[eel me el BI Tqp Eh (aotTERRADOME e2 DIGGING DEEPER d Creation with Poser’: ja Premium Environment Sys Saturday 16th May 2015 20:00 BST (15:00 EDT 1 00 PDT) Presented LIVE by Runtime DNA - FR Exclusive Runtime DNA Discount Code for this Event!3D Art Live Community Masterclass Composition Saturday 11th April 2015 20:00 BST (15:00 EDT 12:00 PDT) Join us in a live webinar to learn the best methods for composing 3D scenes to get that required impact for your render! Includes a Composition Mastering guide on 9 essential techniques Extended Focus on Artur Rosa's Portfolio (Vue)PLANETARY POW VL Ne aUa) iS pixelplow Ce Cee es y today at pixelplow.netCredits for backgrounds, from top left: Britta Jacobs (Yue); Britta Jacobs (Vue); Jesse-lee Lang (Cararra); and Jesse-lee Lang (Caratra). Paul Bussey Dave Haden Editor, Conference Director Assistant Editor and Layout paul@3dartdirect.com dave@3dartdirect.com Boris Pichotka Section Editor "No part of this publication may Be reproduced; stored in a retrial system chetocopying, recording or atharwise without the pier written parassion publisher. No copyright lam 1s made by te publisher regarding any artworCONTEN —02 3D ART LIVE! —07 INTRO by Britta Jacobs. Vue. —10 ‘STEFAN KRAUS 3d Art Direct interviews the creator of the 3d landscape mesh creation tool WorldCreator. WORLDCREATOR By Front Cover: "Preserving fish’ —22 JESSE-LEE LANG 3d Art Direct talks glows, shadows and more, with expert Carrara 3d artist Jesse-Lee Lang CARRARA —40 BRITTA JACOBS 3d Art Direct interviews veteran Vue artist Britta Jacobs, from the mountains of Switzerland UE3D Art LIVE DOWNLOAD our recorded webinars and conferences, including the complete recording of the first-ever Poser user conference! POSER EXPO ATTN sre a I The world’s first Poser conference! Get alerts for new LIVE webinars, which have LIMITED availability. Receive our newsletter which includes disc codes and free training fips from our webinar hosts. PLUS get a free 3D ART ELITE magazine. SIGN UP HERE! i 7. eee Cuinic ie eat eK) en OCT i 7 Se ao Cuinic Sarurpar - 31° Aucust 2013 / ea oer (SAI Not ale) earl ae remeey OPre=S0] POSER® CONTENT CREATION Masterclass : 8th-9th June 2013 by Sergio Martine? from Xurge3D Includes Poser Pro 2014 TuitionEDITOR'S LETTER WELCOME. This Month’s cover by Britta Jacobs was selected by my assistant editor for it being fresh, organic and green—perfectly providing a springtime feel. It's a great eye catching and surreal image- so take advantage of discovering where some of these ideas come from by reading our interview with Britta. D.H, Lawrence's poem “The Enkindled Spring” reminds me of the urgency and swiftness of Spring, which compares the sudden appearance of new life with the energy and rapid growth of fire. This was unlike early work on mimicking natural environments in 3D graphics which were ponderous and painfully slow to create, But with tools now such as Vue 11's EcoPainter module, this activity is becoming simpler— allowing you to paint a natural environment in real time across a landscape. In relation, we have an upcoming advanced webinar showing the use of Runtime DNA's Terradome 2 that now has the ability to fill a scene with hundreds of environmental objects (Eco for TerraDome 2 by Semidieu). So please join us on the 16th of May if you use Poser/ Poser Pro. The Enkindled Spring : D.H. Lawrence This spring as it comes bursts up in bonfires green, Wild puffing of emerald trees, and flame-filled bushes, Thorn-blossom lifting in wreaths of smoke between Where the wood fumes up and the watery, flickering rushes. Iam amazed at this spring, this conflagration Of green fires lit on the soil of the earth, this blaze Of growing, and sparks that puff in wild gyration, Faces of people streaming across my gaze. And I, what fountain of fire am I among This leaping combustion of spring? My spirit is tossed About like a shadow buffeted in the throng Of flames, a shadow that's gone astray, and is lost. JPCUWTESSy Pz Beta roe e eC cake FFA racesoox: wu facebook com/s0atbirect RSS: www.feeds.feedburner.com/3dArtDirectover to you. Has it been through many different versions? Has it had another version since BiteTheBytes have taken over? Sk: Yes. After GeoControl 1, he started developing GeoControl 2. And he also added the sediments and some other tools. But then he had an accident, So he had problems with his heart and now half of the side of his body, he can't move it. So he only can use one hand. But he is okay. And we already knew him from the past because we had this TerrainSDK tool and he was already talking about the integration of the TerrainSDK into GeoControl for a 3D real-time visualization tool, But then his, accident happened, and when he was okay again, he was asking us to help him. He was offering us a good deal, so we are doing everything 50-50. So it's like he is doing one part of the development, we do the other part. And we also do the support and the distribution and the marketing stuff. But we also had to choose another name because GeoControl, the problem with the GeoControl tool was that after his accident, he was not able to answer questions in his forum and answer emails. So a lot of people were very disappointed. GeoControl had a good name at all, but It just got a little bit worse after that problem. 3DAl SK: Yes, we wanted a fresh start. So we decided to change the name. But the entire story is also on our public forum, so you already can see what happened. And I think most of the people understand what caused it. 0 it needed like a fresh start? 3DAD: So it’s good that it has been kept going and it has been continued. So that’s always a positive ending to the story. And both parties are still Involved as well so it's great. Now what interested me about the software was that some terrain generators can appear to have quite a steep- looking learning curve, especially when you have a node-based user Interface to cope with. So Is WorldCreator different and easier to use in this respect? Sk: It's different. It's totally different. When it was developed in 2006, Johannes used a programming language and techniques that are not very modern. And the interface is a little bit outdated. But we know about this and we've already started developing another version. So WorldCreator 2 Is coming, maybe this year, end of 2015 or about next year, start of 2016, And it will be node-based, Top: Use of GeoControl by Dice in the Meee urea ae, (ees COUR Gat care Cea Peter ecw abe Belooking totally different, totally cool. The algorithms will be a little bit improved, with better Visualizations, But the results will just be the same, buta little better, of course. 