Egzotik; Dünyanın En Güzel CG Karakterleri
 |    |
A
Tarafından düzenlendi
Daniel Wade ve Paul Hellard
Yayıncılar
Mark Snoswell ve Leonard Teo
Egzotik
Yayınlanan
Ben seni sevmek için yaratılmışım
Photoshop
Raffaele Marinetti. İTALYA
[Ön meclis EXOTIQUE Yumuşak kapaklı baskı]
Öğle yemeği
SİNEMA 4D. Gösterici, Photoshop Benedict Campbell. BÜYÜK BRITA [Arka kapak: EXOTIQUE Yumuşak kapaklı baskı]
İlahi koruma
3ds Max, Photoshop
Hyung-Jun Kim, KORE [Ön kapak: EXOTIQUE Special Edition]
BALİSTİK /
İÇİNDEKİLER
ÖNE ÇIKAN SANATÇILAR
Hu^
3ds Max, Photoshop
Hyung Jun Kim. KK ;
EDİTÖRDEN
Daniel Wade I Genel Yayın Yönetmeni ve Mark Snoswell I Yayıncı
Dijital sanatçılar teknoloji meraklısı olmanın yanı sıra hayalperesttir. Egzotik karakterleri, çoğunlukla da kadın karakterleri hayal etmek için çok zaman harcıyorlar. En azından, yürüttüğümüz hemen hemen her giriş çağrısı için gönderilen çok sayıda karakterden çıkarabildiğimiz şey budur. EXOTIQUE, dijital sanatçıların hayal gücüne ve görünüşe göre görünüşte yetersiz yaratıcı yeteneklerine ve hayata geçirdikleri rüya karakterlerine saygı duruşunda bulunuyor. Sadece birkaç yıl önce bu kalitede bir kitap mümkün olamazdı; en azından burada gördüğünüz çalışmanın genişliği ve kalitesiyle. 2D boyama yazılımının herhangi bir geleneksel sanatçının kendisini hiçbir engel olmadan ifade edebilmesi için yeterince iyi olmasından bu yana muhtemelen altı yıl veya daha fazla zaman geçmiştir. Bununla birlikte, 3D yazılımı yalnızca son dört yılda, insan formunu herhangi bir gerçekçilik ve sanatsal yorum düzeyinde yeniden üretmenin mümkün olduğu bir noktaya ulaştı... ve bu da son bir veya iki yılda oldu Yaygın olarak bulunabilen 3D görselleştirme araçlarının gerçek anlamda gerçekçi cilt görselleştirme yeteneğine sahip olduğu ortaya çıktı. Bu yıl (2005) itibariyle neredeyse tüm 3D oluşturucular küresel aydınlatmayı (seken ışık aydınlatması), dağınık aynasal aydınlatmayı ve yüzey altı saçılımı desteklemektedir. Bunların hepsi, ciltle etkileşime giren çatışmanın inceliklerini gerçekçi bir şekilde yeniden üretmek için gereklidir. Son olarak teknik sınırlamalar kaldırıldı ve sanatçılar kendilerini hem 2D hem de 3D alanlarda sınırlama olmaksızın ifade etme özgürlüğüne kavuştu.
•Bu teknoloji harikadır ancak olağanüstü bir sanat eserini tasarlamak ve hayata geçirmek için yine de verimli bir hayal gücü ve keskin bir sanatsal bakış gerektirir. Gelişmiş 3D yazılıma sahip olmak, kimsenin çarpıcı ve duygusal görüntüler oluşturmasını kolaylaştırmaz. Sanatçının eserini tasarlaması, modellemesi, bestelemesi, dokusunu oluşturması, ışıklandırması ve render alması gerekiyor. Mümkün olan en iyi sonucu elde etmek için her şeyin iyi bir şekilde yürütülmesi ve uyum içinde çalışması gerekir. Şimdi. Daha fazlası “Daha önce hiç olmadığı kadar dijital sanatçı, çekici ve ilham verici bir görüntü oluşturmak için bir araya gelen tüm unsurların farkında olmalıdır. Doğal yetenek ve iyi bir gözün konu, ortam, ışık etkileşimleri ve teknikleri hakkında derinlemesine bir anlayışa sahip olması gerekir.
