Cgarena Aug-sep09 Magazine

8/8/2019 Cgarena Aug-sep09 Magazine

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Get Attention in the Computer Graphics Community

VOLUME 4, ISSUE 4, AUG - SEP 0

PHOTOSHOPMaking of Radhey Shyam

ZBrushMaking of DinoMonster

3DS MAXThe Dreams of Street Cat

GALLERYLatest 3d inspiring art

CGArena

PAINTERPortrait of a Magic Warrior

INTERVIEWMarta Dahlig


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Magazine Edited: Ashish Rastogi, India

Magazine Cover Image: Barnali Bagchi, UAE/India

Magazine Design: Yousef Ikhreis, Jordan

www.cgarena.com Page

Issue ContentsVolume 4, Issue 4 Aug - Sep 200

Get Attention in the Computer Graphics Communit

4VOL

5

5

0

0

8

8

4

Interview Marta Dahlig

Accident

Making of Radhey Shyam

Making of DinoMonster

The Dreams of Street Cat

Portrait of a Magic Warrior

Showcase of latest 3D art

3D Challenge

Photoshop

ZBrush

3ds Max

Painter

Gallery


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Industry News

CGArena

Issue 4 Aug - Sep 20

NVIDIA Launches Worlds First

Interactive RayTracing Engine

NVIDIA, the leader in GPU computing, introducedthe NVIDIA OptiX ray tracing engine, part

of a suite of application acceleration engines for

software developers. NVIDIA acceleration engines

make it easy to incorporate valuable, high-perfor-

mance capabilities into applications, while simulta-

neously reducing development time.

As the worlds rst interactive ray tracing engine

to leverage the GPU, the NVIDIA OptiX engine

is a programmable ray tracing pipeline enabling

software developers to easily bring new levels of

realism to their applications using traditional C

programming. NVIDIA application acceleration

engines are available from the NVIDIA Developer

Zone at no charge.

Autodesk 2010 Certification No

Available For Design Professiona

Autodesk, Inc., announced that design and engineing professionals can become Autodesk Certied

AutoCAD 2010, Autodesk Inventor 2010, Autode

Revit Architecture 2010, and AutoCAD Civil 3D 20

software. Becoming Autodesk Certied allows profe

sionals, and companies boasting Autodesk Certi

employees, to validate their industry skills and know

edge, demonstrate expertise and gain credibility. Cu

tomer demand has contributed to the huge growth

Autodesk Certication over the past year, increasi

the number of Autodesk Certied professionals

more than 100,000.

Professionals can take training courses and the Ce

ed Associate and Certied Professional exams at

Autodesk Authorized Certication Centers across t

United States and Canada.

Book


Training

Professional MEL Solutions for Production - Maya Embedded Lan-guage is the heart and soul of Maya, the most powerful 3D application on

the market today. MEL provides Maya with a versatility and adaptability

unmatched in the CG industry. It is MEL that allows technical directors

to customize Maya to t each pipeline, to work around each limitation,

and to write tools that expand Maya s already impressive set of capabili-

ties. This book shows you how MEL is being (ab)used in high-end visual

effects production by picking apart scripts written in the production of

recent feature lms. ISBN - 978-1598220667

Visual Effects for Directors - Years in the making, Visual Effects ForDirectors is a massive 7 DVD set that covers everything you need toknow about shooting Visual Effects. The course is intense training on

everything from green screen, virtual set, 3D, camera tracking, and mo-

tion control, to character animation, motion capture, crowd replication,

digital set extension, VFX cinematography, compositing, and much more.

The course covers everything from basic visual effects to advanced tech-

niques. This is training that everybody needs, from Directors and DPs to

highly professional Visual Effects Artists.
http://www.hollywoodcamerawork.us/vfx_index.htmlhttp://www.amazon.com/Professional-Solutions-Production-Kevin-Mannens/dp/1598220667/ref=sr_1_1?ie=UTF8&qid=1249653116&sr=8-1


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http://www.cgarena.com/ccount/click.php?id=204


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Hello! :) I am 23 years old and live in W

saw, Poland. For my ofcial employme

a regular full time job I currently wo

as a media planner at MPG media age

cy. I know not too artsy... In fact, its

extremely analytic, number-crunching joMaybe it doesnt t well with the image b

I like the challenge the contrast is givi

me

Illustrating I do out of passion. Currentl

work as a cover illustrator for a few G

man publishing houses as well as prepa

tutorials for Future Publishings Imagine

magazine on a nearly monthly basis.

