3d art

Recommendations

Info

Light played a key part in the composition of this image – everything was assigned to guide your eyes from the bright centre to the darker sides. For the main illumination, I used a V-Ray Plane light, while a Target Direct light was used in order to simulate sunshine István Vastag, The Way I Feel, 2009 Artist info István Vastag Personal portfolio site http://dy217.cgsociety.org/ gallery Country Hungary Software used 3ds Max, ZBrush, V-Ray, Photoshop Work in progress… 10
Environment Artist info Lebedev Denis Victorovich Personal portfolio site N/A Country Russia Software used 3ds Max, V-Ray, Photoshop Work in progress… It all started when I watched the film Mary Reilly (1996). I very much liked a fleeting shot with an old watch, but gradually the idea and composition developed and I also wished to introduce some history into the interior Lebedev Denis Victorovich, Antique clock, 2010 11
Page 1: Maya • 3ds Max • Photoshop •
Page 5 and 6: 3D art &design Imagine Publishing L
Page 7 and 8: 102 SUBSCRIBE TO 3D ARTIST MAGAZINE
Page 9: Environment When I started work on
Page 13 and 14: Environment 13
Page 15 and 16: Environment The world hands in your
Page 17 and 18: Environment © 20th Century Fox Fil
Page 19 and 20: Environment Importing characters Wh
Page 21 and 22: Environment The sky’s the limit M
Page 23 and 24: Environment Modelling, composition,
Page 25 and 26: Environment Painting in the main de
Page 27 and 28: Environment Fine detail and finishi
Page 29 and 30: Environment Software used in this p
Page 31 and 32: Environment Artist Showcase Peter B
Page 33 and 34: Environment Close to the end of the
Page 35 and 36: Environment EcoSystem, materials, l
Page 37 and 38: Environment h i g This shot shows h
Page 39 and 40: Rendering and post-production Creat
Page 41 and 42: Environment Texturing, painting Sof
Page 43 and 44: Environment Lighting and painting C
Page 45 and 46: To render depth, you need to add it
Page 47 and 48: Environment Modelling, texturing, l
Page 49 and 50: Environment Lighting and rendering
Page 51 and 52: Environment Texturing the ruins Add
Page 53 and 54: Environment Creating nature - plant
Page 55 and 56: Environment H J J i H Prepare a fak
Page 57 and 58: I made Dawn on the Moon based on a
Page 59 and 60: Character Character Work in progres
Page 61 and 62:
Character Artist info Andrzej Kuzio
Page 63 and 64:
Character Artist info Angel Gabriel
Page 65 and 66:
Character a 65
Page 67 and 68:
Character Opal Child 1 When I creat
Page 69 and 70:
Character g h moving vertices until
Page 71 and 72:
Character 2 Cold Blue The dress is
Page 73 and 74:
Character Texturing, lighting, pain
Page 75 and 76:
Character Postproduction painting C
Page 77 and 78:
Character Easy-to-follow guides tak
Page 79 and 80:
Character Lighting the girl Creatin
Page 81 and 82:
Character The final non-posed modo
Page 83 and 84:
Character Body details Honing the b
Page 85 and 86:
Character Preparing for UV mapping
Page 87 and 88:
Character Detailing the costume Add
Page 89 and 90:
Character 89
Page 91 and 92:
Character Texture creation Making t
Page 93 and 94:
Character An aggressive pose Posing
Page 95 and 96:
Character Finishing touches Adjusti
Page 97 and 98:
Character Software used in this pie
Page 99 and 100:
Character Modelling 3D artists expl
Page 101 and 102:
Character 08 Prop integration To in
Page 103 and 104:
Character Finalise the model Almost
Page 105 and 106:
Character Concepts, modelling, ligh
Page 107 and 108:
Character Volumetric lighting Refin
Page 109 and 110:
Character Building up the portrait
Page 111 and 112:
Character Painting in the details S
Page 113:
Character Refining the portrait Add
Page 117 and 118:
Character Step by step: Model a cut
Page 119 and 120:
Character Refining details Finishin
Page 121 and 122:
Character Save yourself some modell
Page 123 and 124:
Character Textures and lighting Get
Page 125 and 126:
Character We talk to Andrew Hickinb
Page 127 and 128:
Character Trixie is a kinky charact
Page 129 and 130:
Character h Taking pictures can be
Page 131 and 132:
Software used in this piece Charact
Page 133 and 134:
Character Adding fine details Refin
Page 135 and 136:
Character Save yourself some modell
Page 137 and 138:
Character Lighting and colour Getti
Page 139 and 140:
Character Modelling, rendering, lig
Page 141 and 142:
Character Lighting plans and render
Page 143 and 144:
Character I chose to use mental ray
Page 145 and 146:
Character Step by step: Create a Lo
Page 147 and 148:
Character Refining the detail Makin
Page 149 and 150:
Character Step by step: Create Pixa
Page 151 and 152:
Character Finishing the design Givi
Page 153 and 154:
Architecture Architecture Grand des
Page 155 and 156:
Architecture Artist info Dennis Kay
Page 157 and 158:
Architecture Artist info Derek Jack
Page 159 and 160:
Architecture Disregarded by 3D puri
Page 161 and 162:
Architecture costs less. McHugh’s
Page 163 and 164:
Architecture Concert Hall © Ricard
Page 165 and 166:
Architecture Step by step: Texturin
Page 167 and 168:
Architecture Lighting the scene Bal
Page 169 and 170:
Architecture Easy-to-follow guides
Page 171 and 172:
Architecture Refining the details B
Page 173 and 174:
Architecture Back when this render
Page 175 and 176:
Architecture The name Kuan comes fr
Page 177 and 178:
Architecture visible face to the cl
Page 179 and 180:
Architecture The GH House 2010 This
Page 181 and 182:
Architecture Modelling, texturing,
Page 183 and 184:
Architecture 28 hours render time R
Page 185 and 186:
Architecture j 10 Combining the ren
Page 187 and 188:
Architecture For the lighting I use
Page 189 and 190:
Architecture b 189
Page 191 and 192:
Architecture d A project can range
Page 193 and 194:
Arkin Esref Architecture Artist inf
Page 195 and 196:
Transport Artist info Chris Skinner
Page 197 and 198:
Transport Neil Maccormack Personal
Page 199 and 200:
Transport 199
Page 201 and 202:
Transport We talk to Daniel Simon,
Page 203 and 204:
d Cosmic Motors Camarudo Mono Sport
Page 205 and 206:
Transport h Cosmic Motors Camarudo
Page 207 and 208:
Transport I am fascinated by Daniel
Page 209 and 210:
Transport m Cosmic Motors Camarudo
Page 211 and 212:
Transport Concepts, modelling Conce
Page 213 and 214:
Transport Adding fine details Refin
Page 215 and 216:
Transport Easy-to-follow guides tak
Page 217 and 218:
Transport Lighting the scene Creati
Page 219 and 220:
Transport Model and render a realis
Page 221 and 222:
Transport Those distinctive wings G
Page 223 and 224:
Transport n Creating the wheel bay
Page 225 and 226:
Transport v Wheels and whatnots Add
Page 227 and 228:
Transport Texture, render and compo
Page 229 and 230:
Transport UV Unwrap tool UV mapping
Page 231 and 232:
Transport Texturing Adding the dirt
Page 233 and 234:
Transport Compositing in Photoshop
Page 235 and 236:
Transport My modelling techniques a
Page 237 and 238:
Transport Easy-to-follow guides tak
Page 239 and 240:
Transport Getting the overall look
Page 241 and 242:
Transport Lighting, rendering © Po
Page 243 and 244:
Transport Now we need a 04 standard
Page 245 and 246:
With my lighting I used the new SLI
Page 247 and 248:
Transport Modelling, texturing, ren
Page 249 and 250:
Transport g Lighting and rendering
Page 251 and 252:
Transport Lighting and rendering Th
Page 253 and 254:
Transport To create the notion of s
Page 255 and 256:
About the mag The UK’s best 3D ma
Page 257:
Photoshop Image Editing vol 1 Impro
show all

3d art

Create successful ePaper yourself

Delete template?

Save as template?