV shape. with Iterations at 100 and in Unwrap mode. it will split in half. Select the exhaust port polygons in the UV pane and Ctrl+C to Copy. Modelled in modo and textured in Photoshop. d Using the Unwrap tool on the Spitfire’s exhaust port e Creating UV maps for duplicate objects e f f Using the UV Relax tool to adjust the UV map’s shape Humber MkI modo 401. The corresponding edges will turn blue for the matching side. Repeat this step until all of the ports are mapped e. select the edge of one of the exhaust ports as shown in the screenshot. Use Selected to sew the blue edges to the ones you have selected. Then select the next exhaust port in the model pane.000 and use the Cylindrical projection d. It should now be more linear in shape rather than warped-looking. Or use Unselected to move the highlighted edges towards the blue unselected edges. Rotate the map to a vertical position f. Back in the UV pane. Set the Iterations to 2. To do this. The diorama base represents the area in which this plane is stored outside. click on the UV pane to edit the map. so you’ll have to sew the sides back together. 08 Sewing edges d After you have unwrapped the aerial. 09 UV Unwrap After you’ve sewed the aerial together. Photoshop (2008) 229 . The only jet in my collection of CG aircraft.Transport UV Unwrap tool 06 Exhaust ports Using the Unwrap tool is a great way to UV map rounded or more complex areas of a mesh – eg the Spitfire’s exhaust ports.

To create the rivets. Next open the colour map saved from modo. Click once to begin and Shift+click to finish j. we can start adding base colours. you can continue to adjust the UVs. You may need to invert the UV layer so that it’s white to make it a little easier to see. h Setting up the new paint file in modo prior to Photoshop 12 Painting in the base colours in modo i Adding the basic camouflage pattern using the Hard brush base colours. If you haven’t given your model a new texture yet. use a hard-edged brush. keeping the UV layer on top. 11 Setting up a new texture Before doing anything within Photoshop. For the panel lines. Each time you click on the map at a vertex point. you can paint in the basic camouflage. under Brush Tip Shape set Spacing to 300%. These areas are also pinned and allow you to edit the specific section without the entire shape moving. select the Hard brush. paint in basic colours in modo to get everything lined up. At this point. 14 Painting in the base colours in Photoshop h Now that we can see where our camouflage is going in relation to the UV map. use a 1px black line. Ctrl+click the layer to create a selection and then Copy and Paste it to the UV file. No need to worry about the underside as that remains a single colour. In the Paint tab. do so now. panel lines and rivets j Starting to add the correct Now. The next step is to export your map as an EPS to open in Photoshop. a blue square appears that can be moved around. you can choose any colour you like as it will be replaced later in Photoshop. Refer to the files provided as a guide for the di erent areas to see how to go about laying out the UVs. g The finished UV map ready to export as an EPS 13 Setting up your files in Photoshop Open the UV map as an RGB at a size of 4096 x 4096 pixels. then drag it into the new Material group h. In the brush options. Painting in modo also allows you to paint across separate UV maps i.UV Relax Sometimes the first attempt at relaxing the map doesn’t work. Go to Texture>Export UVs to EPS and give the file a name of your choice g. Painting in modo and Photoshop Adding a little colour 10 Exporting the UV map Finish UV mapping the model using the techniques explained. then name the file and set it to 4096 x 4096 pixels. j i 230 . Using the reference image provided. go to Utilities>Add Color Texture. With Interactive checked. under Paintbrush.

In addition to the regular rivets and panel lines. we want to break up the clean look of the aircraft by adding some dirt maps. the painted reflectivity should be kept fairly dark. If the rivets are raised. Duplicate the group and call it ‘Di use Amount’. added. where the aircraft would see greater wear and tear m. Another step is to duplicate the rivets and panel lines and add a Gaussian Blur to feather them out. this will control the light saturation of the colour map. placed on top of my layers and set to Multiply. for instance. set to Multiply with 48% Opacity l Di use Amount map after desaturation and altering the opacity levels layers of dirt maps added m Specular map with several 16 Di use amount Organise your layers in Photoshop so that all of your colour layers are in a single group. thereby creating more subtle undulations to the surface. 19 Bump map The black panel lines should have the opacity reduced so that when they are placed in the Bump channel. should have no reflectivity. You can then play with the opacity to see what suits you best is a great place to start when looking for textures.Transport Texturing Adding the dirt and light maps Riveting stuff When a real aircraft has rivets inserted. with Saturation at -100. k 15 Dirt maps k Bare metal texture At this stage. bare metal steel. l 17 Specular map I like to create Specular maps with high contrasts between white and black. they are not too deep and look trenched. we now need to alter the various areas that will be reflective. We will control the actual reflectivity later in modo. Here I’ve also painted in some areas where I think there should be more spec – for instance. This also applies to the rivets. which are only going to be visible on close-up renders. I tend to use a dirty. Reduce the opacity on the other layers as well l. m 18 Reflection map White being the most reflective colour. the steel of the body is distorted. try painting in some slight deformations with a soft brush and very low opacity to create interesting undulations in the bodywork. Give the background a medium grey shade and make sure any Bump layers correspond n. whereas the metal body should have a good deal. I find that the site www.cgtextures. n The Bump map showing a close-up of the rudder fabric 231 . I usually use a few dirt maps with di erent opacity levels layered on top of one another. then switch the colour so the area around them is depressed. Add a new Hue/Saturation adjustment layer. Overall though. Tyres. Hide the camouflage as both colours will receive the same light saturation.