3DAD: So will it be a little bit easier to use the second version? Sk: Yes, it will be. But anyway, the current version is also very easy to use but it's not the usual moder standard. Everybody is used to node systems and so on. So this version still uses sliders for adjustments. But it's not difficult to understand, 3DAD: And the current version uses something with isolines to bulld landscapes. If you can explain to the listeners what an isoline is, and what advantages do they have in controlling the form of the landscape? ‘SK: Well, isolines are used for sculpting the landscape, actually, So in 3DStudio Max or Maya, sculpting Is like using brushes, But these brushes don’t take into account all the filters that are set up in your application like the erosion filters, sediment filters and so on. So the isoline tool is just like painting a gradient or just a line on the terrain, And this line describes something like, okay, this is a mountain, or this is a ridge, this is a river, or whatever you want to describe. And then you have a lot of more multiple parameters that you can set up for the thickness or something like that, And you just hit “generate” and the mountains or what you described with these lines, it just appears on the terrain. So you really can sculpt your terrain, You can say where are mountains, where's the lake, where's whatever. 3DAD: That sounds really interesting. Because for Instance, a ZBrush Is very popular because of the way you can sculpt your models, So it becomes a very kind of natural, a lot of the artists that I know that use ZBrush find a very kind of natural process. So would you say It's a similar type of feel for WorldCreator? SK: It's a little bit similar. But it's not exactly the same, But actually the Isolines are really one of the most powerful tools in WorldCreator, and also in other terrains generators. 3DAD: Now, one of the features is that you can control, you have a good amount of control over, for instance, rivers in your landscapes with WorldCreator. Tell me more about that.SK: Well, creating a river is like... Okay, it might sound easy for some people because It’s just like, “okay, I'm painting In a river...", add something like that and the terrain gets flattened at this point, But it's much more complicated because if you have springs in a mountain where the water is flowing down the mountain, and actually this forms a river and all the springs, all the water that comes from different points of the terrain all come together and for a river or sea, this affects the terrain very differently. Water flows is never like, okay, it just goes down here, But it always goes a little bit diffused, you know? And this tool, it’s not like the isolines that you say, okay, this is a river. But instead you simply choose a point on the terrain, and mark it as a spring, and you set up some parameters for the spring, and then you just say, okay, that's it, and now generate. And algorithms in WorldCreator create from that spring, you know, the water flow, it’s just calculating how the water would flow, and where it would connect with other springs, and where on the terrain a river will arise or will be created, 3DAD: So you create your starting point and then “You never have a river that looks IIAP LaU Les] ores UT Meg M-Lle be) fe Co) Flea) creates, depending on the springs, the Girelebic-| ileNe Lin en RTL you rely on the algorithms, which I imagine you can change, you've got some slider settings for. SK: Exactly. 3DAD: And nature or the algorithms, in this case, take its course and you see what you end up with. SK: Exactly. So you never have a river that looks unnatural because the anti-algorithm creates, depending on the springs, the natural flow of the water and the river that Is created, So you always have a perfect river, actually. 3DAD: Now as well as rivers, WorldCreator has the ability to erode landscapes. I've never heard of this before, you've got a term that's called reverse erosion? Tell me about erosion in WorldCreator and reverse erosion. SK: Okay. That's a little bit hard to explain actually. But erosion Is like the terrain Is getting eroded at some point. How do you say it in English? When the terrain is not added onto the terrain, so the surface Is not growing. But itis, you know, a river goes along the terrain, it just slows down the terrain. And then with the water, takes the terrain, the earth is, Uataken from the terrain. So this is erosion, actually. DAD: So it washes away the earth? SK: Yeah, washes away, exactly. So negative erosion or reverse erosion is actually the opposite of this. It would simulate how it would look like if it had not been eroded. But this is really hard to explain. It could be better explained through a visualisation. So imagine a landscape where our planet is just created, and we don't have any springs or whatever. And this is how it would look like without erosion. But all the water that we create, that's created during the thousands of million years... So we could simulate something like, okay, how would it look like before the erosion happened? 3DAD: Right, So you start off with an eroded landscape? And then you take It in time backwards to see what it would look like before. That sounds fascinating. So it's kind of a time travel. SK: Yes, It's similar to that. 3DAD: Great. Now along with that, you've got simulation of sediments as well. So if you have a Picture: Two typical WorldCreator terrain meshes. river, particularly a river mouth, that's in real life, that's moving huge quantities of sediment around? And you say that the simulation of sediments in WorldCreator is unique to terrain generators? Tell me a little bit about this. ‘SK: Well, they enhance the erosion system because sediments adds additional terrain onto the top of the terrain. So you get earth. So it's like, if gas Is carrying some dust particles or something like that, and those particles fall down onto the terrain, then we talk about sediments. And with this additional filter system, they are almost Impossible, really impossible possibilities in forming your terrain. SoI mean, the erosion Is already a very powerful thing. But the sediments are really enhancing it. It's just an addition on top of the erosion system. It's hard to explain. It gives much more natural look, yeah. And gives you almost impossible, but not Impossible, possibilities when creating the terrain and forming the terrain, in this case. It's like, without sediments... you know, if you cut a mountain, yes? So if you cut a mountain and you just have a look at the mountain side, then you can see that each layer of sedimentation Insets: Demonstration picture by Cajomi, showing Core Re eu kU nascar RERUN eerie pfor all the years that have passed, So actually, this wouldn't be possible if you wouldn't have sediments. ‘3DAD: Right. So you are talking about strata that, over time, is formed by those sediments, yeah SK: Exactly: And this is what the sediments filter applies to your terrain and can additionally, of course, Improve your terrain. So you can create terraces with those... like the Grand Canyon? 