Q. You are doing a professional paiing from many years, so you started

just as a hobby or did you see the ptential for your career?

I started painting since my early childho

and treated it as a hobby for many yea

never seeing it as a potential career pa

At the age of 15, I moved into digital med

out of curiosity and will to experiment, s

with no intention to become profession

However, soon after I discovered all t

possibilities standing before a CG art

and became tempted At the same tim

however, I still wanted to try other thing

such as something connected to advert

ing or marketing. In the end, I decided

take the middle path and am doing bo

things at once.

MartaDahlig


Q. Hello Marta, can you give our readers a short in-troduction please; age, location, employment etc?

Extremely againsthe nude shots

which are chauvin

istic, disrespectfuor devoid of any

thought

Interview with

CGArena



6/67Sky Pirate Copyright by Future Publishing


7/67

MartaDahlig


Basically every artist has their own spe-

cic way of working. I work mainly in Pho-

toshop, with highly transparent brushes

and apply layers of paint gradually, as it

lets me control the outcome from the very

beginning. Aside from that, I always paint

on 4-5 layers tops and try to stick to as

few basic custom brushes in Photoshop.Basically, my main tools is a regular air-

brush and a Hard Round brush with its

edges ragged. Depending on the occa-

sion, I can also use more detail-oriented

custom brushes, such as photo textures

and the like.

Q. Looking at your portfolio you havepainted mostly the womens, there isany specic reason of this, mens arenot so bad :-)

There is no hidden message about it real-

ly, I just nd women a much more grace-

ful subject to paint! Lately I have been

expanding my horizons a bit, however,

painting not only men, but also animalistic

characters. Some of that art should soon

be uploaded to my online galleries!

Q. As you are self taught young artist, so you have any specic drawing techniques or tips for uIf yes, then please share with us.

Interview with

CGArena


Q. After more than a year, we get a chance to view your new personal work, so where are you bubefore that?

I know it mustve seemed I was lazy but in reality it has been the most intense year ever! I spent my who

painting time on commercial assignments, such as various cover illustrations and already mentioned Ima

ineFX tutorials. During that time I was also preparing my part of DArtiste: Digital Painting 2 book as w

as handles a few still developing projects. All of that has left me with no time to really do anything just f

myself.

Copyright by Future Publishing


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9/67www.cgarena.com Page

Story of Judith In the second century B.C., as the powerful Assyrian army invades the Near East,the town of Bethulia is besieged by the cruel and domineering Holofernes, foremostgeneral of the Assyrian emperor Nebuchadnezzar. If Bethulia yields, the wholecountry will fall into Assyrian hands. Discouraged, the citys elders agree to sur-render the famine-stricken city if they are not rescued within a few days. Judith, a

young widow and most unlikely savior, challenges them to take responsibility forthe future of their community. She enters the Assyrian camp where Holofernes,smitten with her remarkable beauty, invites her to a banquet. When he retiresto his bed in a drunken stupor, they are left alone in his tent. Judith takes up hissword and decapitates him. With the Assyrian army thrown into confusion, Judithinspires the Israelites to launch a surprise attack from which they emerge victori-ous. - Read and Watch the Detailed Making of Judith HERE
http://www.cgarena.com/freestuff/tutorials/photoshop/judith/judith.htmlhttp://www.cgarena.com/freestuff/tutorials/photoshop/judith/judith.html


10/67Umbrella Sky Copyright by Future Publishing


11/67Moths Copyright by Future Publishing


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MartaDahlig


Interview with

CGArena


Q. What are your hobbies and please describe your free time, if you have any or are you the kindlady who lives for her work all the time?

Due to having a full-time job, I rarely have time for anything else other than painting in the evenings/nigh

and at best end up having ~5hours of sleep during the night. On those rare occasions I am free, I do rea

typical things: I like to read (anything from historic novels to thrillers), watch movies, go out, spend time w

my dog The regular stuff. :)

Q. Anything you like to add? It is your chance now to state your opinion about anything!

I am not really good with closing words, as there is no way not to sound clich - it is the usual moment

state: remember to be yourself, strive for that dream!, you can do anything and all that.

Clich or not, I believe in that! If you are willing to work hard, really hard, with a bit of talent, luck and swe

you are able to accomplish anything you want. The biggest success factor is the right motivation, patien

and readiness to use the various opportunities that life places before us. If you know what you want and a

willing to work your hardest day and night to achieve it, you are bound to be successful :)

Thanks a lot Marta for taking out sometime for us from your busy schedule. Hope you continue to paint t

beautiful womens and sometime mens too.

