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Get Attention in the Computer Graphics Community

VOLUME 6, ISSUE 4, SEP - OCT 1

CGArena

Photosho

p

Whatare

theyStar

ingat

Makingof

Knight

Makingof

Amazons

Vs.TheSe

aMonster

ZBrush

Makingof

IronAsyl

um

Interview

Jus

tinHolt


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Magazine Edited: Ashish Rastogi

Magazine Cover Image: Daria Widermanska-Spala

Magazine Design: Yousef Ikhreis

www.cgarena.com Page

IssueContents

Volume 6, Issue 4 Sep - Oct 201

Get Attention in the Computer Graphics Communit

6VOL

5

4

4

8

6

2

Interview Justin Holt

What are they Staring at

Making of Iron Asylum

Making of Knight

Making of Amazons Vs. The Sea Monster

Showcase of latest 3D art

Photoshop

ZBrush

Photoshop

Photoshop

Gallery


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Industry News

CGArena

Issue 4 Sep - Oct 201

AMD Breaks 8GHz Overclock

with Upcoming FX Processor,

Sets World Record

One of the demos at AMDs HQ consisted of anarray of overclocked FX processors, using variouscooling methods, including air, water, and phase-change hardware. But the real star of the eventwas a liquid-nitrogen / liquid-helium setup that al-lowed AMDs overclocking team to push a pre-re-lease AMD FX-8150 processor to well over 8GHz,setting a world record for modern processor fre-quency in the process.

AMDs goals with the overclocking demo weretwo-fold; to show that there was good frequencyheadroom in the chips, even at this relatively earlystage of production, and to see if FX processorssuffered from any cold-bugs when run at ex-treme, low temperatures.

Strata Launches Design 3D CX

Version 7 for Mac

Strata introduced Strata Design 3D CX v.7 to Mausers everywhere, accompanied by discounted intductory pricing on full and upgrade versions. WithWindows release on the horizon, this announcemealso marks the beginning of Stratas Free UpgraProgram for PC owners who want to purchase versi6 today and get a head start on their 3D design skiThe program guarantees a free upgrade to versionfor Windows when it is released in the months ahea

Strata Design 3D CX modeling and animation soware is for creative designers who desire superresults and usability. Design 3D CX delivers end-end power for the entire 3D workow, with a simplilearning curve and familiar toolset developed to he2D designers easily transition into 3D design.

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join this brave new world will want 3D for Graphic Designers. Readersget hands-on basic training in working in the 3D space, including productdesign, industrial design and visualization, modeling, animation, lighting,and rendering all the skills necessary in todays competitive environment.

Shader Production - In this training, Instructor Luiz Kruel guides youthrough writing your own shaders, primarily with the CGFX shader lan-guage in Maya. Luiz starts off with getting everything set up in Maya andthen writes a simple Lambert shader from scratch. From there Luiz buildsupon the Lambert to create a Fresnel and Phong shader. Once the Phongshader is dened, Luiz begins to add textures like diffuse, specular, nor-mal, and cubemap. He then demonstrates how to manipulate UVs andeven how to do vertex animation. creating a car shader and pulling every-thing together to create a full character shader with SSS.
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My name is Justin Holt and I am a texture painter working in the feature lm visual effects industry. Curren

Ive moved up here to Vancouver to work as a lead texture painter at Image Engine. My road to where I a

today was a curvy one. I originally was a pre-med student studying at James Madison University in Virgin

However I was never really happy in the discipline and had always wanted to work in lms because of m

deep passion for the medium. Some big inspirations for me while growing up were lms like The Mat

Ghostbusters, Alien Trilogy, Predator 1 & 2 and Robocop. I have always been fascinated with the enterta

ment industry and didnt realize I wanted to seriously pursue a career in it until half way through college.

Q. How did you take your rst artistic steps to reach where you are today? What was your rst pr

fessional work? Please tell us about your journey from Electronic Arts to Image Engine.