3DAD: And over thousands of years, the river has cut down through into the canyon. But you can see the history of that river because it's left these terraces, I suppose, as It’s cut through the rock. Sk: Exactly. DAL So that's kind of adding some, it's almost Picture: "Western Desert” by RaffyRaffy, WorldCreator. like adding in some physics into these WorldCreator to do with landscapes. That's remarkable. SK: It's one of the most powerful things in WorldCreator, the sediments. This is with the one which GeoControl 2 had when he first implemented it. So Johannes Rosenberg implemented then, But after his accident, he never was able to totally finish it for GeoControl 2. 3DAD: So he must be very pleased to see It In action now and to see it working? SK: Yes. It's really powerful. I love this, too. And I'm totally on It, to have the second version up and running 3DAD: So you've mentioned that it gives you a lot of possibilities, So have you been surprised by someof the artwork, some of the creations that have been made using this particular tool? SK: Yes, yes. When we started WorldCreator tools, a lot of old GeoControl users were asking for it. And most of them were very happy that the development was going to be continued. And almost everybody who bought it or purchased it, they sent us really nice screenshots, and some of them posted it also on our forums, and we also posted on Facebook, And well, it's really amazing what people do. It's fantastic. So it's really crazy, yeah? The pictures looks so awesome, so realistic, so nice and beautiful. 3DAD: And that’s the best kind of feedback. You know, if you are creating this type of software, to get the kind of creativity coming back because of what you and the original author have helped create, That's a tick in the box, It really is. So tell me a little bit about the community, the forum. Maybe you can give a shout — I mean, do you run the forum yourself or do you have other people helping that? Do you want to give a shout-out to some names that are quite prominent in the forum, that help with that forum? I bet there are some power users, SK: Sure, So we have really some active users, So we have a lot of people that registered, and they are looking forward to nice stuff, and asking some questions. A lot of some really, really interesting names, like wantafantaOt, Lukors, FarNiche are creating some really nice YouTube videos. Also Pixel Weaver, Alleni, vertexmill. Vertexmill hasdone a lot of stuff, really nice stuff. Sorry for the guys that I just forgot to mention! But yes, the people that post some stuff on our forum is really Great. I love it, and I appreciate it.. BDAD: So WorldCreator has some notable companies using it for games, movies and illustration. Give me a few examples of where and how WorldCreator has been used? SK: Sadly, I cannot because we don't know. We just simply don't know. Yes, the thing Is that when Johannes created GeoControl, his license model was... it was a little bit too hobby-ish. He didn’t make sure that the larger companies supported him with some nice pictures or maybe with names. What we do know is the companies who purchased WorldCreator are, for example... the likes of Electronic Arts, Blizzard. We suspect that the Battlefield game is using terrain that is created with WorldCreator, because that company also bought a copy of WorldCreator. But this is just speculation. But the terrain looks like It could be made with WorldCreator. But we don’t have any documentation or something like that from developers who are telling us, "We did that with your tool”. 3DAD: So maybe we could use this podcast as a shout-out to companies that are using WorldCreator. And If you've used It in a game, or in a movie, or for illustrations, let Stefan know, come back to him, ‘And it would be great to have that on his website as a promotion of the work that's been undertaken with WorldCreator. So that would be good to see. Now, you've mentioned about some forthcoming developments for WorldCreator. So you mentioned the WorldCreator version two. So what can you share about what's coming in the pipeline? ‘SK: So for the current version that we have includes a lot of support and a lot of bug fixing. And we fixed a lot of bugs. So It's a very stable version now. And for the next version we plan, of course, much cooler looking user interfaces. So it's getting dark. And we'll have themes so you can choose your own theme, maybe you can create your own themes, and much faster generation terrain generation, Currently it’s only calling on one core, so we are using just one core for the entire generation. Okay, we are speaking about i7 CPUs. But now we can use a lot more cores. 3DAD: That'd be good. SK: And we will go onto the GPU for the next generation. So the reference code will be used for it, too. Then the next thing is, of course, we are using node system, so node-based system. We plan to enable the Oculus Rift, We did It already for ShaderTool, so we are also going to use it for Terrain, I think this will be a really awesome feature, having your sculpting possibilities, a few possibilities in the new V.R, technologies. Yes? hat’s awesome, yes. Because I know a fewother products in the market place are also, I think Terragen as well has got some Oculus Rift compatibility now. So that’s great, in terms or moving towards these new capabilities. SK: We will also be having a share system where people can upload their own terrain, and their own filter and presets, share them with others for free. Or, if they want to earn a little money for the time they used to create those ones, so they can do that, And it's getting a lot more modern. It's getting Into to the current set of techniques. 3DAD: And yes, the preset feature is quite important, isn’t it? Because WorldCreator has quite a lot of sets of presets available, So maybe tell me a little about that now that and how It can speed things up. SK: Well the presets... So if you create a terrain, you can create a preset for that terrain and share with others. And there's, I don’t know how many, I think we have something like 2,000 or 3,000 presets that are shipped with the tool itself. So actually, you don't have to create your own terrain, Just use a preset. And they are really different from each other and they are really nice, Johannes spent a lot of time working on the presets, and he's put in a great amount of work to create these sediment filters and the sediment presets, So the presets will be kept for the next version, too, but they will be more modular. So we are also thinking about an API for the system so that people can create own Crete Ean ls Pree uly plugins and attach them to the current generation process, too. 3DAD: To open things up like that could really help the software flourish even more. ‘SK: Exactly. 