In the Shader Tree. The Spitfire first. select Set Target. Target the lights To make it easier to keep the Area lights concentrated on the Spitfire. but Antialiasing can be turned higher to 32 samples/pixel if you prefer r. Expand the Material group and use the Add Layer tab. Just add the locator to your Spitfire group.Rendering ren Bringing the Spitfire to life 0 mins 3d er time Resolution: 3. the propeller place holder. then scroll down to Image Map and load one of the textures that you created. Set to Physical Sun with London as a location and set the time to 17:30 with the North O set at 150. but we’ll add two Area lights to help fill in some of the darker areas. then without moving your render camera.888 x 2. Now when you rotate the lights. which will be used in Photoshop when we add the propeller blur. create a locator by going to New Item>Locator. and the second as a light fill opposing the Directional light. they will move wherever the locator moves. Do the same to add Reflection Shading. The default options will be okay.jpg’ image.592 20 Assembling the textures in modo In modo. Use the Add Layer tab to load the ‘sky. The first will be positioned below. assign the Spitfire a material with a unique name. Transparent Shading and Di use Shading (Total). Expand the Render group and use the Add Layer pull-down to add a new render output and set it to Ambient Occlusion. p q o r 232 . Specular Shading. In the Texture Locator tab. change the Projection Type to Front p. Do this for each map thereafter until all of the textures are loaded o. enable Indirect Illumination q. 22 Boosting the lighting We already have a Directional light. Rendering will be done in two stages. We’ll use our backplate as reference in modo. if you haven’t done so already. In the Render properties. expand the Environment group. to create simulated light bounce from the clouds. Select the Area light and then the locator and. 23 Adding render outputs The Spitfire will be rendered in layers. 21 Adding the sky We now have to decide on how to light the Spitfire. in the properties of the light. o The texture maps once added to the material for lighting reference to render in layers 24 Rendering p Adding the sky image q Preparing the Spitfire r Rendering the Spitfire Hide the sky layer for now.

The same process can be used to add exhaust fumes w. The last thing to do here is to erase some of the prop that sits over the spinner t. 26 Adding the prop blur Open the render of the prop place holder and Copy and Paste it onto the Spitfire. Ctrl+click the Alpha layer to select it. w Adding some extra details to the image for authenticity 233 . v Adding the Spitfire u to the sky backplate 28 Compositing the Spitfire Create a new group for all of your layers and call it ‘Spitfire’. Deselect the layer. Specular and Transparent layers are changed to Screen in order to remove the black areas. then Ctrl+C (Copy). Now add a Photo Filter adjustment layer with Density set to 25%. we can incorporate some vapour trails and exhaust fumes. 29 Motion details To give the Spitfire a sense of motion. Using a fine brush. this will help blend the Spitfire into the environment v. Open the ‘sky. but adding a slight touch of wear and tear can make all the di erence. then Ctrl+click to reselect the Alpha channel. s Creating the layer masks t Adding the propeller blur to the Spitfire u Adjusting the layer blending modes Keeping it real When creating textures in Photoshop. Sometimes it may not be necessary to create a very worn aircraft. create a new layer and Ctrl+V (Paste) the Alpha in. These can now be fine-tuned to your personal taste u. then drag and drop your Spitfire group onto it. add a few streaks onto the wingtips and perhaps add a little motion blur (Filter>Blur>Motion Blur). try to use as much real-world reference as you can.jpg’ image. psd’ and drag the prop group onto the Spitfire. Resave this as a PSD file to continue the work. In the Channels tab.Transport Compositing in Photoshop Adding the Spitfire to your backplate 25 Opening the rendered files The next step is to add a mask to all of the layers. Now use the Distort option (Edit>Transform>Distort) and use the prop place holder as a guide. while Reflection. open the file ‘prop blur. The key is to alter and blend them in such a way as to – in essence – produce your own unique textures. Ambient Occlusion is set to Multiply to remove all white areas. Click on any layer and then hit Add Layer Mask s. s t 27 Layer blend modes The final step before we composite our Spitfire onto the photo backplate is to adjust the layer blend modes for the various render outputs. Next.

