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