3DAD: Well, thank you for your time today. It’s been great to learn more about WorldCreator, So just to remind the listeners where we can find you on the in internet. SK: Thank you very much. The WorldCreator product web page: http://www. bitethebytes.com/ index. php/wc-product Buy WorldCreator on Steam: http://store.steampowered.com, app/314730/ WorldCreator Official Forum: http://www. bitethebytes.com/forum, index. php/BoardList/ ere eee Leena aie eee ee) elder. 5 “We have something like 2,000 eee Ns lgserelca gear shipped with the tool itself.”3D Art L Reality 4 : New Features Masterclass (Poser Edition) Reality 4 for Poser is a valuable plugin providing the highest level of realism by taking advantage of the powerful Open Source rendering software LuxRender. It does all the hard work of converting Poser materials automatically for the LuxRender engine. R4 seamlessly integrates with Poser and providing physically-accurate rendering. A key advantage of R4 is that it converts materials and lights to physics-based versions. 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Kim Schneider (Arki), Connie Barrett (BadKittehCo), Joseph Dennison (Netherworks), Paolo Ciccone (Reality for Poser) Duration : Over 12 hours of content -Poser Expo3 Keynote : “Community and Collaboration It's About the x “oking Fist npessns wth np Roser “Top Secrets of Poser You'd Wished You'd Known Earlier" -Concept to Content : The Complete Journey of Poser Content eee — 3 -'Modelling and UV Mapping with Premium Tips and Tricks” Rhythm in Rigging ‘Creating Realistic Skin using Reality : Secrets of the SSS Shader Poser Expo3 Keynote “Back to the Future : What's Next for 30?" e.com/shop/ a—al ah Jesse-lee Lang (Dark Geometry) is an accomplished DAZ Carrara 3d artist and UT ee lcelal orc To elton) SAO TL Ey eee aol eae eat OL : PERC are CL ae CeCe py esac hain, PR ee cele Rene eerie Ee Na TOE ree et Rca ae Pres eneccne acdsee Suen enc tcl Se Kel oak rot sole ee eRe oR later? E LANGSOU RR UC Mec Ra ogee a ecu ee co Se ae Re eae eee aS ET Ecoles ser ume RU eee Co eee nate Cicer non Coe ete US UR atm Cee ort oe) a craft more informally, in the railroad yards, een ieee Ries Rea little about that? Ree es URC eee loved to dooidle and to draw and share the images with my friends, but then I took up CRE cu a ee Ca ac See a mec CUR ee Rat ae ee eee nT railroad cars and to have our work travel cette eae ee omned ee ee eee eee a Se cee eee cre Per ane 3DAD: Yes, back in the pre-Internet days the See eee Cone ee eu em Un DORE seca utes Pee UC CR CRUE eae g RES Ri ee an Rube ene ks EDOM as err ees Seem ee het aca erate mr a ee aa Pere aera esate ce Cie Pee ae Lee ure Rae eee ay er arm eke b eT Cs Pee R ein Rene riers races asad BP ROE eeu eee ee te en RRS ce ee aoe Pace CMR Mt Mert smn ree ue Roe CU ae eels RT eee Aeneas Ae ho a Beer Rt oe Ra er Cicer tme eM Cuia le aeons out into the wilderness a few times a year for Be eee ekg smc exactly something I enjoy, so in that sense Cee aCe Cs Reread ce ED Pe CREE meth RCs eee ae RC er ony CN RU ee Se Cae as my carpenter among other things, I’ve always found it fascinating what he can create with Peete eee cre Ren ee nee ea ar) Pets ee are kee) always supported and encouraged my passion for art. Se RO ae ena) Co Ru acceptance. Looking through your DeviantArt PRR a Cn eee Rd See nr ae even before I spotted your series of excellent Pees Cee au Cond that particular game genre, though I came to Peet Pe ee CR orE ieee RTS arse at Ree nee ead eee aeT) Cieriaelied ee oe ek) Remi eee tae cima Ceres ee seg Se ees CUE rau no ea CU Loe ere Re RC occ Rated ry eee Ce mel ST Eee Une | Roa) Dem ecmem ea) Pec RR LE) more involved and sparking the imagination. Cera Reet oon ons Pte Ue Reese ene ee EME Ly mel 3DAD: Ah yes, one of the classics. I’m no Ses emer nor!ree ee anata aR ecg pictures somewhere, but reigned in.a bit. It’s De A oR Cet Coen eau ecm ae cay Sn hte ie Cm eased Sa eee Re Un Aad ved : Poe e CROCE Rie Loe eee Rea a eee cc) Pee eeu eas Ree Eu uma eer uT) Cee RR ICe eS eto See a rn oe Lec) and those films blew my mind, I was hooked CR eC See nds Ce ee ean teens olde EDL Ope cu Ri ae Pee ees m acme Reet eae eee Or eT ee Sn Be Oe ise Cea cg eos emer Seem a ene ee De CTU Colt Ween ates Rec uaeemer ys mete eR RC Res oa illustrations? Or both? SOCEM TU Reale SCRE tener Pe eee ed ee oie aetna CU Mi ae oe) Re lol Py PERO C eM ROR Tt go Se a ue ce RN SSSR OE cme ac ae Ra Pee eee ee ec eee a are just too many brilliant artists out there all Pe Toe CM eu Ce OEE gen anu nome ool] estas ae 15) eee om le ciate Re oR Te with Carrara is titled “Wizard's Workshop”. Ce Ce ee eal maa act eu ad PERL ICE ott moe w hc cr Both Carrara Trey Co aacCea MLC Rag mero Ro imagine what a young. wizard’s workshop might look like’ and for the second image I Pet Manes net eee CER ee aac ie orm See CR unas oa Ree Ren ae eo aS RTs Tae ate Rtas Me ees atl 3DAD: “Goblin Mystics practice” (overleaf) Pee ne Rue ence What was the intention for this picture? Was fee ee acne see Ria koe co cnr Pee a CR ne R Ce Rcd POE ee ec oa eee een) Cee gu eR ECU! Cea ae seer cee eee ogicker mea ene Roe ree a Been Rach te et ean fle Dy Ors ee etna mols Ree URE rae Re) eee ee ene Rune eee eee a Coenen ce eae oS eeu Ua apart from many ‘just the straight render’ 3d Seen au eo as Raicies eee Sena ee Ue Pen and grateful. It’s a blast for me to take someone's ideas for their own image and roll Re ea eee nace Precio et aes a ars aren cre ha es Tee imu ene ena pleased with the fesult. Dy VOI NCe osc (LST Uke) oi em Ru es Reo eae ee eet sts Eirias ee Reco Rg PoC ome Mee Ross educa ee SSD eR et Ea uC ei Mien ene Pies ene ene ae eee Reeb“mUSHROOM sTEW aNYONE?". Carrara.CeCe ut Rea om Ura EC See e eer) and the big guy for firepower and artillery Brena eames sm ecd Dy PU ee eae Ne a Pret ae e maou ed POE UU Ra oko Pees e cae ke ea Remar eee teg Sree eee) Stee mae Crag eis sect OR RU ie Roemer | Ug Se eC NOOB MMR te ee ur RUC uu oe ly Ce Uo eee Cas Dy EBay CLC R Ie Mu ak Re Rue eco Resa rc DR ee me CRU Vee CU Ro me Rie a) yaa we PAS Ee ol See enue cor lt eee ce era Pod ke Cy BERR IAC aus Pee ose ei Peek eee cea Ra creations.of Ryan