but without it. and subtle V-RayShadows 234 .Artist info Simeon Patarozliev Personal portfolio site www. I wanted to give the car more space to breathe and was wondering if I should remove the opening in the wall. V-Ray. a direct light acting as the sun. the image lost a lot of depth and the background itself became too uniform y as didn’t go as smoothl A bank robbery that simple e ag im the g pin kee planned… I focused on g the hting. In general. Smart IBL. mental ray Incredible 3D artists take k us behind their artwor In terms of nce ere ref of lot a n ns. I first s. but maximisin in its modelling and lig od blo the details such as impact of intriguing rints ep blu ’s car er used anoth spattered loot.spatarozliev. the to set basic proportio The Getaway Vehicle 2010 The lighting was done using the plug-in. the image is fairly simple. Software used 3ds Max Digital Country Bulgaria . the scene includes a HDRI.

Transport My modelling techniques aren’t anything new to the CG world: I use both box and poly modelling. Modelling this vehicle was an interesting creative process Rendering with V-Ray. The fenders were made using the poly modelling technique. as was most of the other geometry you can see. I used Irradiance Map. I started the car’s main body from a simple box and detached all the parts at the end. plus Light Cache. I also added an Ambient Occlusion pass made in mental ray and used simple masks to adjust the colours and the contrast Software used in this piece 3ds Max V-Ray Digital Fusion mental ray 235 .

something that will appeal to everyone Billy Cheng specialises in hard surface modelling and mechanical design 236 .DX-8 FEV 2010 Step by step: Modelling a sports car With the popularity of the electric vehicle gaining traction. I decided to create a unique vehicle.

This tutorial will detail the workflow and techniques used to create my concept car. modelling Software used in this piece 3ds Max 02 After studying numerous vehicle designs from around the globe. it is di cult to model any object.Transport Concepts Easy-to-follow guides take you from concept to the final render The inspiration behind the scene Personal portfolio site http://www. The image above demonstrates the confluence of di erent vehicle parts pieced together in Photoshop. ue to increasing concern over the environmental impact. D of di erent car arrangements in my I will introduce a brief of how to create the body in 3ds Max using poly modelling techniques.carbodydesign. The concept drawing created in Photoshop will be used to assist with the modelling process. Ferrari 458 back and a Citroen GT Concept side. I started to piece together what my electric car might look like if it had a Lamborghini Reventon head. I needed to gather reference material similar to the style of car I am after. before I came up with the design in the picture above. In terms of modelling. The final stage of the tutorial describes how V-Ray will be used to light the scene. Without the use of these essential elements.66GHz. 4GB RAM Expertise Hard surface modelling is the area that I specialise in. 01 My aim for Concepts. com. This has encouraged me to start this project. 03 I had hundreds 237 . In order to do this. the process of modelling a popular vehicle that exists on the market becomes easier when reference and blueprint materials are commonly available on the internet. including work in vehicle and mechanical (robots) design and creation Artist info Billy Cheng Username: extreme88 this project was to create a concept car like no others. One of the best sources of inspiration for concept cars can be found at www.projectreality. The image above contains some of my favourite designs. demands for electric vehicles are increasing every year. I even incorporated references from nature (like the shape of an eagle) and combined them together using the photo confluence technique mentioned in step 2. My goal was to create a concept car that is appealing and unique but not too futuristic. Country Australia Hardware used Intel Core 2 Quad 2.

we are focusing mainly on the main body. you could draw quick wireframes on them using Photoshop to get a better understanding of how the topology might flow from di erent angles. 05 Traditionally. It was rendered in V-Ray and Photoshop was used for post-work. The final product consists of over 500 individual components. therefore we will need to create a spline cage (like the one shown here) and use this to sketch some quick wireframes. where they will be separated from the main body at a later stage. All components were modelled in 3ds Max. 07 Using wireframe 08 Without worrying about the windows at this stage. my 06 From experience. Scooter Transformer 3ds Max. But in this instance. I have been in the 3D industry for almost five years. were modelled as well. This piece was inspired by the Transformers movie. 238 . It was created in 3ds Max and all textures were created using BodyPaint 3D and Photoshop. All major components. like the engine and other internal mechanisms. we don’t have the luxury of this. rendered with V-Ray. to create the initial shape. I created this based on a scooter I worked on for a client. It consists of 2. I worked on this in my spare time. Photoshop. polygon by polygon. The services that I provide include product visualisation.Billy Cheng Artis t I am a 3D artist / freelancer from Sydney. allows us to use it as a guide which will result in a quicker and more e cient modelling process. Showcase Modelling the vehicle Creating the stylish look of the car 04 The first thing we need to do is to create a set of blueprints from the concept drawing. While I am constructing the car. Make sure the flow of your model matches what is on the blueprint – especially areas like doors and hood. I thought the design of the scooter looked pretty cool. This will not only help visually. Photoshop. MRH Helicopter 3ds Max. start by using the poly modelling technique to follow the contour of the spline cage as closely as possible. but the accuracy of your model will increase tremendously if you can see precisely what you are modelling.12 million polygons. vehicle and character creation. and Photoshop was used for post-work. by drawing some quick wireframe using photoshop on the spline cage in di erent perspectives like the image above. and interactive 3D applications. are modelling a car where references and blueprints are easily accessible. Highquality blueprints are an essential element when it comes to modelling. BodyPaint 3D (2009) as our guide. I will constantly be looking at all viewports to make sure I am moving the polygons exacting where I want them to be. if you Giant Robot 3ds Max. Photoshop (2009) This piece is a hybrid between a Transformer and a Gundam type of robot. BodyPaint 3D (2009) This model was part of an interactive training application I did for a client. so I decided to move it to the next level and created a Transformer scooter bot.

