3d art

Recommendations

Info

Step by step: Create a friendly dragon The Final Warning 2009 Blending attitude and kindness with a menacing and powerful appearance in a stylised character Carlos Ortega Elizalde specialises in 3D modelling, UV mapping and texturing T his tutorial focuses in the creation of a stylised dragon character. I like to retain the personality of the character if I’m happy with the original concept in the first place and I always try to emphasise clean modelling, although good skills like texturing, UV mapping, and a basic colour and lighting theory are very helpful if not essential to achieve a solid result. One of the main difficulties in the process was the rendering; it was intended to be in mental ray directly in Maya, but after many poor results I decided to compose the final image in Photoshop from different ZBrush renders. This was also a good choice, since I was able to retain full detail from the sculpting, avoiding the use of displacement maps. The original purpose of the image was just creating a plain model for an online forum challenge, but after more dedication it led me to the creation of a more solid character with some untold story behind the final piece. Concepts Inspiration behind the scene 134 I always st<strong>art</strong> my personal projects with 01 some quick sketches (in digital or on paper), to block overall proportions of characters in this case. I try different complexions, attitudes, expressions and poses. I decided in this case to go for a roguish-looking dragon, menacing but appealing in some way. My original idea was to put the dragon 02 at a cliff’s edge, about to commit some kind of prank, maybe steal some sheep or burn an old village just for fun. I focused more on the facial expression to re-create the dragon’s intention, along with his hands and legs in a position that could suggest he was planning something. I love to work and experiment with different 03 colour palettes, even more when I’m working with fantasy or stylised scenes. I often try to avoid the colours I frequently expect in a determined situation (a green dragon, for example) when sometimes it isn’t the best solution; other times it leads to a very unique result even nowadays, when it’s pretty impossible to create something 100% original.
Character Save yourself some modelling time by using the posed dragon character in OBJ with UVs created here. the_final_warning.obj Modelling, sculpting Easy-to-follow guides take you from concept to the final render Artist info Carlos Ortega Elizalde Username: carlosortega<strong>3d</strong> Software used in this piece Maya ZBrush Photoshop UVLayout CrazyBump Personal portfolio site http://stroggtank.cgsociety.org Country Mexico Hardware used Intel Core 2 Duo, 2GB RAM Expertise Carlos specialises in 3D modelling, UV mapping and texturing 135
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 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: Character Adding fine details Refin
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?