Bliss, Ryan uses 3d software Cee ee nc eee een ee eee mC ce nun Cee en ai ee > ee aU eC TD Bycce Pee een eae cr ea from there J started practicing with others Sree ase eeu eR eae aC a foci) PCR Cage 3DAD: And how do you find Carrara today, In ° Seam ean ae sees a Chem a ues rr oe eet as Cee Ree een ec ird its limitations? It’s a powerful programme, Pee tg aaa Ca Re eu an Most of their resources seei’to go into knocking their free DAZ Studio 4.x into shape: See eC Uae a) fet Rete Utomo TMG eas (as sd feel like sometimes there is a ceiling to its Feria or een ut eae ti atlas Fem elec Rue aired Eee 3DAD: Could you give some tips for those just peat ate Rec uc ra sec ace considering it for making “darkness and glows” pictures like yours? J-I-L: Carrara has great tools for lighting and Pema CLCe asec i SBT Ree eee oe Reecu eee am Tela eaten ead ed eed ese he Oe et a aoe Bees eRe oa 3DAD: Thanks. If readers with Carrara want a Pee esc eseum ue Re em CEU a iad Cente eee Rr itat) Cee meme a ets the Adobe Photoshop postwork you do , in eee eee eee een encatg Perec eeu Rc ed Reco Rese Roig oe Cee Ect oes Cee EUR rae oan Renee eases RC ea Ohne ary moment? Is there anything in that specifically boosts your experience in making 3d pictures? Snes aes nae ae Lee ARC Reaet ecco Raa) GeForce GTX 660 graphics card. Carrara Dee een Saeed OR eee _quad core PC's to increase render speeds for Rees Ne emcee Roe Ct giesee mae Pee eee aur Rca alg fen ee aosEDO ee nara ery ene esc ao) eMC e une U Ray Peete Se Ua om nos Ce Una oso me ons ie eg peo ee aE uk au Nad Pe ter kee ete eons ee eons UR eR oes eee iy eos sd peer ese MUR ang personal use, I love it when people use my SLE eee Le Pee ee RSE Remy Dem eae aU en smug ee Mo Ree ame eT Pees ecm RC TEU) Cee ee 3DAD: What three tips would you give to artists who are just starting out in 3D? Three things to avoid, or to make sure to do? Pe Le cea) See ects aS practice. Thirdly, do not compare yourself with another artist. bye Cece ome Eocene eure J-lL: Thank you, happy to share, happy to be Saeed Jesse-lee Lang is online at: /ittp:// www.darkg vetry.ca/ and the DeviantArt gallery is at: http:// darkgeometryart.deviantart.com/ gallery/ Right: series of four fanart wallpapers by Jesse-lee, ee eal ee eee eee 2SI re)/ (EXPLORING CARRARA GLOW SCE eee eno Seana] CeO omens ke oa Ok Cee ee aes Map) Vaer ec Rec in tome aren ae cel(oe Renn oe eae cose Coon GEOMETRY GLOW: Sg MO eens 2. Drop a simple sphere primitive onto the stage. Keep it selected. First apply a basic texture to the sphere, To do this go over to the General tab, over there on the right of the Ree en ee) ee RO Rom eR ang Mace the desired type of glow. You might chose the “Blue Chrome” texture, suitable for a light: cea Cue uence nr) Shading tab, and click “Edit”. This will switch See R te RRL See eee eae ee MUI RIC MOR no Ce ec seer ea CesuLy ennai ec Reena Rey ieee Re Ren ae ees ta a ie ee ee cy ace ewan er Ann mete Uc EC See een nt ne Der Re Cat aren eee ed box. Click “Auto Update” in Rendering Mode, Ree eee eeu ce cam eee Re eae eae en) Pitts CoM acute cect Cuenta Pern ee casa seo ae one a Sue ec ea nar icacisg effect reduced, so that I could still see Dee Rae eens oa UCBe pee Ute ke cee en nC ca eee ent me et Ck d ee me Ua ese aoe 6. Now switch to Carrara’s Render Room. Here oe UO a) au ee aL See er Cm kee ce ry almost instant. But then a little bar will appear at the top of the screen, preparing to overlay re ie ccm Cee a A ee eee Tete mest aa Pee ree ce seca BU ea) ce Reece cu na Pest ee eee Renee a EI ee Ce eee Rese en ee unk Rome) glow layer effect later (when working on your eet ema tesa) Mace Reals sd See a ee ae re edu) Rul aol later in Photoshop or (for animation) HitFilm. Breet Samu a mC ema CCE te CUT eames) eZeee ee eed PHOTOSHOP POSTWORK GLOW: I then took the same Carrara render into Dee eee uae nn aN nel tm koe Crete eer Cs ea a ened ee ene ee mene Reet eee cern) Pe mae ee Rae ae tery Cea eae nd Eee ee ere LIGHT GLOW: You can also have'a-Carrara light glow, rather CCU ecg ec) CRMC eo ied a eee mcs Run enn em iat ees ool Cee RR Ce ec eels aoe eo aU Seer sel et eemeses hay eee ue ead eo oon oboe eee aces Renee ra gainer ees atd Pee Cua ee ee Neon ce Pee eM Ue ee CS Peee eu ece Te Uc od eR SE Cesar er ueiat eectacn Roar] need. Run the "Range Falloff” slider up to pee a Ce Rul aes 1e(e MS turned on. Cen Re eee See Mee eRe ee eg Pica oa See Uae ecole) OT Mme re eat eoe effects. Here, turn on “Full Rendering” and UCR Cae Uae Deed eee an erm ues mc SC CE Memos aera merc macs Co ee ea een eu Peer a cent ee eee es FALLOFF SHADERS FOR CARRARA: Ser a ease ens “inner glow". As of Carrara 8.5, Carrara no eee Caen gece ue ag at the Digital Carvers' Guild's "Rolloff" (Fake Fresnel) shader within its paid Shader Ops package, Also at Digital Carvers is the paid. Sees annie ew eae Reena Pees eet ee ea eos ee cn eM eCeues eae Seem e eeSUBSCRIPTION AND BACK ISSUE ACCESS Get the NEXT 12 issues | Full access to every Premium Online Magazine published Over 100 in-depth interviews | Browse 1,200 pages with vibrant galleries d the PDF files | B s content!Clem a JACOBS 3D Art Direct interviews veteran Vue artist Britta Jacobs, from the mountains of Switzerland. oe a3DAD: Hello Britta, thanks for joining us here at 30 Art Picture: “The Unladen’, Vue. er eM eae Seige eee ieee Ske IRs ence LTg Cooter nne eee Rees) Eisen EW) ee: ann neem ay ST a ene aC DCU Uh cod Sie iu Meee Arne Oe eee eel] ‘afterwards in Zurich and Frankfurt (art pedagogy and Bere eee aie cee ee teen COUN e Ries RR Teaco ey Beacon etc eee TRUCE eee ema EYE ue ne ecRek cm pecan jomething caught my x lee ee es etekplaces I have visited, around the house, on the road to work or while travelling. 