The rst step I took towards where I am today was deciding I wanted to pursue the things I thought abo

every day. And that was lms. So I dropped out of my pre-med program and enrolled into the Savann

College of Art and Design. One of my brothers was studying there at the time and recommended I trans

there if I wanted to get into visual effects. It took my two years to nish my BFA and graduated in 2006. Ho

ever in 2005 I was offered a texture artist internship with EA in Orlando FL working on stadiums for NCA

Football. I left school for 3 months to fulll that opportunity and then came back to SCAD to nish in Marof 2006. It took me about 2 months of hitting the pavement and sending out my reel and resume to anybo

who would entertain it until I landed an apprenticeship with Rhythm & Hues Studios in LA. After the appre

ticeship, R&H offered me a lighting TD position on my rst feature lm, Happy Feet. I worked on Hap

JustinHolt

Q. Hello, Justin. Could you tell us a bit about yourself (age,

location, employment etc)? What inspired you to take up a

career in the Arts Industry?

A reputation as good person aswell as a good

artist will take yomuch farther thayou think

Interview with

CGArena



Property of Warner Bros. & Sony Imageworks


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JustinHolt


Interview with

CGArena


Feet for 6 months and then was let go because of lack of work at the studio at the time. Fortunately thou

it only lasted a month before they offered me a texture painter position on my second lm The Kingdom

From there I worked on small texture tasks on a variety of other lms before I landed the distinct opportun

to paint the textures for the two title characters in the second installment of The Incredible Hulk. Due

the work I was doing on a couple of digital doubles for the lm; my supervisor Greg Steele approached m

to paint The Hulk and The Abomination. I will forever be in debt to him for providing me that opportunity

worked on the two characters for the next 6-8 months and then was offered a role to work on Avatar w

WETA Digital in the winter of 2008. Unfortunately due to work visa complications I was unable to make

out there. So I took a role as texture painter with The Moving Picture Company in Vancouver BC for Za

Snyders Watchmen.

I was the only fulltime texture painter on the lm and was tasked to paint virtually everything on the 25

shot award we were given. I had a blast painting the OwlShip and other iconic items in the lm like T

Comedians smiley face pin. From there I worked shortly as a concept artist and lead texture painter

The Surrogates and then accepted a texture role with Industrial Light & Magic to work on their rst featu

animation called Rango in San Francisco, CA. ILM has been one of the most rewarding experiences

my career. Having been promoted into the lead texture role within the rst 6 months of my tenure there, m

supervisors Tim Alexander and Steve Walton really gave me the freedom and opportunity to paint som

incredible characters in the lm from Rattlesnake Jake to the Spirit of the West to the Mayor to the armad

named Roadkill. I also was able to build some incredible relationships with some of the best talent in t

world. Working closely with Giovanni Nakpil, Kris Costa and Carlos Huante was priceless. I lead textur

on the show for almost 18 months and then was hand selected by the the legendary Stephen Rosenbauover at Digital Domain to be a part of a creature development crew for Bryan Singers Jack the Giant Kille

However I was only at Digital Domain for 10 months before I was given the lead texture role with Ima

Engine here in Vancouver.



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JustinHolt


Q. You have an impressive portfolio: youve done a great number of interesting movies. I think it wbe interesting to our readers to know what was the project you enjoyed to work on most of all a

why? On which projects are you working these days?

That is really tough to say. Each project for me holds a special place in my heart. I am adamant on pursi

the projects that I want to actually see. I pride myself on working on lms I can be proud of and would wa

my friends and family to see. I had so much fun painting such an iconic character such as the Hulk but al

had a blast painting all of the incredibly designed characters on Rango. And my time spent painting ha

surface assets like the Owlship resonates differently for me than organic creatures and characters. I ca

really pick a favorite because each lm has offered me different opportunities.

Currently I am actually working on three lms right now. I am painting textures on the nal installment of t

nal Twilight Series Breaking Dawn and two other very exciting unannounced projects (one of which I a

leading the texture work on).

Interview with

CGArena


Property of ILM & Paramount Pictures

Q. Can you share a typical texture artist pipeline and what was the common problem you com

across in other used pipelines?

I cannot specically divulge any pipeline related details; however, currently I am using Mari and Photosh

in the creation of my textures. Before Mari, the most common problem for me was a twofold issue. The

was not being able to truly paint in context of the asset at hand. I had to resort to a lot of back and forth

Photoshop and previous 3D paint packages in order to make creative decisions regarding details and var

tion. The second was seams! But Mari eliminates both issues quite nicely.


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Property of ILM & Paramount P


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JustinHolt


Q. I think it would be interesting for our readers to learn about your work Ogre. Which stage w

the most difcult for you? How long did you work on it? What software did you use?