B. yorumlama sanatımız tamamen görsel bir hikaye anlatmak ve izleyicide duygusal bir tepki uyandırmakla ilgilidir. Tüm harika hikayelerin karakterlere ihtiyacı vardır. EXOTIQUE, bilim kurgu, fantezi ve animeden fotogerçekçiliğe ve stilize gerçekçiliğe kadar türlerdeki dünyanın en güzel CG karakterlerini tek bir kitapta bir araya getiriyor. Gelecek yıllarda EXOTIQUE'un sanatın gelişimini ve dijital karakter sanatının dünyadaki en iyi örneklerini belgeleyeceğini umuyoruz.
~tie EXOTIQUE davetli sanatçıları her türden karakteri göndermeye davet etti. Aralarından seçim yapabileceğiniz gerçekten geniş bir stil ve konu kesiti sağlayan tüm türlerde toplam 300 giriş sunuldu. Sanatçı galerisine ek olarak, sekiz yüksek profilli sanatçının da belirli karakterleri nasıl yarattıklarına dair ek bilgi sağlaması nedeniyle şanslıydık. Öne çıkan sanatçılar arasında Linda Bergkvist, Liam Kemp, Pascal Blanché, Jason Chan yer alıyor. Fred Bastide, Olivier Ponsonnet, Jean-Yves Lelcercq ve Henning Ludvigsen.
Kelebek
3ds Max, Photoshop
Hyung-Jun Kim, KORE
[sol]
Pembe Şeker
3ds Max
Olivier Ponsonnet. FRANSA
[Sağ]
Uçmak
3ds Max, Photoshop Hyung-Jun Kim. KORE [solda]
Yedi Ölümcül Günah: HIRS
Ressam
Marta Dahlig, POLONYA
[yukarıda solda]
Yedi Ölümcül Günah: Kıskançlık
Ressam
Marta Dahlig, POLONYA
[üstünde]
Yedi Ölümcül Günah: Şehvet
Ressam
Marta Dahlig, POLONYA
[sol]
Kısıtlamalar
Photoshop. Ressam
Jiansong Chen, ÇİN
Anlamıyorum]
LİNDA BERGKVIST
www.furiae.com enayla@ furiae, com
"Dijital çalışmamda beni en çok geliştiren şey, geleneksel tuval üzerinde yapmaktan çok çekindiğim her şeyi deneyebileceğimi fark etmemdi."
Linda Bergkvist, dijital tabloları EXPOSÉ serisinde Ustalık ve Mükemmellik ödülleri de dahil olmak üzere geniş çapta yer alan İsveçli ödüllü bir sanatçıdır. Linda aynı zamanda d'artiste Digital Painting'in de ortak yazarıdır; burada diğer üç sanatçıyla birlikte sanatına yaklaşımında kendi tarzını ve tekniklerini araştırmaktadır. Linda, mistik ortamlar ve çarpıcı karakterler içeren, çağrıştırıcı illüstrasyon stiline sahip bir sanatçı olduğu kadar bir hikaye anlatıcısıdır. Öğretmen olma niyetiyle İngilizce eğitimi almasına rağmen Linda, illüstratör olarak çalışmak için eğitimini yarıda kesti. Linda artık zamanını çizgi roman renklendirme uzmanı olarak, yerel bir üniversitede yarı zamanlı Photoshop öğretmeni olarak ve serbest çalışan olarak geçiriyor.