Blog: dahlig.blogspot.co

Online Gallery: blackeri.deviantart.co
http://dahlig.blogspot.com/http://dahlig.blogspot.com/http://blackeri.deviantart.com/http://blackeri.deviantart.com/http://blackeri.deviantart.com/http://dahlig.blogspot.com/


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3D Challenge

CGArena



CGArena is proud to present Accident 3D Challenge, 10 Aug 2009 - 1st Oct 2009. Winners will be rewa

ed with special prizes from Side Effects Software, Pixologic, E-on Software, Eat3D and ambientLigExpress your creative ideas in a new and interesting way.

Your MissionCreate a 3D image which justify the theme of Accident, this can be realistic or toony. This can be physi

accident, attempt to stop the accident, accident of emotions or whatever you can think of. You can expre

the theme in a single shot or in several shots inside one image. You can even replicate the scene from

movie. You are allowed to show the artistic nudity in the image. This Challenge is a Work-In-Progress Ch

lenge -- all contestants are required to post their work-in-progress images for community to critique/co

ment in order to qualify.

How the Challenge will be Run

This challenge will be a WIP (Work in Progress) Challenge. Each challenger (teams are not allowed) is rquired to post Work In Progress (WIP) images, from the initial concept sketch to the nal render to the po

production on regular intervals in the CGArena forum. The purpose is that everyone can learn from ea

other, offer feedback and critiques.

1. Enter the Challenge by registering yourself on CGArena forum under Challenges > Accident > Your Re

Name - Country

2. Submit your work in progress images in forum on a regular basis. Concept sketch/shot need to post with

a week from the date you register yourself in the challenge.

Image by Antonio Peres Vieiraflho
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3. Participate in the community by critiquing other challengers works in the respective threads. Only co

structive critiques/feedbacks are allowed to post, please avoid postings like Good image, Wonderful G

ing, Nice Image and so on... Dont try to insult any artist, artistic skill, concept or country. Otherwise y

can be disqualied from the challenge.

4. You are allowed to use any 3d software for the creation of artwork. Premade models or preset bas

softwares/plug-ins which allows creation of human models are not allowed to use. Sculpting softwares a

allowed to use.

5. Once concept sketch is posted in the forum, you are not allowed to change the concept. If two simi

concepts are posted then second similar concept participant is allowed to change the concept in the ne

48hrs.

6. If you replicate the scene from a movie then that will be judge on the basis of realism and similarity w

the shot. Try to add all the elements/props which are available in the movie shot.

7. Registration for the challenge will close on 15th Sep 2009, midnight 00:00 GMT.

8. Submit your nal entry till 1st Oct 2009, midnight 00:00 GMT.

9. You are allowed to use any type of post- production in the nal image to make artwork better and rich

Please avoid to add the elements in post-production which are 100% made in the 2D program or pho

graphs.

10. There will be 3 winners, Judges, sponsors, CGArena decision will be nal.

11. Winners will be announced on 9th Oct 2009. All prizes will be available in the downloadable format fro

the sponsors website.

Terms and Conditions

1.) Entrants agree to give permission to the sponsor to use all or any part of the artwork entered in this co

test, (hereinafter, the Work) in the Companys demonstration tapes (reels), promotional materials (ads, P

etc.), booth graphics and presentations for the promotional purposes.

2.) Entrants will retain all rights to the Work. In addition, the Company will not sell for prot any materials demo reels containing images or animations submitted by the Entrant.

3.) All the winners are requested to create a Making of the Image and only CGArena owns the right

release that making online or anywhere else. Without the consent of CGArena not allowed to release t

making anywhere else.

4.) The Company, in exchange for this release, will provide a credit for the Work within the material in whi

the Work is used.
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Final Image Size

- Your nal image dimensions should be print resolution (300 DPI). Do not send in a low-resolution.

- A guideline is minimum 1680 pixels wide and/or 1050 high, JPG, 300 DPI.

- Send your nal image in zip or rar format with your name, complete shipping address, email, telepho

number in a text le on email address [email protected] with email subject your forum usernam

When we received an email then you will get Automatic reply conrmation email.

First Prize - $9770 worth of prizes

Houdini Master worth $7995 USD - Houdini Master is a full featured 3D animation and visual effects so

ware renowned for its particle and dynamics tools. Houdini Master is perfect for visual effects artists, techcal directors and CG supervisors who want to experience total control over their pipeline

E-on software Vue 7.5 Innite worth $895 USD - Vue 7.5 is the most efcient and advanced solution creating, animating and rendering natural 3D environments. It offers a high-end 3D scenery solution for S

studios, animators, illustrators, architects, matte painters and CG professionals. It is strongly focused

power, productivity and inter-operability with existing toolkits.