I gather all of my own reference photography either through the internet, scanning physical pieces on

atbed scanner or shooting it myself. All of my textures are based off of photographic reference but is hea

ily manipulated and changed in Mari and Photoshop to achieve the desired look with lots and lots of no

destructive layers.

Interview with

CGArena


Q. We often hear about concept artist, modelers and matte paiers who market themselves and achieve star status in the indu

try. How should a texture artist promote him/herself to sta

out?

I think it is a difcult discipline to be noticed in. Somewhere along t

line texture painting gets clumped in with shader development a

never really gets the credit it deserves. I think with the release of Ma

it is one giant leap forward for the discipline in terms of recogniti

and awareness. For me the best way Ive learned to promote mys

is collaboration. Find likeminded artists and work on personal proje

that you are passionate about. This is something I am pursuing c

rently as well. And it would always serve you well to conduct yours

as a good human being in the workplace, outside of being an art

A reputation as a good person as well as a good artist will take y

much farther than you think.Property of ILM & Paramount Pictures

Property of Marvel & Univers


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JustinHolt


Interview with

CGArena


Q. What information would you share with students looking to get work in the industry? What wouyou look for in their portfolio?

If youre looking to get into the industry, I recommend to nd 2 disciplines that you love to do and become t

best at one of them and great at the second. Specialization is the key in the feature lm industry. In terms

portfolio, I want to see artists who understand how to build photo real textures from scratch and have a ke

sense of observation when it comes to folding in appropriate details. I want to see high resolution maps w

high resolution details and an understanding of color.


Property of ILM & Paramount PicturesQ. What is the next step for you?

The next step for me is to make sure t

texture work on the shows coming in

Image Engine is top shelf quality. I kn

where that bar sits and I intent on liftinghigher and higher!

Web: http://www.justinmichaelholt.co


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Save Paper. 100% Environment Respect.


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Tutorial

CGArena

What are they

Staring at


Software:

Photoshop

by Markus Lovadina, Germany

2D


What are they staring at has been created to improve my skills at environmental design and ended up aspersonal piece I really like. On the far end I decided to add a bit of story into the image and add the glowieyes to the background. In this Making Of Id like to show my working process and hope this could be somhelp for others.

TOOLS

In most of my images I just use one or two main brushes and

some customized brushes, but this always depends on theirspecic need. I really like to combine those brushes with theselection tool - this gives me the opportunity to get crisp edgesand to paint just certain areas in my images.

WORKFLOW

I dont know why - but Im a big fan of layers. I always try to keep my layers until Im happy with the look afeel. After that I reduce the layer to one and start working on a newly created layer.

On top of that I really love to work with the selection tool. I use this tool many, many times in my work. It issimple and easy way to create different shapes, etc. Is the selection drawn, I start to paint in my main colI always create a new layer for shadow and lights. This will give me the freedom to go forth and back aalso to erase certain areas in the actual selection - without affecting the colors below or above. Happywith the result, I merge the layers.

BLOCKING IN / FIRST SHAPES

I have no typical start such as line drawings

or thumbs. Mostly I start blocking in somerough colors and or shapes. For this imageI did a bit of research on the web and after awhile I had a clear idea in mind. By using theselection tool and my main brush I dump inthe basic shapes. Using a perspective gridis really helpull for environments and canbe easily drawn using the line tool. I startedwith a brown and greyish color palette toget a rst feeling for the overall mood.


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Tutorial

CGArena




FIRST DETAILS AN USE OF TEXTURES

After a while I started to see how the hall could look like and started to add the rst textures on the left wA good thing is to create your own library of textures. Just go out and shoot whatever you like or use onllibraries. I used some corrugated iron for the window and painted over with my main brushes. I really lithe combination of both - real textures and painted brush strokes.

MOOD AND MORE TEXTURES

I kept working on the window and duplicatedthe corrugated metal and set it to soft light.

Working with soft light is a easy way to intensethe colors and to increase the contrast. I setthe duplicated layer to 40% and started to paintover again. Also I erased some areas from thecorrugated metal to get a softer look. I usedthe same textures as a repeating element forthe wall in the back and for the left wall as well.Not happy with the brownish / greenish mood,I used the color balance lter to get more in tosome cold and blueish color temperature.



