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Cosmic Motors “COSMIC MOTORS is an independent manufacturer of vehicles of all kinds, located in the centre of the Galaxion galaxy. CoMo, as it is affectionately referred to by its fans, was founded by the famous Redooa brothers in the Galaxion year 8966-B. “CoMo soon became a shooting-star company among the big established vehicle makers in the Galaxion system and countless record-breaking CoMo vehicles steadily caught the attention of the public…” Daniel Simon’s passion for car design, jet engines, aircraft graphics and scantily clad female pilots is clearly visible in this collection of fantasy vehicles. They are all 3D-built from scratch, rendered to perfection and accompanied by hyperprecise design drawings and sketches. This volume only scratches the surface of many of Daniel’s ideas, so it’s no wonder that work on a second book just started. Cosmic Motors, 176 pages, is published by Design Studio Press in hard and soft cover, and is available to order at www.designstudiopress.com Cosmic Motors book cover Order at www.designstudiopress.com Hardcover: ISBN 978-1-933492-28-5 Paperback: ISBN 978-1-933492-27-8 g Cosmic Motors Ice Train at Factory Facility “This composite of render, photograph and Photoshop painting emphasises the titanic size of the Arctic machine” 204
Transport h Cosmic Motors Camarudo Mono Sport Pod “Built for junior racers to compete for lucrative spots in more powerful racing classes” In total, work on Cosmic Motors took about seven years – two years full-time. It took forever! It was both fun and torture. But I wanted the book to be more than a quick brain fart – it had to be a timeless, quality showcase. Scott, a concept designer himself, became a good friend and an endless source of inspiration. What work is involved in the creation of your hyper-real concepts, and how long does the production of one of these images generally take? DS: For each Cosmic Motor I would say oneto-six months per vehicle. It’s not about the modelling – that’s the fast part. It’s the design work. Some are easy; some drive me crazy. I do many revisions, render daily, try different versions, go back to the drawing board… For example, I’m still not happy with the Gravion Racer on the cover: there is something weird about it in front view, so I am still fine-tuning it. Also, I don’t reuse parts or download stuff. Everything is built from scratch to fit perfectly into the design look. The extensive research also takes up quite some time. Per published vehicle I would have about five unpublished, different versions. Then, to render one image I need a few days to find the right angle and lighting. All maps are custom-made; logos have to be designed. Graphics take days to finish. If it includes a real human model, add a week or so for costumes, location and postproduction. Most images are 10,000 pixels in true resolution, which equates to about 66 megapixels, so there’s lots of work to do. On a feature film it’s different: it’s all about speed. Sometimes I have a day for a model, sometimes up to two months. How long did it take for you to perfect your technique? DS: I wish it were perfect. I am learning every day, but sometimes I get stuck with old techniques. It was 2003 when I started 3D modelling. I built a teapot in three days and I immediately saw the power of the tool. At that time I was a car designer at Volkswagen, dealing with full-size clay models. I was dependent on modellers – extremely gifted talents – but I struggled with the process. 3D software was a blessing for my creativity. What hardware and software is essential to your workflow, and why? DS: I rely on Autodesk Alias on a Windows 7 workstation, 64-bit, dual quad-core processor, 16GB RAM and a Quadro FX4600 graphics card (it will be fun reading this again in a few years!). I model NURBS. For creative lighting and rendering I like mental ray through Autodesk Maya. For fast visualisation on productions I run Bunkspeed Shot and Move. I also run a Mac for administrative work. But basically, I hate computers – I’d rather be the singer of a famous band – but hell, I was born with a thrill for design, so I guess I’m stuck behind a 30-inch monitor trying to model and machine my ideas. Bummer! You seem to be happy in the old-school world of drawing as well as the computer world of 3D modelling. Can you tell us more? DS: A pencil is a great tool to throw ideas out quickly – I am not even saying on paper; could be digital. I believe somebody who can draw can work more efficiently in 3D. Most people rely on happy accidents on the screen, but I am not a fan of that (although some accidents I’ve had have led to cool results). In my work on movies I’ve found that every director is different, so it’s great to be able to make adjustments with either more 205
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About the mag The UK’s best 3D ma
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Photoshop Image Editing vol 1 Impro
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