13 Lastly and also most importantly. which are like the eyes of a vehicle – in my opinion.200 x 6 n: 48 equired body parts. it is time to add elements like windows. We do this by selecting the door area with the poly selection tool. glass cover and light bulb. The image here shows a cluster of elements such as the reflector. 11 Now it comes to the part where areas like the doors and hood will be separated from the main body. Once this is done. I want to emphasise the significance of the headlights. 10 It is vital to get the general proportions correct before we add edge loops to detail the model. Once the overall shape is blocked out. put it inside ‘GI environment (skylight) override’ under V-Ray Environment. then locate your HDRI and select spherical environment as your map type. back lights and interior. Then. open up the material editor and put VRayHDRI into your di use slot. as shown to the left. It is set to a relatively low value and a V-Ray dome light is used for ambient to add a bit of mood to the scene. With the help of the right HDRI image. the key ingredient is detail. wheels. under Edit Geometry. you should be able to get a realisticlooking render using this setup. click Detach to create a new object. To achieve realism in any image. the next step will involve the detailing of the current shape. The final result is shown in the image here. separating 12 After all r The lighting plan The lighting setup for this scene consists of a target direct light for the simulation of the sun. they will be the first thing that attracts people’s attention. 239 . which were all modelled as separate elements. because it could get arduous trying to change the overall shape once you have all the details cut into the high poly object. For example. I usually set the ambient dome light at a quarter of the value of the target direct light.Transport Getting the overall look and feel Refining the model 09 In the initial stage of the modelling process. grill. it is essential to keep the doors and the main body as one single object to ensure the topology is consistent throughout the entire model. Finally. 3 8 mins rend er t ime Resolutio 1. headlights.

In postproduction. We can use this combination to accurately place reflections and separately control the intensities for di use lighting and reflections. you can use Photoshop to add some depth of field (DOF) to the image and do some colour correction. 3ds Max is our main app with a V-Ray plug-in used as the renderer. these are always good for inspiration or to use as reference. then adding a few standard Omni lights and assigning them to our custom reflection cards. The studio is made up of a light setup which consists of two di erent light sources. We will be using a standard VRayLight as our main (di use) light source. you will discover the best workflow for creating your own virtual studio environment for lighting a reflective industrial model – in this case a 1938 Mercedes Benz W154 racing car. The major di culty will be the placement of the reflection cards because it can take some time to find the spots where reflections will be most e ective. I found some interesting studio images and light setups on the internet that I’d never tried before. The position of the main light source. Similar inspirational images are shown in Steps 1-3. which created a big shadow also appealed to me. directly over the car. 240 . I liked the relationship of the car’s semi-reflective surface with the dark background in terms of contrast.Step by step: Lighting the Silver Arrow Djordje Jovanovic 3D artist Mercedes Benz W154 2009 Learn how to dramatically pose and light a 1938 Mercedes Benz W154 racing car to make this – and all your future vehicle projects – really shine Software used in this piece 3ds Max V-Ray Photoshop Inspirations Find a cool concept I n this tutorial. custom reflection cards and a background/ base. 01This image provided some ideas for the overall mood I was looking for. The major advantages of this setup is that the di use light and reflections have separate controls and the whole thing can be set up fairly quickly.

I also liked the intensity of the reflections. texturing and lighting © Porsche AG 241 . 03Almost symmetrical Artist info Djordje Jovanovic Personal portfolio site djordjejovanovic. but I wanted to go with an even wider lens – closer to the car – in order to accentuate the Silver Arrow’s front grille and the wheels. I did the frontal view like this image. Photoshop Expertise Hard-surface and environment Country Serbia Software used 3ds Max. the level of glossiness and overall gradients across the whole surface as well as the di use light in the scene. rendering Easy-to-follow guides take you from concept to the final render properties of the car paint surface in this image and. the colour of the paint. similarly.Transport Lighting. 02 I liked the reflective reflections were a fairly obvious choice considering the camera position. V-Ray.