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Tutorial

CGArena





FLIPPING THE CANVAS AND ADDITIONAL TEXTURES

Flipping the canvas from time to time is a really good way to refresh your eyes and to get a new feeling your image. I created a short cut for this action and use it really often while painting my images. For the oand the wall I used some concrete textures that I had in my library to get a more decayed look. The textulayer was set to round about 20% in soft light.

DONT BE AFRAID

Once I was quiet happy with thelook I received from adding thetextures into my images, I startedto block in some Mech shape. Imnot really used to Mechs and thiswas more of an attempt to getbetter at it. Absolutely unhappyin what this turned out, I get ridof the Mech and the technicalshapes around and worked fur-ther on the empty hall.


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Tutorial

CGArena




MOOD AND LIGHT DIRECTIONS

While working (again) on the empty hall, Iused another time the color balance. Theblueish hall was more of a night situation butI had some day light situation in my mind.I painted in some rough shadows with asqueezed round brush to get a better feel-ing from where the light should come later.By using the transformation tool I changedthe perspective a bit.

MORE DETAILS

I duplicated all layers and reduced those to one. Now it was time to add more details to the backgrouand foreground as well. I used some customized brushes for the technical shapes in the background. AlI selected the shape and started to paint some highlights to that area.

I used the paint and erase technique (described in workow). At the point I painted in the shadows I halready the source of light in mind - some holes in the corrugated iron. Those could be bullet holes or wh

ever.



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Tutorial

CGArena





LIGHT RAYS

For the rays of light I just duplicatedthe holes and added the motion blurlter to it. You have to play aroundwith the angle and the amount to geta proper result. I erased the overlap-ping rays (upper right side from theholes) with my main brush which isalso my main eraser brush.

LIGHT INTENSITY AND

BACKGROUND DETAILS

I duplicated the rays and set the layerto add. While this was way too bright I adjusted the setting for the opacity. With using my customized clobrush I painted in some soft fog on the oor (where the light hits the oor) and reduced the opacity to 1015%. For the rough details on the back wall I used again the selection tool and my paint/erase technique


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Tutorial

CGArena




ATMOSPHERE AND WARM/COLD CONTRAST

I added a new layer for the atmosphere.The fog is painted with a customized cloudbrush set to a big size (up to 1000 pixels).By using the same brush for erasing certainareas on the cloud youll get a better cloudy/ foggy result. The sparks/ dust particles arepainted in with a small round brush (modiedsetting for spacing, jitter, and transparency). Ireally like a big warm and cold contrast in myimages. I added again a new layer and ap-plied a soft radial gradient in blue - set to softlight. This layer was duplicated and ipped. Ichanged the color by using the color/ satura-tion lter and adjusted the transparency. On top of it I added some rough foreground elements and changthe camera angle to a more dynamic perspective.

FINAL DETAILS AND TEXTURES

I took a short break from painting on that image. This is, by the way, another good approach to get a fresh vion your image. Back with fresh eyes I added more textures to the columns and ceiling. The orange stripare painted in with a customized brush and erased on the side to get a more dimensional feeling. To getsmall story into that image I added some dark areas on the back wall and painted in some red glowing ey- just pretty rough (it keepsthe imagination ow). Thisis a good way to lead theattention through the entireimage. Im a really big fanof a more cinematographicformat - like 21:9. To get this

I simply added some blackbars on the top and on thebottom on the canvas. Mynal step for this image wasthat I used the burn/dodgetool to increase the con-trast and the brightness ofthe light rays by using a softround brush.



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Tutorial

CGArena





I hope this tutorial will give you a small insight how I work on most of my images. I still believe that the tecnique should always depend on the image you like to paint. But I really think that a good understanding light and shadow and color theory is the key to create good art. Also I hope this tutorial will be helpful anuseful. If you have any more detailed questions - dont hesitate to drop me a mail.

Blog: http://malosart.blogspot.co

Portfolio: http://malo.cgarena.co

Email:malo74@gmx.


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http://www.animago.com/


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Tutorial

CGArena



Software:

ZBrush, 3ds Max

by Lukasz Szeflinski, Poland

3D

Hello everyone, this is a little making of character Iron Asylum. Work is based on Jerry Beck concept. Hcharacter was comic style and I wanted to make it more realistic but still keeping it a bit of stylized.

MODELING

I started in ZBrush with basic SuperAverageMan model and shaped it to something like this:

Most part of the work was done in ZBrush. Only cable grips,eyes and teeth with tongue were modeled in 3dsamx and thendetailed in ZBrush. I already made a video time-lapse with mod-eling teeth and rendering them in 3dsmax and vrayhttp://vimeo.com/25719450 .