3DAD: What influenced you to take up digital art and when did you get started? BJ; When computers came into my life in the beginning of the 80s, a whole new world opened up to me, which became even broader when digital photography arrived. But it wasn’t until 2002 when digital art arrived in my life. I have been a fan of fantasy art since my youth and always wanted to be able to do something like that. But alas, painting was not among talents. But when my sister, being eight years younger than me was able to study graphic and design, she instantly recommended Vue to me for doing landscapes and maybe fantasy renders on the computer. So I started with Vue d'esprit 4 and fell in love. Shortly after, I got myself into Poser, too, so I could add some people or animals to my renders. After a very short time venturing into this new realm, I had to pause again due to the care for my parents taking most of my time. I restarted my adventure with digital art in December 2008 and kept on going since then. 3DAD: Have you had a long term interest in 3D. graphics? BJ: I somehow slipped into it with my own work. I think, when I started my first experiments with Vue, 3D graphics for personal use was in its infancy still. And it grew up quite fast since then. 3DAD: You've been creating 3D art using Vue, a program geared towards creating landscapes and said that you live in Switzerland, so right in the heart of some of Europe's most beautiful landscapes. You must find this quite inspirational, do you?BJ: Indeed, the landscape around me is absolutely fascinating and inspirational and especially the mood on some days is amazing. Mighty clouds with the drama of changing light falling on the mountains or just touching their tops. Eerie, special days, when the ‘Foehn’ wind comes over the Alps makes the weather unusually warm in winter and paints the snow red with Sahara sands carried on the wind. Or those evenings when the moon is so big and clear in the sky you really think you are in a science fiction movie. And the light, oh the light! Those colorful winter mornings and sunsets in pink, orange and violet, those are straight out of a fairytale! Afternoons, after a heavy spring thunderstorm with lots of rain, when the sun comes out again at almost dusk and paints just the upper parts of the hills in a glorious warm light. Ah you got me waxing lyrically... and I have tons of pictures of this landscape in all its moods and sometimes it is echoed in my renders. 3DAD: Did you find it easy to use Vue to recreate the world you are familiar with? Is it up to the task of creating realistic mountain sceneries? BI: Yes, it was easy going, especially as I found some wonderful training videos by Vladimir Chopin (geekatplay.com) which covered all the basics along with tips and tricks to make it easy for me. It would have been much more difficult for me, had Vladimir not made these wonderful tutorials. I am SO not the handbook reading type. And Vue is just perfect for creating amazing atmospheres and landscapes. 3DAD: What impressed you most about Vue when you first used it? What do you believe are its main strengths? BJ: For me it was like an epiphany because I could get creative in a way that I could notbefore. I could start to get all those colorful pictures out of my mind and turn them into reality. Most impressive for me was the ecosystem feature, a means of getting a natural looking vegetation in no time. And the possibilities from playing with light settings and creating impressive atmospheres and moods are abundant and wonderful. 3DAD: Over the years, Vue has had versions and updates. How does the current version stack up compared to what you started with? Cet aoeBJ: I upgraded to the professional version of ecosystem possibilities like natural clumping Vue Infinite in 2010, finally, and am so happy for the landscape. The new lighting about the advanced possibilities for creating _ possibilities with a physical sunlight model and my own materials for 3d objects I have done —_ photometric lighting are amazing. There are in other programs, like Poser or Sculptris or even possibilities of tone mapping available Incendia. Not to mention the advanced now.A lot has changed since the early days because it was the very small basic version for artists I started with. It did not have a lot features in the areas which really make Vue special — recreating nature. 3DAD: Is there anything that Vue should borrow from other applications in its continued development? BJ: I think for what it is designed it is marvelous. There are some small things I would wish for, like better options to export materials or objects created with Vue into other programs. But I think I am a bit special in that way with my wishes as I prefer to model in Vue too, although it is not made for it. Iam unorthodox. I mean, the new capabilities offered through the integration of The Plant Factory, well, I tend to use them for stuff they were not primarily intended for. I love to tinker, you know? 3DAD: How do you go about making your creations? Do you make a sketch first or note down ideas and then get to work, or is it letting the muse hit you and going with the flow? BJ: The latter in most cases. There are some things I see and which tend to stick in my mind, like a snapshot, for recreating in Vue, or sometimes I'll make a quick sketch to remember a composition. Like with the picture “Vintage”, where the inspiration was a picture I found on the net. But in most cases my renders start as a test-run for a terrain, a material or just taking a look on an object in Vue, either self-created with another program like Sculptris or Incendia or a newly bought object. From this starting point they start to grow into something new. 3DAD: Here at 3D Art Direct, we are championing sci-fi and fantasy art. You have done a few pieces in these genres, is it hard to create something otherworldly that still looks believable? BJ; It is not hard with Vue because there you have the natural environment possibilities all given to you and you decide in your creation how far you venture into something more sci-fi or more fantasy or even more surreal. 3DAD: Probably one of my favourite images of yours, which won picture of the day over on Cornucopia, has to be "Unladen”. It is really unusual to see Vue used for macro shots. We're using this as the opening picture for your interview. Tell us a little about how it came to pass, please. BJ: “The Unladen” started out as a first experiment with The Plant Factory, where I tried to create the dandelion seed myself. Starting with several pictures of dandelion seeds found on the net, I experimented myself through TPF with the help of some of Viadimir's tutorials again. At the same time, one of my friends in the Vue group Germany on Facebook, Rudi Hendrich, started to do some excellent macro experiments in Vue. His work got me inspired to try my hand at something like that, too, and my newly created dandelion seeds were going to feature! I even asked him how he did the backgrounds and camera settings because he did so well in achieving a photo-like look. Trying out to place some water drops on the full dandelion head was the next experiment and lead to the right part of the picture, now my seed had to find its place, too and there you have it: the final render, All that was left was to find a title, 3DAD: What about the picture "La Mesa”? In my head, this is what I would expect to find on a planet like Mars. What was the inspiration? Oh, and are those lizards or frogs on top of that central rock? BJ: “La Mesa” evolved out of an experiment in creating a terrain and playing with the terrain editor. I got this nice looking landscape with the ditch and the rock inside and from there got going adding water, a nice material to the ground and — neither lizards nor frogs / laughs/ - those ruins on top of the middle rock. 3DAD: We love a bit of space exploration. "They are coming” is both traditional and original at the same time. Was there something specific that inspired this piece? BJ: As with so many of mine, it just evolved 46Ce Ce ee aCout of a trial. I had seen this planet with light peeking above it in another picture, and I wanted to recreate it. So the recreation of this was the nucleus of the picture. Having done that, the picture was still too empty, so 1 wanted to have something really interesting and huge in the foreground. Searching through my libraries I found the Odin by Original Moron, a free model which turned out to be just what I was looking for, Now, with the original texture it was just a big black blob in the foreground. So I decided to go for another look by experimenting with materials. 