Pixologic ZBrush 3.1 worth $595 USD approx. - ZBrush 3.1 gives you access to unparalleled power acontrol previously unknown in digital art creation software. Controls enable sculptors to create with a sty

and a tablet as intuitively as if they were using their hands on a block of clay. If at the end of the conte

ZBrush 4 will ready then provide ZBrush 4. Otherwise, provide the license available at that time, with a frupgrade to ZBrush 4 when released.

ambientLight Multibuy Texture Bundle worth $175 USD approx. - This includes our entire range of Teture Packs. All of our packs are at a minimum of 1024 pixels square and are hand edited so that they t

perfectly, whatever application you use them in!. This pack includes Plant & Trees, Natural, Sky, Archite

tural, Roads textures.

Eat3d Training DVDs (2) worth $110 USD approx. - Our focus is to have the highest of quality trainivideos geared toward 3D Artists. We put an obsessive amount of time and effort into our work, and we a

very proud of the results. So sit back and join us for a refreshing course in high quality next gen art. Winn

can choose to download any 2 training DVDs.

Second Winner - $1392 worth of prizes

E-on software Vue 7 Complete worth $599 USD - Designed for experienced 3D artists and small studioVue 7 Complete provides a complete solution for natural 3D scenery. Vue 7 Complete includes all 12 ad

tional modules for Vue 7. Vue 7 Complete also ships with an extensive collection of preset trees, building

scenes, characters, etc.
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Pixologic ZBrush 3.1 worth $595 USD approx. - ZBrush 3.1 gives you access to unparalleled power acontrol previously unknown in digital art creation software. Controls enable sculptors to create with a sty

and a tablet as intuitively as if they were using their hands on a block of clay. If at the end of the conteZBrush 4 will ready then provide ZBrush 4. Otherwise, provide the license available at that time, with a fr

upgrade to ZBrush 4 when released.

Eat3d Training DVDs (2) worth $110 USD approx. - Our focus is to have the highest of quality trainivideos geared toward 3D Artists. We put an obsessive amount of time and effort into our work, and we a

very proud of the results. So sit back and join us for a refreshing course in high quality next gen art. Winn

can choose to download any 2 training DVDs.

ambientLight Plants and Trees Texture Bundle worth $88 USD approx. - All of our packs are at a mimum of 1024 pixels square and are hand edited so that they tile perfectly, whatever application you u

them in!.

Third Winner - $691 worth of prizes

E-on software Vue 7 Complete worth $599 USD - Designed for experienced 3D artists and small studioVue 7 Complete provides a complete solution for natural 3D scenery. Vue 7 Complete includes all 12 ad

tional modules for Vue 7. Vue 7 Complete also ships with an extensive collection of preset trees, building

scenes, characters, etc.

Eat3d Training DVD worth $55 USD approx. - Our focus is to have the highest of quality training vide

geared toward 3D Artists. We put an obsessive amount of time and effort into our work, and we are veproud of the results. So sit back and join us for a refreshing course in high quality next gen art. Winner ca

choose to download any 1 training DVD.

ambientLight People Texture Bundle worth $37 USD approx. - All of our packs are at a minimum of 10pixels square and are hand edited so that they tile perfectly, whatever application you use them in!.

Respected Jury

Alessandro Baldasseroni - I`m a 35 years old self taught artist. I was born and grown in Milan(Italy). I`ve been professionally in CG since 2001 and currently employed as a senior character

artist at Blur Studio.

Francisco Cortina - Im a professional 3d artist who originally started out as a traditional artist.For some time now Ive been operating as an independent contractor, running my own com-

pany called Cortina Digital.

John Hayes - My background is in sculpting and 2D animation as both were my primary focusin Art College. Working in Sega as Senior Character Artist on Golden Axe, and became Char-

acter Art Lead part-way through that project.
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Tutorial

CGArena

Making of

Radhey Shyam


Software:

Photoshop

by Barnali Bagchi, UAE

2D

INTRODUCTION

This artwork was a personal project, an abstract representation of Rasa Leela. The Rasa Leela or Ra

Dance is a part of the traditional story of Krishna (Incarnation of Lord Vishnu), described in Hindu scriptur

like Bhagavata Purana and literature such as Geet Govind, where he dances with Radha (His belove

and her Sakhis (friends). This piece was created in Adobe Photoshop 7 without a graphic tablet. It w

completely done with mouse and took me a little more than 10 days to complete.