You can also download whole model with materials and textureshere: http://www.cgarena.com/freestuff/ezine/les/teeth.zip

Here is theprogress of the model. Basically it started with qunormal human proportions and with time gets more amore stylized. So here ishow its been progress-ing.

Making of

Iron Asylum
http://vimeo.com/25719450http://vimeo.com/25719450http://vimeo.com/25719450http://vimeo.com/25719450


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Tutorial

CGArena




Now more work on hands and feet. It didnt look to good at the beginning.

Selected masking and exported pants:

Now more details on arms and overallmuscle shape, adding veins. Adding ca-ble handles and transposing hands.



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Tutorial

CGArena





I decided not to use any photo textures for skin and only use ZBrushpolypainting. I used spray brush with some dotted alpha.

More details regarding face model.

And again model with more detalike veins.

Now I moved to pants:


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Some more details on face, wrinkles and pores:


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Tutorial

CGArena




So far I was working in symmetry mode but now Idecided to create nal pose so I used transposemaster to do it.

After this I realized that the face doesnt look rightto me the space between eyes and mouth is toobig so I changed it and here it is:

And again added more detail and also xed thehands and detailed them.



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Almost Final Model. Hair I planned to do in 3dsmwith Hair and fur but just did quick ZBrush model

preview purposes

At this point I was quite happy with model andmoved to creating UVs in ZBrush UV Master.

I decided also to detach legs form the model be-cause there were pants so there was no need forthem. I only left feet.

I also used density option in UV Master to be ableto have more detail in UV map on face and hands.

Heres how UVs looked like:

And heres how I split density over the model.



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Tutorial

CGArena





The skin texture was polypainted so only pants left to be textured. I also use UV Master to create UVs atook pictures of my own jeans for texturing.


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Tutorial

CGArena





Now regarding laying out the photo over the uv layout I found some nice trick especially regarding sticheThere is tool called puppet warp that is very helpful in this cases:

You select object than want to transform and spoints (joints). And just bend it or move it like ywant.


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Tutorial

CGArena





After creating displacement map in ZBrush for all model parts I moved to 3dsmax.

Heres how scene looked like. The lights were vray plane lights. Three at the back were bluish rim lights.Two small ones at the front were for brightening up eyes and mouth.

Heres how skin material settings looked. Basically Istarted with VRay Fast SSS2.

After rendering I did postproduction in After Effects. Iused grate Red Giant Colorista II plugin for color ad-justments and Trapcode Particular for dust particles(small, medium, big) with out of focus lter on top of it.


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Thank you all for reading and I hope

you found something useful for your

works.

If you have any questions or work for

me, feel free to email me.

Web: http://www.lukx.com

Email:[email protected]


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CG Store Corner

CGArena

Shader Production - In this training, Instructor Luiz Kruel guides you through

writing your own shaders, primarily with the CGFX shader language in Maya.Luiz starts off with getting everything set up in Maya and then writes a simpleLambert shader from scratch. From there Luiz builds upon the Lambert to createa Fresnel and Phong shader. Once the Phong shader is dened, Luiz begins toadd textures like diffuse, specular, normal, and cubemap. He then demonstrateshow to manipulate UVs and even how to do vertex animation.

Realistic Max and Vray Scene with Tutorial - This is a FULL & COMPLETEVRAY AND 3DS MAX SCENE, this scene have 24+ realistic 3d models, morethan 35 textures maps, the package comes with 6 video tutorials about, model-ing, lighting, rendering, and post-production with adobe photoshop, render pre-sets just load and click, and photoshop actions for change the look of any render

just with a click. (if you look over internet just the eames chair can cost you US$35 and we are giving this FULL PACKAGE just for US $36.00).

UDK3 - iOS Mobile Game Production - In this training Sjoerd Hourences DeJong continues his series and goes through the entire production of creating aniOS game using UDK. Sjoerd starts with a blank scene and immediately beginsplacing custom meshes and then goes into mobile materials, particles, sounds,and fog. Sjoerd then demonstrates setting up the plane, creating a joystick tocontrol the plane, adding speed/re buttons, creating destroyable ground targetsusing prefabs, adding a scoring system and time limits and compiling the nal.