3DAD: The Odin looks fantastic and almost see “through in its blue, glowing hues. Was that done in Vue or did you add that in post production? BJ: It is done in Vue. Instead of the big dark blob I wanted to have something special. It still had to look like a ship though, so I went for one of the fine materials created by Mark Lawson out of his huge Sci-fi object and material bundle “Postcards from the Rim”. The material from the bundle looked really nice on the ship and made some impact. I fiddled with the material to give it more glow and transparency to get the feeling of something really alien — which gave the ship this almost see-through, glowing hues. I love to play with different materials on objects — self-made or bought ones -- just to see what interesting effect come out. Doing just that is, in a lot of cases, the starting point for another render. 3DAD: You seem to have a love for all things watery, is that a mountain dweller’s longing for the sea coming through? BJ: /laughs/ No, it is the never ending fascination of how really nice water looks in Vue and how very versatile it is. It can be changed from clear to reflecting, to muddy, to glowing, to wavy with or without foam...ah, you've got me going into rhapsodies again! 3DAD: Fish and jellyfish (and their shapes) do incredibly well in your hands. "Preserving fish” pretty much left me breathless. It’s really beautiful: the way the mushroom seems to be straining to break free from its chains...very surreal, like Dali meets Greenpeace and all set on a faraway planet. Can you tell us how you arrived at the idea and your workflow? You sculpted the big mushroom that takes centre stage yourself, didn’t you? BJ: “Preserving fish” is one of my favorites too. I created the mushroom in Sculptris, another of my favorite programs. I stumbled onto this little marvel of a free program just before it was acquired by Pixlogic and I am glad it is still freeware. To me this astounding little piece of software feels like modelling with real clay and lets me create organic forms in no time. So those trees in the picture "Deep magic forest” were created in Sculptris too, as is the hollow tree in the “Old path” and some other items or animals for various other renders. Then I loaded the mushroom as .obj into Vue and was trying out different materials on it, one of them being glass. I really liked what it looked like on the 'shroom’s head and from there it grew. I made the stem non transparent in Vue with a specially created material. The head looked like ‘one of those snow globes you can buy at Christmas and which I still love a lot. So a tree was added in the center. I thought about adding some soil around it, remembering having read of a very special experiment, a garden in a bottle, which is self-sustaining for a long time when you close the bottle. But then water would be a nice touch too, because you could even see through. So water it was and it, needed something inside to be more animate. Thus the fish were added in an ecosystem. I found myself recognizing my mushroom as a little self-contained world all in itself and was pondering the surroundings. First 1 thought that someone still had to feed the fish, so one had to get to the mushroom somehow and I added the pier. Then, in my imagination, a storm came and oh what would happen to my little biotope if it wasn’t anchored? That's when the chains were created to keep it where it was. Now only the landscape in the background had to be created to give an impression where this all is located. 3DAD: There are quite a few surrealist pictures in your gallery, are there any artists that you would say inspire you? BJ: Yep, there are, Salvador Dali of course, to whom I have a very special connection, not 48F ; N Picture: “Mystery Place”, Vue. . ae a 4 4 . ‘4only because I love his fantastic surreal work but because we are born on the same day and he walked into his 71* year when T walked into my 17°. I've also always loved the pictures by René Magritte, too, because of his witty and thought-provoking images. There are of course also those in our Vue groups on Facebook which are very inspiring, too. Cynthia Decker has done some really great and inspiring surreal renders. 3DAD: What about writing? Do you have a favourite writer who really gets your creative juices flowing? I mean “Seedcollectors” to me looks like something I wouldn't be surprised to find on the cover of a sci-fi pulp like Perry Rhodan BJ: Does it show? /laughs/... and yes I really was a Perry Rhodan fan although it’s been a long time since I've read one of those. I still have the original of Die Goldenen Menschen [The Golden Men, 1965] which was and is my all-time favorite, though. Another series is very inspiring to me: the stories about the Liaden Universe by Sharon Lee and Steve Miller, a series about three very different clans which humankind split up into after they had to leave an earth in decline. One of them, clan Korval, has the dragon and the tree as its symbol — ah, a sweet fantasy/sci- fi mixture. I actually love inventing little stories to go with my renders, so with some of them I write what comes to my mind when they are finished. This started as sort of a fun game in a German 3d group, where one of the members was writing wonderful and surprising stories to go with my renders represented there and we planned to do an illustrated book together — maybe we still will. This, however, got me into writing myself again too, as I did in my youth. And so some of my renders come with the beginning of a story, like for instance “Deep magic forest” or the "Seed of snow” or “Memories of green” or “Shrouded”. 