Since I wanted to render a 2D image of a dance form, the biggest challenge was to depict the rhythm amotion of the dance. So I hunted for reference for quite sometime before I came across some beauti

paintings by Shu Mizoguchi. His work is immensely inspiring and a great contribution to the digital art co

munity. You can visit his website here: http://shu-littlebit.com

In this tutorial I will share my techniques and will walk you through the many steps taken from initial conce

to the nal rendering of the image.

INITIAL SKETCH

I sketched the gures on a piece of paper to get tproportions right. I then scanned it to my compu

and kept it as the base and reference layer. This

how it looked.

BACKGROUND AND

BODY COLOR

Once I had the reference image it was importa

to decide the background colour of the nal imagDeciding the nal background colour helped me

select the colour of the main image. In this cas

decided to keep the background colour black, th

I had a greater colour palette to work with as

as the main image was concerned. Since this is

traditional dance form, colour gold was chosen

the ornament and the dress. However it was imp

tant not to outline the gures with any colour a

stick to black to differentiate the hands and feet

http://shu-littlebit.com/http://shu-littlebit.com/http://shu-littlebit.com/


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Making ofRadhey Shyam



Note: If the background colour is dark, the image should be drawn in lighter shades so as to make the maimage prominent and vice versa. If the background of an image is black, its important to put the backgrou

in a layer set and turn it off clicking the eye on the layer window while working on the main image.

I then outlined the gures with black

brush strokes. I used hard round brush,

diameter 3 px and also lled the body

colours. Krishna is traditionally painted

blue and Radha in esh tint. Also paint-

ed the eyes and the lips.

Note: To fll an area with colour, draw a

path using the pen tool Right click

on the path and select make selection

and use the paint bucket tool to fll

the colour. Then hit Ctrl+D to deselect

the path.

COLORING THE HAIR

After outlining the gures and lling t

body colour, I painted the hair. I ll

the hair with a base colour, in the i

age I used black and then to dr

the hair strands, I used a hard rou

brush with 3px diameter and cont

pen pressure to stroke each path th

I made with the pen tool. I used 3 la

ers for Radhas hair and 4 layers

Krishnas hair. In each layer I ma

several brush strokes and then appli

gradient to the layers individually.


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For Krishnas hair I used the gradient and for Radhas hair I used the gradien



MAKING THE PEACOCK

FEATHER AND FLOwERS

After colouring the hair, I painted the owers, leaves and

the peacock feathers. For the peacock feather I used hard

round brush with diameter 1px and made random lines

on a layer, then made another layer and ma

even more lines with the hard round brus

this time with the diameter 2px. I then applitwo different gradients to the two layers a

also applied inner shadow to one of them.

After this I painted the owers and the leav

and played with the colours and gradient to

nally decide the best one.


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PAINTING THE DRES

And then I started to draw the dress. Firs

traced the outline of the dress with a ha

round brush and applied gold colour to

I then turned on the background layer.

Note: You can apply colour to a bru

stroke by using the blending option. Ycan either use the colour overlay or t

gradient tab to add any colour or gra

ent to a brush stroke. (To get the Blen

ing Options dialogue box, right click on t

layer and select Blending Options fro

the menu).

I then coloured the dress. I selected

Pink, Violet, Blue and Green for Radhas

dress and Orange, yellow and brown

for Krishnas. To apply colour to the se-

lected sections of the dress, I traced thepath with the pen tool and selected the

area keeping the feather radius ranging

from 5-8 depending on the amount of

softness I wanted to render.


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PAINTING THE JEwELLERY

After painting the dress I painted the jewellery,

mostly in gold colour.

Note: To copy a layer (in this case the coloured

balls) hold down Ctrl+Alt and drag the layer to the

desired location.

I then painted the ute in brown. With this the

painting of the nal image was complete.


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This is how the nal image looked like, after colour-

ing the dress, ornaments and ute.

This piece was not complete and I felt something was

missing, so I thought of putting some owers and

leaves at the base of the image to give it a complete

look. I painted some individual owers and leaves in

Gold and coloured them with the same colours thatI used for the gures, mainly Pink, Blue, Yellow and

Green for the leaves.

The Image was mostly complete and I used some

custom brushes to add the nal strokes to the ow-

ers and leaves.

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Here is the nal completed image. I hope you enjoyed reading this tutorial and thanks a lot for

reading it.