everything else was a breeze. I like to use VRayPhysical Camera because it has realworld parameters (eg F-stop.Lighting and rendering Set up your virtual studio with the main subject – the Mercedes Benz W154. And. while Cast shadows and Invisible are checked. the suspension and the wheels. F-number 2. I started with the front of the car body. the Type is set to Plane. which is just a basic black-to-white linear gradient. Next we need some kind of a base on which the car will stand. but doesn’t create any reflections or specular highlights on the car. Lens focal length. lastly. etc). The major challenge here was to create a lot of precise details (air vents) on a surface that is curved in all directions. Shutter speed. This one is placed directly in front of the car and tilted slightly forward. All the other material parameters are set to their default values. Di use color is set to White and there’s a JPEG added to the Opacity slot. Once that was done. The parameters that di er from the default values are: Focal length 21.0.0. In the light Options. make sure that A ect specular and A ect reflections are unchecked. Creating the first reflection card for the front reflections we first need to add a simple plane. 03 To add some reflections 242 . I then quite quickly created the interior of the car. while maintaining the surface continuity. The light area should be slightly longer and wider than the car and have its colour set to pure White. Play with the intensity until you are happy with the mood. Also make sure your environment background colour is set to black. of course we need the camera. The tyres and the front air vent were the only other parts which demanded a bit of extra detailing work. VRayLight with Di use settings gives us the overall mood of the image Modelling the image The whole car was built in 3ds Max 2009 using standard poly modelling techniques. 01 We’ll kick o 02 The main light source in the scene will be the VRayLight placed directly above the car. which was the trickiest part. Color balance.0 and Shutter speed 20. The plane has a VRayMtl applied to it. for which you can use a simple plane. This way you’ll have a light source that emits di use light and casts shadows.

This customised Humvee was made to satisfy that desire and learn new techniques along the way. by moving the planes closer to the back of the car. but include the left card to one light and the right card to the other.Transport a standard Omni light placed between the card and the car. V-Ray. Showcase Custom Humvee 3ds Max. The most important thing to set here is the Include options. These two planes should also be placed above the car and rotated slightly downwards. This way you will have separate intensity controls for each card. Modelled from scratch in 3ds Max and rendered with V-Ray. Photoshop (2010) I always had a fascination with old. I became involved in visual arts from an early age. I created all the geometry from scratch in 3ds Max and rendered using V-Ray. 05 Next we need to add The camera is set to use a wide-angle lens which produces distortion. using the same process as Step 3. we need to create two more Omni lights. Hiroshi Sambuichi 3ds Max. By this point. it creates a nice fading-out reflection instead of a solid white line. This time I had a great time modelling the old Hudson steam locomotive in 3ds Max. You need to include only the reflection card to this light. 04 Now we need Djordje Jovanovic Artis t As a son of a photographer. However. these planes should be placed more towards the rear of the car. giving us independent control over this reflection. Maya. we are able to minimise these e ects and ensure reflections are almost flush to the car’s body. you’ll be able to see the e ect of the gradient in the Opacity slot. we minimise these effects Hudson 3ds Max. It’s an interior of a rural Japanese house designed by Hiroshi Sambuichi. texturing and lighting. This way the light will only cast its rays onto the card. Photoshop. While browsing through a local bookstore. which will then reflect back to the car. by moving the planes closer to the back of the car. On this one you need to make sure that the shadows are turned o . BodyPaint 3D (2010) My desire for creating old mechanical stu wasn’t quite satisfied with Custom Humvee so I decided to make some more. an image of a Japanese interior stuck in my mind. rendering it with mental ray inside Maya and painting textures in BodyPaint 3D and Photoshop. Place them just above the car in the middle of the scene. I noted the name of the architect and. 243 . when I finally found some free time. like construction or military machines and vehicles. rusty mechanical stu . I’m currently working as a freelance 3D artist specialising in hard surface and environment modelling. two more reflection cards. Photoshop (2009) 06 For the final step of this lighting stage. so wanted to create something on the subject. The camera is set to use a wide-angle lens which produces distortion. a few months later. Set them up as per Step 4. V-Ray. mental ray. I created this image.