3DAD: I’m coming back to landscapes and realism: how important is it when you are creating a surreal landscape like you did in “Those Mighty Clouds” to ground them in our reality through the use of foliage, plants? BJ: Hmm that’s not easy to answer, becauseaerrs Left: Crane oes unasit just sort of happens to me and the decision whether a render goes more to the real side or more to the surreal side is made on the fly. 3DAD: What about the mix of highlights and shadows? Your forest scenes are really coming to life because of it, Like "The Old Path" and “Into the Light”. I know I find lighting incredibly challenging when I use Poser. Any tips on how to get it right? BJ: Ah, thanks a lot and, hmm, I have to admit, Vue makes it easy to get a fascinating lighting ‘cause it has so many possibilities in the atmosphere editor alone. But also with added special lights. This is the reason why I do my lighting in Vue and import from Poser to Vue. 1 tried once, and only once, to do the light in Poser. It is so very different from lighting in Vue that I did not try it again! Lighting in general is what makes a picture, a film, a render, a photo, a painting special and so I read about it, did tutorials and of course some of the most inspiring lessons on light come from mother nature herself: I learn so much just watching those mighty clouds, the drama of light and shadow going on in front of my very eyes here where I live. 3DAD: How important is composition and framing to you? BJ: Composition is very important and I admit that sometimes I do not achieve what I wantedto regarding composition. But I think this is just the way it is. T normally have a natural feeling for a composition but it certainly does not hurt to read about it from time to time again — like I did recently when there was a very interesting link in the Vue group to an article about the different forms of composition. I also do analyze pictures for myself when I find a striking composition — just with a few strokes of paint either for real ‘or in my mind — to mark the main lines of the composition and get a grasp of how it is done. 3DAD: You have a great eye for volumetric and atmosphere settings in Vue, has this been something you have always been good at? BJ: I sort of grew into it here, learning it over time. To get those amazing atmospheres recreated which I see around me, in documentations or created by others, that takes tutorials, experimentation, tips and tricks and examples from my friends using Vue, too. Talso bought some of the fascinating and so well done atmospheres from Mi Andrea and studied them as w Vladimir created, who is an atmosphere master, too. All those still form the basis for many of my renders. True, I'll adjust them to my liking but they are very, very good, And sometimes by pure chance there is an atmosphere from experimenting with light and cloud layers, which just looks great and whichwill serve in several of my future renders. 3DAD: With what you have learned about Vue so far, could you give two tips for those just starting out using this package? For this package, what for you are its top two features? BJ: If you are starting with Vue then I really would recommend to do some of the very good tutorial from Vladimir Chopin or to have a look at the classroom on Cornucopia. There you can get a step-by-step insight into how some of the stunning renders presented are created. Furthermore, join the Facebook group on Vue — because most of those you find in Cornucopia’s Cream of the Crop Gallery or in E~ on’s "Picture Of The Day” you will find in the several Facebook groups, too. And there even is a group for tips and tricks now, which is very, very nice. Most of the groups have files with tutorials on several topic for download, too and of course you can always ask in the groups. And if you have some knowledge and want to know more, why not join 2 webinar, for more in-depth learning? 3DAD: If you had to pick one or two CG artists that you think had an influence on you or that people should look out for, who would they be and why? BJ: Jonas de Ro, a Belgian concept artist who has an astounding variety of fantasy and sci-fi illustrations which are just fantastic and amazing to look at and an inspiration. Dimitar Marinski, who has a most inspiring way of doing environment painting in the direction of a fantasy world I've always wanted to be able to recreate in Vue. Actually one of his concept paintings I did recreate in Vue, the “King of Shrooms”. There are so many which have inspired me, but when it comes to Vue I think Barry Marshall is certainly one of them,because besides doing some really inspiring and classy work himself in rendering and modelling he always was a very sweet and helpful gentleman to me; when I had special questions on how to do something, Vladimir Chopin, was the one without whom I would not have been able to get into Vue. He makes it easy to learn so much about it — and he does some pretty inspiring work himself too. And there are a lot others which have been and still are inspiring to me, like Cynthia Decker with her wonderful surreal renders, like Rudi Hendrich with his fascinating macro experiments in Vue and his masterful everyday scenes. Like Rudiger Wacknitz, who always surprises me with some really impressive new renders. Like Don Webster, whom I really admire for his fascinating talent in modelling and doing epic historic or sci-fi renders, Like Andrea Horvath, who did some of the most appealing landscape renders I have ever seen. Like Artur Rosa, who has a very amazing talent for surreal and real Vue renders and... oh my, I could go on for a while! 3DAD: Britta, thank you so much for giving us your time and sharing with us and our readers some of your workflow and those phenomenal renders, BJ: Thank you. Britta Jacobs is online at Cornucopia, home of Vue: http://www.cornucopia3d.com, portfolio/britta_jacobsBackground: “Cybernetic” by Jesse-lee Lang, INDE Issue 49 } Stefan Kraus | WorldCreator Jesse-lee Lang © Britta Jacobs Issue 48, © Oyshan Greene © Uko Glimmerman «+ Frank Basinskt » NWDA “Tceland’ contest Issue 46-47 © Paolo Ciccone | Reality 4 Thierry Cravatte © Aeon Soul -¢ Hermino Nieves * 3D overpaint tutorial Issue 45 ~ Peter Johansson | TheHunter videogame ~ Unique Landscapes ~ Richard Whitelock Issue 44 | Mark J. Brady Jan Van de Kloster ~ Hans-Rudolf Wernit Issue 43, © Runtime DNA © Sixus 1. * Dan Alvaro H.P. Lovecraft gallery Tesue 42, © Angel Alonso | © Neil Thacker * John Scolert on the artwork of Ralph McQuarrie (Star Wars) Issue 41 J. F. Leisenbor Graham Symmons ‘= Tutorial: DEM into Vue Issue 40 + Dax Pandhi | Joe Vintol | Orbital - Laticis Issue 38/39 2S. 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