Kroki
Sembolizmle dolu bir resim yapmak istediğimi başından beri biliyordum. Doğa ve insanın yok edilmesi teması olurdu ama güzellik kisvesi altında. Yeşilin, kırmızının ve altının sıcak, zengin renklerini istiyordum. Yaptığım ilk şeylerden biri çok hızlı bir renk testi yapmaktı. İlk taslakta kullanmadan önce denemek için aklımdaki renkleri bir araya getirdim. Burada komik olan şey, taslağın hayal ettiğimden çok daha karanlık çıkmasıydı, ancak tablonun 'sonuna' geldiğimde, başlangıçta aklımda olan renkleri kullanmaya geri dönmüştüm. İlk eskizdeki en büyük hata, Doğayı temsil eden karakterin bacaklarıyla ne yapmak istediğime dair hiçbir fikrimin olmamasıydı. Pozisyonları, ayaklarının şekli ya da nasıl denge kuracağı hakkında hiçbir fikrim yoktu. Bu bende resmin geri kalanında sorunlara neden oldu; burada, ilk eskizde, bacakları boyamayı nasıl 'gözden geçirdiğimi', onları nasıl yapacağımı düşünmek istemediğimi görebilirsiniz. İyi bir şey değil.
-- --2TER TASARIMLARI
Karakter odaklı bir eser olduğundan kişilerin tasarımları ve □ görünümleri önemlidir. Bu nedenle, önce ■ : 'tablodaki yüzlerin belirsiz eskizlerinden, -' ve farklı versiyonlarıyla oynanmadan önce
■ -■=. (örneğin. Aradığım şeyi temsil edecek özellikleri ve küçük yollarla eylemleri gerçekleştirmenin yollarını bulmaya çalıştım. Bu şekilde istifa edebildim ve her iki güçlü karakteri de arayabildim 2" tüm resim boyunca beni destekle. Görünüşlerini hiçbir zaman büyük bir şekilde değiştirmeye gerek duymadım - bu yüzden ayakları gibi beyaz şeyler (ayakları boyamaktan nefret ediyorum) : ■-=- çok fazla sorun yarattı, yüzleri ve kıyafetleri değişmedi' T.
Eskizlerin basit yüzleri ile EE arasında - bitmiş tablonun tamamı kafamdaydı. Baştan beri saçında çiçekler, "i'ler, yılanlar ve yapraklar olacağını biliyordum, ama bu 'küçük' ayrıntılar aslında genel görünümde çivilenmesi hızlı eskizlerde çok başarılıydı.
İFADELERİ İYİLEŞTİRME
Bir karakterin gerçek tasarımlarını ve görünüşünü doğru yapmak bir şeydir. Aktarmak istediğiniz duyguya tam olarak uyacak dakika ve kesin ifadeleri elde etmek tamamen farklı bir şeydir. Resmin büyük bölümünde karakterin yüz hatlarını netleştirdiğimi sanıyordum ama sonuna doğru pek çok iyileştirmeye yer olduğunu fark ettim: ayrı ayrı iyileştirme. Yüzlere bu kadar uzun süre dokunulmadığından artık geri dönüp birçok ayrıntıyı yeniden işleyebildim. Doğa'nın dudaklarını ayırdım, onlara daha fazla hayat katmak için gözlerini yeniden boyadım ve artık çok daha fazla duygu gösterdiğini hissettim. Bunu, insan yüzünün yeniden boyanması takip etti ve ona daha rahat, şefkatli bir ifade kazandırmak için özellikleri dikkatlice yeniden düzenlendi. Bir de çil sorunu vardı. Benim de çillerim yok, bu yüzden görsel olarak nasıl 'çalıştıkları' hakkında pek bir fikrim yok, bu yüzden oturdum ve bunları anlamak için çilli insanların bir sürü resmine baktım. Bu değişiklikler çok küçük; bazıları bunları fark etmeyebilir bile ama benim için büyük fark yarattılar. Burada incelik anahtardır. Yüzlerde ve kostümlerde bazılarının asla fark edemeyeceği ayrıntılar var ama yine de önemliler. Çok fazla sevgi ve çaba harcadığımız bu küçük şeylerin birçoğunun, ilk bakışta görünmese de, yine de görüntüyü harika bir şekilde etkilediğini düşünüyorum.