In this case I just toned down the saturation a little in the Hue/ Saturation options and then tweaked the Curves adjustment very slightly. Basically you need to get a whole range of greyscale tones starting from white and ending in black. a cool 02There’s plug-in 244 . Finally the body paint material is also an important factor that can a ect all lighting aspects. colour and contrast. However. 01Usually when working on this kind of mechanical-based image. chromatic aberration (also called achromatism or chromatic distortion) is a type of distortion in which there is a failure of a lens to focus all colours to the same convergence point. Next time you hit Render. you can run into a lot of di erent issues when lighting a car. A ZDepth is a greyscale image. In optics. which can make the di erence between a dramatic or peaceful scene.Add some depth How depth of field was created 01To quickly add a DOF e ect to the image. loading the Z-Depth pass and playing with the size and shape options. Next is the position of the main light source and the shadows. DOF in Photoshop is as easy as loading your original RGB pass. you’ll get a Z-Depth pass alongside the standard RGB pass. However.500 x 2. starting the plug-in. you might have to play with the Z-Depth Min and Z-Depth Max values in the Z-Depth parameters fly-out menu. It was a standard black-and-white image used as a Bump map. similar to an Alpha channel that is a graphical representation of a scene’s depth. there are some universal things that need to be taken into consideration. Adding DOF in Photoshop is as easy as loading your original RGB pass. The first is the key relationship between the subject and its environment in terms of space. 4 hours ren der tim Focus on postproduction Apply finishing touches Resolution e 3. composition.161: Lighting issues for 3D vehicles Depending on the e ect you’re attempting. for Photoshop called 55mm Digital Optical Filters developed by Digital Film Tools. mainly because of its speed. but I use it mainly for its Chromatic Aberration tool. The one texture I did use was to create details on the tyres. scene size and default 3ds Max units. I try to do as much as possible with the 3D software. Go to Rendering>Render Setup>Render Elements and add ‘Vray_Zdepth’ to the list. while maintaining the visibility of the whole car geometry. The position of the reflections across the car body. 02Depending on your 03There are a few solutions for adding DOF in post. quality and the options you get. Then there are reflections. loading the Z-Depth pass and playing with the options 1 . This plug-in allows you to do many things. Adding this kind of subtle distortion can add an extra layer of realism to a 3D illustration. their intensity and shape can make or break an image. sometimes I do play a bit with the image in Photoshop to enhance a model and its environment. leaving very little to do when it comes to the postproduction stage. starting the plug-in. Textures This image is almost texture free. we first need to render out a Z-Depth pass. I like to use the DOF PRO plug-in for Photoshop by Richard Rosenman.

a kind of content pack with premade studio lights and tons of options to set up any type of real-world photography lighting. land Zea New Country Software used Modo401. gives a professional-looking render Suzuki Intruder 250LC 2010 Software used in this piece modo Photoshop Transport working for a portrait piece I’m I’ve created the bike my – the bike’s owner on which will include t. I decid logy.André McGrail Username: Verasl Personal portfolio site nz http://andre. Photoshop Incredible 3D artists take k us behind their artwor Artist info The entire bike is made in SDS subdivision in modo. Since the bike in the deser on – d en beautiful girlfri tter be t ou d ne tur d piece an it’s the first finished duct pro a t ou r de ren to ed than giving it the ability to be rendered close up by automatically adding polygons. mixed with global illumination. so spent a lot of time moving lights so reflections look sleek and simple. getting rid of the CG look With my lighting I used the new SLIK kit from Luxology. it also ensures there are no very sharp edges. to bring out the bike’s shape 245 .phaedra. w SLIK kit from Luxo style shot using the ne I wanted it to resemble a professional photoshoot. This.

Although it is tedious. it has a rewarding feel when you reach your final render. Artist info T My thought process behind the idea was to create something that was on the border of reality and fantasy. yet still with a designer edge to it. Correct geometry is so important when modelling vehicles. yet still with a designer edge to it Tyree Ross specialises in 3D concept art 246 . The biggest challenge in modelling a concept design is knowing where to begin. While creating the vehicle. I used the box modelling technique with editable Country USA Hardware used Intel Core 2 Duo E8400 3GHz. I will give a broad overview of the steps used to create the Sting Ray. The big challenge faced in the completion of this image was welding the vertices.Building a concept car Sting Ray 2010 3D artists explain the techniques behind their amazing artwork Tyree Ross Username: O cialist Personal portfolio site www. The idea was to create something fresh and completely original. My thought process behind the idea was to create something that was on the border of reality and fantasy.tyediad. This tutorial will assume that you are already familiar with the basic modelling nomenclature of 3ds Max. along with mental ray renderer. 8GB RAM Expertise Tyree specialises in 3D concept art his tutorial will show how the Sting Ray was created. 3ds Max was the software used for the modelling.

Once the planes are set up to your liking. but have just enough detail to get you the basic shape of the concept vehicle. Draw as much detail as you need to help you model your design. The second plane will go in the right viewport for the side view. just to make sure that the curves were neat and precise b. The first plane will be in the top viewport. In the Hierarchy tab. This plane will have the side-view material . rendering 01 Drawing the blueprint The first step is having your idea on paper.Transport Modelling. 02 Digitise your drawing Scan your blueprints into your computer using Photoshop or any other software that you have to scan your images. This will be for your top blueprint material. Try to save them with the same measurements: it will make it easier when you import them into 3ds Max. I used Adobe Illustrator to redraw the design. The template or drawing will be the top and side portion of the tutorial a. check all boxes to keep the planes from moving during your modelling. Be sure to make the material active in the viewport. The template doesn’t have to be detailed. The idea is to concentrate on achieving the shape a One plane will be in the top. place the second plane in the right viewport C Adding cylinders is completely optional. texturing. Software used in this piece 3ds Max mental ray B The blueprints need not be detailed. use extra references 247 . add cylinders where the front and back wheel would be and lock them into place as well c. 03 The setup Start o with two planes. When dealing with distinct shapes.