More Artwork: moonbeam1212.deviantart.comEmail: [email protected]
http://moonbeam1212.deviatart.com/http://moonbeam1212.deviatart.com/http://moonbeam1212.deviatart.com/mailto:[email protected]:[email protected]://moonbeam1212.deviatart.com/mailto:[email protected]


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Software:

ZBrush

by Damir G Martin, Croatia

3D

I love comics, cartoons, movies, video games, and cant stop admiring all the great art spawned trough th

mediums.

A dream from my childhood, to become professional CGI artist (after seeing Jurassic Park 1993) combin

with my affection towards Dinosaurs that I started liking since I was a 10 years old, resulted in DinoMonste

concept. Idea behind DinoMonsters actually came to me when I was modeling one Dinosaur model.

I started thinking how cool would be to make humanized dinosaur, or a dinosaurized man. Thats how it

started, and before you knew it, I made up 6 characters. At rst I thought I had original idea, but later I d

covered several similar concepts involving Dino man characters. So, you could say, they arent original, b

by the great feedback I received from the 3D community from different forums, I guess I did a good job.

The difcult part of DinoMonsters was to give them all distinctive look, and again, to keep the visuals

gether, as if they belong to the same team, and exist in the same universe. As an aspiring character arti

thinking about characters is more of a reex to me.

So, making them apart was easy, but getting them out of the head and into viewport is more challenging. B

even if it was hard at some point to create them, with todays great software it is all achievable.

When you think about makingsomething like this in 3d apps

like Maya or Max few years

ago, it would take three times

longer period to get it done,

and still wouldnt look as nice

as it looks today. We, who love

and live CGI, are lucky to be

living in renaissance era of

CGI. Its on us now to make it

memorable by producing great

and inspiring imagery for ourfuture ancestors.

STEP 1- This is how it

looked in the beginning. Low

poly model for DinoMonsters

character. Same low poly ob-

ject rendered in multiple an-

gles.

Making of

DinoMonster


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STEP 2 - In the below image, above the characters you can see the set of brushes I use to shape lopoly object. To get the desired proportions and major shapes I use Move brush. Standard and inate brus

es are the best when you need to add volumes across the mesh.

Clay brush comes in

handy when modeling

muscles, especially

later as you start to

subdivide your mesh,

and start adding more

distinctive lines to the

character.

STEP 3 - This is the phase where I am pretty much s

ised with the overall shape. Now I start with subdivision

and gradually add more and more details to the model. In t

phase, the model is more or less ready for next level. Acce

sorizing!

Making ofDinoMonster


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STEP 4 - In my case, I wanted toadd some accessories to my DinoMon-

ster. This is the good point for acces-

sorizing, before you continue adding

more details and color. I wanted things

like pants, shirt, belt and guns. In the

image shown, you see the shirt paint-

ed on top of the model. Basically, you

need to mask part you want to turn into

clothing.

Select standard brush, stroke to free-

hand and by pressing ctrl, paint the

mask where you want it to become

clothes.

STEP 5 - After nishing up the mask

where you want your clothes to appear, you need to go to Tool/Subtools palette and press Extract. The si

of extract depends on couple of factors, so, If your clothes extract too thick, you can delete that subtool a

try again, by adjusting the thickness setting.

Rename your new subtool to a

propriate name, so you dont ha

problems later if you decide to ma

entire subtool tree into one mesh

any other complex subtool operatio

Also, the newly extracted subtool

extracted at the subdivision lev

from the originating mesh.

The lowest the better, too low, ina

curate. It just depends of what y

want to do with the model later. If y

intend to export it with all its subtoo

in third party app for say, animatio

you would need to keep your po

count within the reasonable count

you are staying in ZBrush, then y

can be little bit less concerned w

the poly count.



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STEP 6 - Here you can see all the

subtools created and rened. The guns

were modeled outside ZBrush. When

you complete all the subtools, you can

carry on applying more details to the

base character.

STEP 7 - I have couple of customized alphas tha

created myself. When I decide which ones are the mo

appropriate I set up my brush. Specically here I ha

used standard brush, stroke set to DragRect, and m

preferred alpha. Z intensity was about 10- 14 set to suWhen the brush was setup, I started dragging textu

rectangles across my model. When Im done with text

ing, I start adding the color.


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STEP 8 - In this case, I used poly-

painting technique. Basically, you se-

lect brighter matcap material, prefer-

ably white matcap, and start painting

directly on the model.

When you nish painting/coloring your

model you can start preparing for ren-

dering.

Now, the model is posed and prepared

rendering of different matcaps for later co

positing in Photoshop.