Photoshop
Linda Bergkvist, İSVEÇ
Uyan bebeğim!!
Photoshop
Jose Manuel Fernandez Oli, İSPANYA
[tepe]
John
Photoshop
Armin Stocker. AVUSTURYA
[üstünde]
Varoluş
Photoshop
Jose Manuel Fernandez Oli, İSPANYA
Elma Ağacının Altındaki Şarkılar
Photoshop
Linda Bergkvist, İSVEÇ [yukarıda]
Yabani çilek
Photoshop
Franz Steiner, ALMANYA
[tepe]
Carrie
Photoshop
Laura Hukuku, ABD
[üstünde]
* w | |
Güzel Kfltor
Photoshop
Hoang Le
VİETNAM
Lon'lu Hanımlar* Photoshop Linda Berg* . İSVEÇ [sol serres
Venedik Maskesi
Photoshop
Fan Yang. Amerika Birleşik Devletleri
[üstünde]
Şeytan
Photoshop
Fan Yang. Amerika Birleşik Devletleri
[üstünde]
Kraliçe
Ressam. Photoshop
Chao Chin Kung. TAYVA'.
korku]
TIQUE
Egzotik
Redyan
Photoshop. 3ds Max
Müşteri: Actoz yumuşak Soa Lee. KORE
[yukarıda solda]
Prenses
3ds Max
Olivier Ponsonnet. FRANSA
[üstünde]
Clio
Işık dalgası 3D. Photoshop Karl Poulson. ABD [solda]
Rüzgarla Gülümseyin 3ds Max. Photoshop İstemcisi: Actoz yumuşak Soa Lee. KORE [sağda]
Hangzhou Photoshop'un anıları. Ressam Robert Chang. ABD /yukarıda;
Maskeli balo
Photoshop
Egil Paulsen. NORVEÇ
[sağ üst]
Bahar Yaprakları
Photoshop
Natascha Roeoesli, İSVİÇRE korkusu)
Egzotik
Mamegal 2004
3ds Max. Karakter Stüdyosu.
Brezilya r/s. Sevişme Saçları
Koji Yamagami, Fasulye Büyüsü. JAPONYA [sağda]
Kırmızı Sera
Photoshop. 3ds Max İstemcisi: AR Stüdyosu
Soa Lee. KORE faboveJ
Luke 3ds Max Jiri Adamec.
ÇEK CUMHURİYETİ
[üstünde]
ayak parmağı* BÜYÜK BRİTANYA | |
Egzotik |
OLİVİER
PONSONNE1
“Her şey ilham kaynağı olabilir: Sokakta gördüğüm biri, bir televizyon reklamı, bir film.”
Olivier is a student living in Bordeaux, France and studying programming (medical imagery) at Bordeaux University. “CG is my passion,” he admits. “I don’t study CG or even arts. I’m totally self-taught. I’ve learned everything in books and on the net. I always work freely, without methods or deadlines. I try several methods until I get something interesting. It’s not uncommon to stumble on something completely different from my initial idea. I try to create pictures with personality and style. I attempt to produce pictures that make people feel something, like a mood or a feeling. I also search for aestheticism and beauty through all the female portraits that I create. Beauty is really fascinating, because it’s really fragile: a little something can make your character beautiful. That’s what I try to inject into my images. I work with 3ds Max for modeling, shading, lighting and rendering. For post-production and painting maps, I use Photoshop with a graphic tablet.”
