3d art

Recommendations

Info

Software used in this piece Modelling, painting Poser DAZ 3D Vue Pro Studio Photoshop Apophysis This tutorial describes the working process behind my portrait, Pardon. I used several objects and textures from the library in DAZ Studio 3. In addition to Photoshop, I utilised Photoshop’s virtualPhotographer filter and the Rons Pinstriping brushes. For editing in Photoshop, I also used a Wacom tablet. At the beginning of my art projects, I often only have a rough idea of the final result, without any exact vision. My policy is more intuitive than conceptual. I experiment with a range of varied equipment before I decide upon a definite procedure. However, in the interests of establishing a chronological order to my workflow, I will waive some of the experimental steps in this guide. As with all of my portraits, the gestures and, above all, the facial expression and look in the eyes are the most important elements for me. From the start, I had quite a clear impression of what I was trying to achieve with the image, even if the picture itself was not already formed in my head – this aspect evolved as the project progressed. 108 Portrait masterclass Pardon 2010 In this portrait, expression and gestures are of great importance when it comes to depicting a realistic face with a touch of fantasy art Majorgaine is a freelance illustrator 3D artists explain the techniques behind their amazing artwork Artist info Majorgaine Personal portfolio site www.renderosity.com/mod/ gallery/browse.php?user_ id=443303 Country Germany Software used Poser, DAZ Studio, Vue Pro Studio, Bryce, Apophysis, Photoshop Expertise Majorgaine specialises in portraits and landscapes, as well as fantasy and sci-fi styles
Character Building up the portrait Arranging the scene in DAZ Studio a 02 Choose your character and the textures Now you have to pick a character and a texture from your library. Proceed as the following: Poses>(choose the character you want) Tosca>Farissa>Poser MATS>2BrowsBrown. For changing the eye texture, go to Poses>Tosca>Farissa>Poser MATS>3Eyes b. 01 Figure loading and morphing The first step is to open DAZ Studio and load Victoria 4. Next you have to load the morphs of the figure. For this, we used the Poser library, which you can find in DAZ Studio. When you install DAZ Studio, search for all the compatible folders and it should appear in the content column. To use the Poser library, go to Figures>DAZ-People>Victoria 4.2. Then go to Poses>DAZ-Victoria 4>Morph Injections>INJ Morphs++ V4 A. A Load the figure and the morphs into DAZ Studio b Choose the character and the textures of the figure c Modify the character of the figure d Dress the model and add hair and jewellery Problems and solutions C To be able to work with DAZ Studio, you have to start by equipping the library with objects and textures. The figures get loaded morphs and, from that point, you can alter the face and body. If you have Poser, you can use its library within DAZ Studio, which is what we did for this piece of work. The library contains figures (people, clothes, hair, etc) as well as poses and textures and lighting scenarios, which can be adapted to the particular scene. The main job is nevertheless the editing of the rendered picture in Photoshop. Because we’re not only trying to make the image as 03 Modify the character The next step is to remodel the face. For this, go to the scene and choose the figure’s head by opening the folder until the head appears (or select by clicking on the face). Zoom in on the model. In the Parameters palette, it’s possible to modify particular features for expressions and visemes (facial cues which represent speech sounds) c. detailed as possible but also give it a touch of fantasy, we use a graphics tablet which enables us to work in great detail. In addition, we use Photoshop’s extensive tools such as colour adjustment, the amendment of contrast and posterisation, layer options, and the different brushes and filters. Of special importance is to work with transparent layers. It is worth noting that this tutorial refers to the particular objects, textures or Photoshop plug-ins within our library, so you’ll have to use similar items from your own libraries and a little intuition to complete this exercise. B 04 Add clothing, hair and jewellery Next you can choose hair, clothing and accessories from the library and adjust to the figure. For the dress, follow: Figures>V4 Morphing Clothes>Fantasy Dress>Fit to blMilWom_v4b, 2. For the hair: Figures>AprilAoife>Aoife> Victoria4>Fit to blMilWom_v4b, 3. For the jewellery: Figures>DAZ’s Victoria Clothing>V4_FantasyCollarBig>Fit to blMilWom_v4b, 4. And finally, for the crown and earrings (first choose the figure’s head), then go to: Props>Chex>Psyche Jewels>Crown and Earring L d. d 3DArtist ● 109
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 and 10:
Environment When I started work on
Page 11 and 12:
Environment Artist info Lebedev Den
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: Character Volumetric lighting Refin
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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?