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The Dreams of

Street Cat


Software:

3ds max

by Andrew Averkin, Ukraine

3D

INTRODUCTION

Hi friends! I nished my new work, named The Dreams Of Street Cat and I will show you how I did th

project with big pleasure. Usually ideas come to me during my rest, but not at this time. Someone disturb

my rest and it was my father. I needed to help him with repair of our apartment. It is very boring, I know, b

it was needs to be done. Once, during repair, one cat came from the street to our apartment. A look of a c

was very sad and sorrowful, maybe cat was ill or simply got tired? Who knows, never mind, so the idea o

cat sitting in old room came to me as I saw this picture. So, lets start.

REFERENCE

In this time I wasnt needed to search different pictures for a project in the web, because all was in my ha

and even a cat. I took the camera as a pistol of sheriff and began to shoot around. Room, windows, doo

old things, shoes, objects, all got under the shot of camera. When the set of pictures and textures was rea

I began the modeling.

MODELING

For this project I used 3D Max 9. Above all things,

I began work with background of cat, in order that

our cat was not so alone in this strange world. Our

cat needs a house, sounds like that. I needed basis of picture, so I created oor, drawing the line and th

extrude it. Walls and ceiling was done by the same method. In a window and door opening I inserted simp

boxes and then put simple lighting, although I know that cats can see very well in the darkness. Usually

light my scene from the rst steps of work, because I can initially see the work with light and it is better

imagine the end result.


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The Dreams ofStreet Cat



When basis was ready I started to model different objects

and things. At rst I did a door, simple window, plinth, radia-

tors and cornice for ceiling, using simple objects such, as

Box, Cylinder, Plane, Lines and modiers such as Extrude,

Bevel, MeshSmooth, Edit Poly and few others.


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Aborting old things from rooms I found an old, red scooter. I

dreamed in childhood about such but now this lies in a trash

dump, since I took picture of him. It is so sorry. So, I decided

that a scooter would be well placed in my project.

Step by step I created new details which

found in our family apartment. Probably

was very funny for my neighbours and th

look to me with surprise, how I ran in

apartment with a line and camera, studyi

different, old, nobody not needed objects l

a mad man.


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Moving forward, to ll the room by differentthings I decided to do slippers and shoes.

I created slipper with a Plane and then

converted it in Editable Poly. When slip-

per was ready I created Unwrap in those

places where the UVW Map did not work

correctly.

Then I copied slipper in an order to do a few oth

variants and simply modied them. It would be a

solutely amazing, if I could copy things in reality

would be able to do many useful things, but we s

in 3ds Max.


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As a type of shoes I decided to chooseConverse, because it one of my favou-

rite types of shoes, they are very com-

fortable, they practically not destroyable,

and it is good to run from someone or

from some problems in them and they

look much better old than just from the

counter of shop hehe. For Converse I

also used Unwrap in some places.

In an order not to create disorder room, like many of my frien

do when coming from work or playground, I decided to do

shelf in which I put slippers, shoes, box, and also an old su

case, probably same old as grand-dad.Mainly, all is done from simple objects like

box, cylinder, plane, lines, nothing

difcult.

Attention, attention, to all habitants

of room, a cat wants to eat, repeat,

a cat wants to eat - a radio began

to speak! Oh boy, I forgot that a

cat needs a food. I created banks

with a food, bowl for cat and feed

different forms, to interest a cat.


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Moving forward, I did a few details and nallynished with background. Last step in a model-

ing is our cat which I also did with Edit Poly and

then Unwrap it.

For fur I used Hair and Fur modier. For me this is comfortab

enough and there are many interesting instruments in him, like re

master of style or hairdresser, and this

works also good with lines. So, I needed

a fur and scissors, and also I needed a

cat, which was running round me. But we

worked in 3D space, so for this purpose I

opened the new scene in which created

a sphere and used Hair and Fur modier

for it. It was necessary to play with prop-

erties and after a few hours, when a fur

of my shaggy creature was done, I saved

these properties.


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Then I created the lines of direction of growth of hairs on a cat with Snap Tool and then chosen these linin Hair and Fur. Also for the color of fur I used texture of a cat which I done before. I had to do a cat in oth

scene with Scanline Renderer, because Hair and Fur does not work with Vray. Maybe it was possible to co

vert fur in geometry, but then there would be too much polygons and my old computer would not survive

Fur on a shoes brush also did with Hair and Fur and then converted into geometry. The same method I us

for a carpet and for a oor brush, and then converted into proxy.