MODELING
I’m not a big fan of box modelling. I hate to start with a bo* and then add details until I get what I want. I always start from a simple quad. I then extrude its edges to get a rig of quad this is the start of the character’s eye. With a few more edges cuts and extrusions I get a correct eye area. Separately I do the same thing with the mouth area and then connect the two zones. I model the nose, extrude the edges of the bottom of the mouth area to get the chin. I finish the rest of the head, trying to keep a sort of concentric topology around the opened areas This helps a lot when modifying the character’s expression I separately model the ears with the same technique (quad plus edges cuts and extrusions), and put everything togethe' I finally apply a meshsmooth modifier to my model.
color
Bump
Specular
Bump and Specular
Transparency
FINAL TOUCHES
-A-c sage s the mapping. I usually apply a simple cylindrical "ç to the model and if there’s too much overlapping ~ If» coordinates to get something cleaner. The first is -3 . paint is the diffuse map. Its global tint obviously ~ ' :ne character’s ethnicity or suntan, but also on the
• r.-«ter used. I use the mental ray Fast Skin Shader to ■e sFjse and soft appearance of skin, and put my diffuse Taemerall diffuse channel. In this case, the skin colors -Æ zfiassical. but if you plug it into the unscattered diffuse
your map’s going to be almost grey. Test both.
- an see the diffuse map is really classical. You just : add sregularities and spots to get something natural.
: r r scale version of this map as a base for the diffuse c nap to create an irregular base. Skin is also slightly - so use the specular map as a reflection map which r - particularly reflective on the lips and around the - sentty on the rest of the face.
The eyes are made of two concentric modified spheres. The inner one has a sub surface scattering material with the diffuse color of the eyes. The second sphere has a water-like material (reflective and fully transparent). I also add a sort of tear line that has the same material. It’s a renderable spline placed along the junction of the ocular globe and the lower eyelid. This really gives a nice final touch to the eyes. You can also add a slight bump to its material with a simple noise map to deform the reflections. Eyebrows, eyelashes and hairs are using the same technique. They are basically modified polygonal planes or cylinders with a simple material. I paint a transparency map, and plug it into the transparency channel. Note that the material has an IOR set to 1. I invert this map and use it as a bump map to get some kind of volume effect. I also use it in the specular channel to get specular reflections only on the opaque parts of the mesh. For the hairs, if it’s not dark. I also paint a diffuse color map with dark roots and brighter points. I finally set my lighting up generaHy with one main light and two backlights. I also place big white and self-illuminated boxes (the output value of the diffuse color set higher than 1). These boxes are only visible through reflections in order to get bright reflections, particularly on the lips and eyes.
Hope
Photoshop, Painter
Client: Giomind
Cho Kyoung-min, KOREA
[above]
Goddess of moonlight
Photoshop. Painter
Client: Giomind
Cho Kyoung-min, KOREA
[left]
Follow me
Photoshop, Painter
Client: Giomind
Cho Kyoung-min. KOREA
[right]
TKXJE
The Next Prey
Photoshop. Painter
Linda Tso. NEW ZEALAND [ above]
Waterfall Fairy
Photoshop, Painter
Chris Young. GREAT BRITAIN f top right]
Redemption Painter, Photoshop Jason Chan. USA [right]
SoftimageIXSI, Photoshop Sang Hyun Bang. KOREA [above left]
Healer Elf
Maya. Photoshop
Client: NAKO Interactive Seok Chan-yoo. KOREA [above right]
Tears
3ds Max. Photoshop Client: Actoz soft Soa Lee. KOREA
[right]
Valkyrie
3ds Max, Photoshop Pascal Blanché. UBISOFT. CANADA
Temptation of Darkness
3ds Max. Photoshop
Soa Lee. KOREA [above left]
Knight Mage
Maya
Client: NAKO Interactive.
Seok Chan-yoo. KOREA
[above]
Jericho Cross
Photoshop
Farzad Varahramyan,
High Moon Studios. USA lleft]
Enemy of God Cover Art
Photoshop
Client: Phoenix Publishing Kerem Beyit. TURKEY [right]
EXOTIQUE
Simone Linsell Fairy
Photoshop
Edward Draper. GREAT BRITAIN [top]
Darjaleene
Painter, Photoshop
Katarina Sokolova, UKRAINE
[above]
Sinner
Painter
Hong Kuang, SINGAPC Ç
[right]
Atalanta’s Proposal
SoftimageIXSI, Photoshop Bryan Eppihimer. USA [above J
Witch
Painter. Photoshop Wei Wang. CHINA I above]
Essventacha Sadensa - _
Photoshop
Friedric Petrequin.