In the middle of the base. in my opinion. It is a process like any other technique. With the polygon mode. we are outlining where the glass and the vehicle meet. Once I was introduced to chamfer.100 30 minutes 05 Basic shape Once you have extruded the polygons to the second wheelwell. f Basically you are outlining where details will be added later 248 . Once the wheel-well has been created. We will cut the shape of the grill and both lights in the same manner. e Model wisely with the polygons. By doing this. Select all of the polygons in the light casing and copy them f. you are defining where the glass ends and the vehicle begins for the rear wheel. extrude the grill and lights inward. After a few models you will get the hang of it. Be sure to wedge the vertices together as you get closer to the rear of the vehicle.Modelling the car 04 Sculpting In the top viewport.000 x 2. It should stop just behind the back wheel. practice makes perfect. cut two polygons in half. extrude the wheel-well to start shaping the front end d. model the base of the vehicle to make the seating area e. but at the same time troublesome in lining up the vertices. People will always remember the detail you put into your work. By doing this. aside from the design. extrude inward to create the opening for the pedals. Box modelling is the best approach render time Resolution: 3. Use polygon mode to start shaping the wheel well. will make or break your image. Also. Try to start at the bottom of the wheel-well and work your way around the cylinder. The more detail you have. As always. Perform the same for the rear of the body. the better. start extruding the top and side of the vehicle. It has its own separate properties to get use to. Less is more and more can be a headache Problems and solutions I found that welding and chamfering are very powerful in modelling. I was amazed that the look that I have been wanting for so long for the 3D images was right under my nose. 06 Cut and weld d Be sure to stay true to the blueprints In the front of the vehicle. Welding vertices can be so helpful in making complex shapes. extruding the polygons. Later I found out that using the scale tool while having two vertices selected will bring them closer together. make a box with four segments. Detail. They will be divided by height and width. Convert the box to an editable poly. That alone cut my work down by hours.

Select all vertices in the middle of the cylinder and scale down slightly to create the rim. Create a cylinder and convert it to a polygon. buttons. Extrude a second time and move them forward slightly. Now that all three sections are separated and edges are connected. On both ends of the extruded poly. Take three polygons from the back of the seat frame and extrude them to wrap around the tyre. When it’s duplicated. extrude slightly. too much light can make your render time longer. Extrude a third time and chamfer the edges. copy the tread 25 to 35 times. Convert the box to a polygon and bevel each square individually. h i g Detaching and welding is tedious. I try to use three lights in some renderings. Convert it into a poly and extrude all sides by polygons. Select the glass again. with all polygons selected.000 and check global illumination. but when it is completed it is worth it h The best part of this method is the flexibility you can have with the design i Space the first copy just right. Convert it to a poly. The steering wheel. 09 Simple tyre tread For the tyres. chamfer all edges and corners to define the Sting Ray. tubes and boxes were all used to make the console 249 . create a plane with sections ranging from six to eight. monitors. Scale both objects to create a realistic custom wheel h. j Cylinders. 08 Custom chrome wheels Start o with a Gengon and make sure that it has fillets at each corner. Chamfer the edges within the extrude as well. In the rendering settings. You can also add other lights such as spotlights and omnis. you will not see all the hard work and detail that was put into your model. Repeat the same steps for the back cushion. it will flow with the bend 07 Detach and attach Select all the polygons that would make the glass and detach them. Now bend them in a 365° angle. light bulbs and gas pedals were all made with basic shapes j. bring the vertices out to create a slope in the tread. extrude two edges toward the back wheelwell and connect the vertices g. detach and drag the inner edges downward to connect the vertices. For the finishing touch. Pull back the outer edge of the cylinder and chamfer the edges. From the corners of both headlights toward the wheel-wells. Take the outer vertices and scale them downward and add a vertex weld to your modifier stack i. If there is not enough light. Not to mention. 10 Final details Make a box with three sections on the top portion to create the seat. From here.Transport g Lighting and rendering Lighting is very important when rendering your image. Use a Skylight setting of 1. Only one light will be used for ray-trace shadows and the others will be at a lower intensity to assist with the lighting. Extrude the polygons to your desired tread. Delete the middle polygons on both sides and reconnect them to make an opening.5 – without this the scene will be very dark. I make sure that my Gather points are set anywhere from 750 to 1. Too much light can make the materials look cheap. Raise each polygon slightly to form the cushions and add cylinders to each connecting corner. and group or attach them together.