MATERIAL AND TEXTURES

As I already said before, many textures I taken through the shots

of camera and then, corrected them in Photoshop. Also I used a

few textures from www.cgtextures.com. Here you can nd large

collection of textures which collected on a different theme in a

high quality. Here are few examples of materials and textures

from this project.
http://www.cgtextures.com/http://www.cgtextures.com/


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LIGHTING AND POST-PRODUCTION

For lighting I used VRay Sun and VRay Physical Cam-

era, and also one Vray Plane for lighting distant part

of room.

I did a few Render Elements, and then combined them

in Photoshop. I needed render of all my scene with a

cat, pass with fur and also foreground objects.

Else, I created ZDepth channel, which I combined with fur.


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A little bit of colour correction, chromatic aberration and nal picture was ready.

So, I got much pleasure and experience in the process of mak-

ing of this project, a cat also got his sweet portion and repair of

our apartment is waiting for me. Big thanks to all, hope you will

take something on your own from this story.

Andrew Averkin Email: [email protected]
mailto:[email protected]:[email protected]:[email protected]


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Software:

Painter, Photoshop

by Chaichan Artwichai, Thailand

2D

This is my personal work that Ive made for fun. Its all start from a doodle sketch which become a nish

piece and there are no references or planning in this work. I used the Painter 11, Photoshop CS 3 a

Wacom Intuos 3 for creating this image.

Lets start the rst step of this image. I have chosen Pencil-Brush in painter 11. At the rst time I try t

tool in painter 11, it is really great tool for sketch

and simulate pencil stroke very realistic especially

if you use it with intuos3 or 4 that can control the

angle of the stroke softly. If you never touch it be-

fore I recommend!!

As I have said before this is just a doodle sketch th

I was playing with new tool, so its not much plan

work. In the sketching process Im not concern abo

structure so much. Just keeping the emotional of t

line, control the tablet like its part of my hand and

the feeling burst any elements to appear in the fram

When I nish from the painter I save the le as .psd le pre -

pare for working in Photoshop. For the coloring process

I always think in term of value at rst because it important

more than color but its doesnt mean color is not important.

A good composition come from a good arrangement of black

and white value which impact the eye at rst and we will talk

about color later.

Making of

Portrait of a Magic warrior


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Create a new layer and set to multiply blending mode or if youhave separated layer from painter just create a new layer under

the line layer and ll it with middle value in gray scale slider.

After lling with the middle value, I was thinking about the focal

point of the picture it is a portrait and the face should be a good

choice to be a focus and I want to make its white object by the

skin which lls with the light from above. There are lot of tricks

to make a good focal point and this is basic by make a big nega-

tive shape in the picture as a focal point and in this kind is a face

which become white when turning it into notan.

When the main value of any objects in the picture already lled

I will not use pure black or pure white as a value always keep it

about 95% in black value and 10% in the high white value(you

can see color percentage in the gray scale slider in Photoshop).

I always use

the normalround brush

with a little

customize in

this process.



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Then it is time for coloring, ll the new layer with a green in lowsaturation value and set to multiply blending mode. The rst color

that I choose to ll in the frame is the main mood color of the pic -

ture also.

Then I start a skin tone coloring by using soft light in blending mode

try to get a bit red shade to make it pop up from the overall green

environment.


Normal Mode Softlight Mode

The nal process is polishing by

keeping the percentage of the color

in the whole picture lling any ele-ments into it as much as you want by

thinking about the value, adjustment

image by using the power of Photo-

shop at the end.

Detail 1 Detail 2


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Antonio Bonora, Italy

[email protected]

3ds Max, ZBrush

Hyejin Moon, Korea

[email protected]

3ds Max, ZBrush, Photoshop


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Massimo Righi, Italy

[email protected]

Maya, Mudbox, Photoshop


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Hugo Costa, Portugal

[email protected]

Cinema 4D, Corel Photo Paint

Anto Juricic, Bosnia and Herzegovina

[email protected]

Maya, Silo, ZBrush


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Federico Scarbini, Italy

[email protected]

ZBrush, Photoshop

Saman Khorram, Persia

[email protected]

3ds Max, XSI, Photoshop


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Jorge Suarez, Argentina

[email protected]

Lightwave


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Kirill Boutourlin, Ukraine

[email protected]

XSI, ZBrush


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Ke Weilin, China

[email protected]

3ds Max, ZBrush


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Ivan Stalio, Italy

[email protected]

Modo


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Farkas, Hungary

[email protected]

3ds Max, Vray


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Karan Shetty, India

[email protected], ZBrush, Photoshop


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