Heavydarkness Studio. FR« fright]
HENNING LUDVIGSEN
www. henningludvigsen. com
henlu@online.no
“It was in Athens I realized that I’d been working for ten years without doing what I really wanted to do in life—paint.”
SKETCHING
Henning grew up in Holmestrand, a small town in the south of Norway. In Norway, art school can be joined at quite an early age, and this is where he learned the basics of traditional art. “The Amiga was the first computer which opened my eyes to digital art,” explains Henning. “I realized the tremendous opportunities available when working digitally. After ten years of working my way up through the ranks of the ad agency industry, I got the opportunity to use my skills in computer game development. With this opportunity, came an invitation to move to sunny Greece, which I immediately accepted. It was in Athens I realized that I’d been working for ten years without doing what I really wanted to do in life—paint.” Since 2004, Henning has focused on developing workflow skills and creating fantasy-related 2D art. He is currently working as the Art Director of a Norwegian/Greek computer game development company in Athens.
I started off by making a simple sketch. As a fan of reaftsr I used a grid on top of the reference picture I was looking • while painting. I copied the same grid onto a blank cam^i and then drew a rough and simple base. I did this to awoc major proportional mistakes at an early stage in the process s I could easily see where a line in the photo broke with the gr As soon as I had a decent looking sketch, I got rid of the gnr and added a simple greyscale background to the paintr:. I kept the sketch in a separate layer on top of the others Next I got some rough shapes up to catch the overall fee r For some reason, I always start off with the eyes. If the e>« don’t feel right, it can break the piece. One reason for hav a greyscale background is that I can toggle easily betweer black and white while applying shadows and highlights, ar: not be limited by working from one side of the black or wtv greyscale range. It is only at this stage in the process tte I apply rough shades with a semisoft brush set to medium. T-other reason why I work with grey tones in the beginning that it allows me to focus on getting the shape up and runnrç before even thinking about colors.
CKJNG-IN COLOR
a ?ouch greyscale version was ready, I merged the c rase layer with the sketch. I then applied some very use colors using the brush tool with Color mode ’.hen the basic colors were applied, I began adding
"iwe details—still pretty rough, but I usually prefer : messy brush strokes before working my way
-nt details. While I still had a lot of detailing to do,
ting features in the girl’s face. From then on,
-z te ordinary hard-edged brush on Normal mode only, -w jsng sharp brushes with dense spacing feels closer
the ‘old fashioned way”. This painting was an in using hard-edged brushes, and it was my s =c away from smooth, airbrush-style paintings. I am z oefever in using reference pictures for paintings, don’t think the human mind can emulate realism
- Tugb to compete with the real thing. When making ’ is I normally use friends as reference models, and :.er i a challenge to make the art resemble the model as -5* as possible, like with this painting.
DETAILS
Still using the hard-edged brush, I went over the entire piece area by area applying more details and correcting the skin tones. When the base colors are placed, I prefer to mix colors as I go along and directly onto the piece. This makes it all more fun, and the end result looks more natural. Knowing that skin has all kinds of colors depending on the area of the body, I made sure that areas like the nose, the bits around the eyes, shoulders, neck, and forehead got a vague tint of red. In other places, the skin might be thinner and should appear more blue or grey. Even green and yellow are colors I use for skin tones, and in the shadows purple and blue made sense because I wanted to use cold ambient light. At this stage, I added the metal gauntlet and applied smooth and rough metal shading. I wanted the gauntlet to look feminine and delicate, which is why I painted the hand first, and then replaced it. I painted the gauntlet a little thicker to give the metal the right build and thickness. The hair started to shape up at this point, and I went on from here until I felt that the painting was done. On ths occasion I stopped earlier than usual to maintain the feefeng and impression that this is a traditional painting with human artistic errors, and not a typical digital painting.