Although it saves space in the material editor. It was built with two motors. Since then. and your fallo material in the reflection slot is set to a light grey (and the bottom colour is white). Amt is 100. Specular level is 100.Applying textures and materials Applying textures is where everything comes together Overall material All of the interior textures were multi/sub-object materials. Change the line to a curve to where the two endpoints touch the left and top line.5 11 Making car paint Make a shellac material. the di use is black. For the base material. Change the fallo type to perpendicular/parallel. Showcase The Boss is my interpretation of a concept Harley-style motorcycle. In college I fell in love with 3ds Max. Go to Reflect and choose fallo and fallo type Fresnel k. The shellac blend is 50 m. Specular level is set to 100 and the glossiness is set to 70. Reflection Dimming is checked. 13 Chrome paint material 12 Tinted glass material Start o with a standard material. Change the di use to black. the polygons will shift once you smooth it. Your base material is a raytrace material. I was introduced to 3D artistry six years ago. The Boss 3ds Max (2010) 250 . glossiness 60 and soften is 0. Go to the di use and choose fallo . The tyre material is a standard material with a dark grey di use and low Specular and glossiness setting. the Specular level is 120 and glossiness is 60.95 l.32. Set the first colour to black and second colour to dark grey. m The chrome material is similar to the car paint material except for a few things. dual exhaust and wide tyres for handling.4. The shellac base is a standard material with the Specular level at 100 and glossiness at 20. with the Reflection level set to 3. Specular level is 160 and glossiness is 90. Change the shader parameters to Phong and check ‘2-sided’. k Set the value of the shellac colour blend to 85 l l You can change the colour in the di use map to achieve di erent e ects m Set the refraction in the fallo to 1. Artis t Tyree Ross I have been drawing since the age of ten and a graphic artist for seven years. Change the di use colour to black. Go to the parent and go into the shellac material and change it to a ray-trace material. In Extended Parameters choose In. I have been self-taught with my modelling. Shading is Phong. Type is subtractive and Index of Retraction is set to 1.

Set the multiplier to 1. Create a standard self-illuminating material of white. It has speakers behind the seat and a dual exhaust for life in the fast lane. uncheck ‘visible to the camera’. with the sky colour set to white. the scene will not be illuminated.0 RGB in the colour field n. along with the global illumination.5.Transport Lighting and rendering The lighting process is always trial and error Studio appearance To achieve the studio appearance.000.0 and a min of 0. Without the skylight. 251 . This line will be in an L shape. Set the FG Point Interpolation to a radius of 15. change the samples per pixel to a max of 16 p. 16 mental ray setup Choose mental ray as your renderer.1. select the joining vertices and apply a fillet. n The box will only render as a reflection on the vehicle o Multiplier settings. For the Renderer tab. can be increased to make the scene brighter 14 The illusion of light Create a box the same width as the vehicle and raise it above the vehicle. with an output of 3. Make a material to apply to this box to give the illusion of light shining down. 15 Using the skylight Add a skylight to the scene from the lights menu. enable Final Gather and set the rays per FG point to 1. Tear Drop 3ds Max (2010) A futuristic zipline car. Once the line is drawn. ‘receive shadows’ and ‘cast shadows’. draw a line in the right or left viewport. Under the Indirect Illumination tab. The placement of the skylight does not matter as long as it is in the scene when it is time to render o. In Object Properties. The fillet will allow the corner of the line to curve. p Get the right settings in the mental ray engine to produce a quality finish to the render Breezer 3ds Max (2007) The Tear Drop was a concept based from the Sting Ray. Apply a lathe to the line and set the lathe to max. Also enable the Global Illumination and set the maximum photons to 500. This will create a wraparound scene to help with lighting and reflections of reflective material. It is built for speed with a streamlined look and is lightweight due to its size.

let them imagine some things for themselves Software used in this piece LightWave Photoshop Carrier 2010 i-fi movies. or on g e on Earth in th fu spaceship landin uld be happening co g ents m din ele lan c e th sti d some reali the idea that ote planet… I mixe m re r. pired by classic sc age that was ins im an . The background ships are lowpoly and low-res. st du a ture.bearfootfilms. Software used LightWave Photoshop CS4 Decide what the main focal point of the image is and stick to it. fa e m so maybe on lievability. Don’t try to give the viewer the whole story. I didn’t need them to be high-res because they’re only featured to give an idea of depth 252 . looming te ge ea cr lar a to I wanted an by having to portray that th y s to evoke wa wa r t tte ep be nc at co e and wh rocky planet? Th y. es to increase be with futuristic on Only include detail where you need it.Artist info Neil Maccormack Incredible 3D artists take k us behind their artwor Website Country Switzerland 10.

Transport To create the notion of scale and size. This helps the viewer believe that the ship is huge in comparison. adding to the grandeur of the image 253 . I painted some small characters in the foreground.

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