Advanced Interior Lighting with Vray- This is a complete traning for creat-ing realistic interiors with vray and 3ds max. This training include the completescene so you can check every material setup, lighting, camera settings, rendersetup and learn how to implement that in your our renders with the help of thevideo tutorials. Remember this training include the complete full scene les, youcan use the 3d models from the scene for any type of projects and you can testmaterials with the scene, also you can study the scene for better results.

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CG Store Corner

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psd Manager 3.0 -psd-manager 3.0 is the rst and most advanced PSD le ex-

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The Pariah - The Pariah is a workow project for 3ds Max, including optional el-ements using ZBrush and/or Mudbox to create a biomechanical hybrid monsterwith two legs, two mechanical arms, two organic arms, 4 tentacles and two mas-sive weapons. All limbs are rigged up and animated as are the tentacles usingHI AND HD Inverse Kinematics. Using the set you will learn the entire workowwith no cuts, no timelapses and everything fully narrated in traditional 3d-palacepatios.

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Tutorial

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Software:

Photoshop

by Youichi Shimazaki, Japan

2D

Hello everyone! My name is Youichi Shimazaki and Im a Japanese Digital Artist. First of all, Im most hooured to have opportunity to introduce this tutorial. Thanks, CGArena.com !! I have enjoyed painting wAdobe Photoshop since 2008. I use Photoshop CS3 and a Wacom Intuos4 tablet and learn by trial and errMy goal is to become an active 2DArtist and Concept artist, not only known in Japan but also worldwide.

BRUSH TOOL

I always use the various brushes proper-ly. This time I decided to use mainly three

Custom brushes 1,2,3 and an Airbrush.

CONCEPT

This piece was inspired by the fantasticnovels of J.R.R.Tolkien. When paintingmy illustrations, I utilize novels, moviesand comics as the source of idea. Thistime I wanted to paint the scene thatknights ride the horses in the battleeld.

SKETCHING

Now I work on the rough sketch basedon the concept in Photoshop and use aCustom brush 1. I dont start with co-lour.

COLOR SCHEME

Before starting the painting, I alwaysdo carefully planning. Here I chose a reddishbrown for the base of the background, withsome red and dark brown for all characters.

Warm colours can create many differentmoods: battleeld, danger, passion, wrath etc.I wanted all of those moods together.

Making ofKnight


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LIGHT AND SHADOW

Lighting is one of the most important tools when it comes to setting a dramatic scene. So here I paintedhighlight on the main characters head which is key point. And I added an ambient light from the groundadd more contrast. Then, to exaggerate the presence of the main character, I decided to add the shadobetween him and his horse.

PAINTING

Painting Methods--Concerning the Painting, I use two painting methods properly:

Method 1- Drawing a monochrome sketch and then Coloring it by using different Layer Blending Optiolike Soft Light and Multiply on the layer which was draw the sketch.

Method 2- Drawing a monochrome sketch, and then Referring to it for painting a picture.

Step 1: The BackgroundThe background should be expressing the mood of the blazing battleeld. Then using a large speckled Abrush and a Custom brush 3, I painted the blaze, fog and dust.

Step 2: The ArmorIn order to add a rough texture to the knights armour (like rust, dusty etc.), I used a Custom brush 2 a3 strokes.

Making ofKnight


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Then, I wanted to add chain mail texture in part of the main character s armour, so I used a special Custobrush. The most important and difcult detail is this part! This brush helps me paint the chain mail detai

Finally, I wanted to use a symbol to tell the viewer a bit more about the main characters position in tknighthood. So, I painted his armour helmet decoration and the others with the rough touches.

Making ofKnight


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Making ofKnight

Step 3: The HorsesI wanted horses to show off somemuscle, with simple brush stroke.So I used a Custom brush 2,which will leave a nice texture onthe skins surface. The back horsewas painted of low saturation.

Step 4: The DustAt this step, adding atmosphericeffect Dust.

Dust is very useful effect for hav-ing impact and dynamism! So Ipainted in some dust with a Cus-tom brush 3 and an Airbrush.

To be careful at this step, Dust should be

rendered in the front or back. In the frontof main character, I use a Linear Dodgelayer and a Custom brush 3 to add thiseffect. In the back of one, I use a normallayer and lower the saturation.

Step 5: Final StepThe rst thing is adding highlights; I useda Linear Dodge layer and an Airbrush.

Next step, Using the Adjustment Layers,I adjust the Light, Shadow, Hue, Satura-tion, Brightness and Contrast in the im-age. So, I used the Curves Adjustmentlayer plus Layer Mask to more stressingand tense.

(TIP: The Curves tool is effective in add-ing shadow too!)


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To nish the image, after Icreated a new Hue/Satura-tion Adjustment layer, alteringSaturation (+20).

I hope you enjoy this tutorial. If you have any question and comments, please feel free to contact me vEmail or my website. Thanks for reading!!!

Making ofKnight

Web: http://shima99.ninpou.jpEmail:[email protected]


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Tutorial

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Making of

Amazons Vs. The Sea Monster


Software:

Photoshop

by Alexi Chabane, Canada

2D

This painting started out as a quick sketch I did on a scrap of paper at work. I liked the composition and cotinued to rene the sketch into a cleaner drawing. I tried to work out the placement and poses of the Amazcharacters so they told a story and t with the overall movement of the sea monster. I wanted the imagehave a fun and cartoony feel, so Ikept the characters anatomy sim-ple and stylized. Once I decidedthat the women would be Amazonwarriors I started collecting refer-ence images of ancient Greek ar-

mor, weapons and ships and incor-porated details from these imagesin my designs.

At this point I enlarged the cleanedup drawing and drew a much morenished version of the image. Itseemed that the sea monstershead did not t with the style of thehuman characters so I did a few

more designs until I found one thatworked. All my drawings wherescanned and put together in Pho-toshop to make up the nal outline.

Before starting on the painting I dida color design for the Amazons out-ts and a quick color sketch of thenished drawing. I quickly blocked inthe color sketch to roughly work outthe lighting direction and the overall

color tones of the image. For thedesign of the sea monster I lookedat the colors and patterns of varioustypes of eels and sea snakes. I triedto choose colors that worked with theblue/grey background and did notclash with the red, black and gold Ihad chosen for the characters.


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When starting the actual painting I did some quick gradientand color lls so I would not be looking at a white canvas. Ikept a copy of pencil drawing that I multiplied over top of thecolor layer to keep my outlines visible. I also painted outselection sets for the three major areas of the painting; theforeground characters, the mid-ground ship and cliffs andthe background sky. I used a basic round brush with hardedges for almost the entire image, set to about thirty percentopacity. I like the visible brush strokes and imperfect lookthis method produces, and I think it works well with the styleI was going for.


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Using the selection layers I could easily make adjustments to large areas of the painting and quickly try onew color and lighting ideas. Eventually I decided on a back lit lighting scheme, with the foreground charaters in shadow, illuminated by a soft rim light. I used gradients to block in some colored shadow and kea uniform sense of tone. By erasing these shadow areas the original colors could come through and dethe light areas.

Once the lighting was established I began painting on a new layer, adding in more details and covering most of the pencil outlines. At this point I added volume to the forms by painting highlights and shadow fects. I try to bring the elements together by imagining a bounce light (similar to ray tracing in 3d) that spcolor from one object to another. I also tried to dene the different materials by giving them varying amounof texture and secular highlights. At certain points during the painting process I attened the image to kethe overall number of layers low and manageable.


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To achieve a wet look I added strong highlightsand a dripping water effect on top of the char-acters, painting with white on an overlay lay-er. In a similar manner I added shafts of lightbreaking through the clouds in the background.

Just when I thought I was nished I began tofeel that the image was not properly balanced,and that a thinner, more vertical compositionwould better suit the scene. I cropped the im-age by about twenty percent horizontally andadjusted the size and placement of the shipand shoreline.


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Thats it hope you enjoy this project overview and learn some tricks from here.

Blog: http://alexichabane.blogspot.co

Portfolio: http://alexichabane.cgarena.co

Email: [email protected]


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Lee Griggs, [email protected]


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Jose Alves da Silva, [email protected], Photoshop


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Alex Sales, [email protected] Max, ZBrush


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Nikita Veprikov, [email protected] Max, ZBrush


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Veronique Comeau, [email protected] Max, ZBrush


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Bruno Melo, [email protected]

3ds Max, ZBrush


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Victoria Passariello & Eduardo Balestrini, [email protected]

3ds Max, ZBrush


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Wesclei Barbosa, [email protected] Max, ZBrush


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Cgarena Ezine Sep Oct 11

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