Golden Talon
Photoshop
Henning Ludvlgiien. NONWAY
bn
e
Max. Photoshop Lee. KOREA
/
Sophia
3ds Max, Photoshop, Paintshop Pro
Soa Lee. KOREA
[above]
Inaé
3ds Max
Olivier Ponsonnet. FRANCE
[right]
The Crane
Photoshop, Painter
Mark Jordan. SLOVENIA
[above]
Papillon
Photoshop
Egil Paulsen. NORWAY
[above]
Devastation
Painter
Anry Nemo. RUSSfc
[right]
Tala: Boss
Photoshop
Art Director Farzad Varahramyan
Steve Jung. High Moon Stix&os. USA [top]
Cassidy Sharp: Boss
Photoshop
Art Director: Farzad Varahramyan
Steve Jung. High Moon Studios. USA
[above]
Elven Warrior
Photoshop, Painter
Cho Kyoung-Min. KOREA
[right]
Torturess
Photoshop
Andrew Dobell. GREAT BRITAIN
Elene
3ds Max. Photoshop
Soa Lee KOREA [atxtve]
When the Wind Blows
Photoshop
Christine Griffin. USA
[nght]
* | |
1 A |
EXOTIQUE
Naga Dance
Photoshop
Camille Kuo. Ta,
[right]
Mark Jordan SLOVENIA /abo*e/
Archer
Photoshop. Painter
Chris Young. GREAT BRITAIN [above]
Dark Fire
Painter. Photoshop
John Dickenson.
Carbon Canyon Studios.
USA
[above left J
Cardil Shan Imadril
Photoshop. Painter
Oliver Wetter. Fantasio Fine Arts.
GERMANY
[above]
Shinsengumi
Photoshop
Leung Chun Wan.
HONG KONG [left]
Queen of the Eternity
Painter
Hong Kuang.
SINGAPORE
I right]
1-2-3 ftatoshop
Francesco Perez USA [above]
White Buffalo - Reeve
Photoshop
Gez Fry. JAPAN
[above]
Winter Photoshop Gez Fry fright]
White Buffalo - Kay Photoshop Gez Fry. JAPAN /above/
Memories Lost
Photoshop
Hoang Nguyen. USA
[above J
Swordsman
Photoshop
Leung Chun Wan. HONG KO.
fright]
BDOIKME
LIAM KEMP
www.this-wonderful-life.comUam@this-wonderful-life.com
“I didn’t know anyone who knew anything about 3D and I had no Internet access, so all my learning was done the hard way.”
After leaving school, Liam envisaged a career in illustration. This proved to be more difficult than he’d anticipated, and after a couple of years with little success he decided it was time to learn how to use a computer. “My next door neighbor had 3ds Max (but didn’t know how to use it),” explains Liam. “He showed me some of its capabilites, which I was sufficiently impressed with to want to start learning how to use the program myself. I didn’t know anyone who knew anything about 3D and I had no Internet access, so all my learning was done the hard way. I even learned nurbs before I knew how to model wrtT polygons! Within a couple of years I Tad made two animated shorts: ‘When Statues Dream’and‘Telly’. It was my third short This Wonderful Life’ that got me recognition on the'estival circuit. It was shown at Siggraph, 3D 'estival and Imagina. In August 2004 I left my job io work full-time on my next seff-iunded animated short ‘The Normals’.”
CLOTH
The costume was created using the ClothFX plug-in • splines are drawn to create panels that form each secto the garment. The panels are then arranged around the rc in the appropriate positions before the simulation pulls a y separate pieces together, wrapping them around the b r and into place. For texturing the garment, a planar map » projected onto the whole spline layout of the cloth panels, r a screenshot was taken. Because the clothing was airusing flat panels, this made texturing much easier as ftte was no need for UV tweaking, and texture streaking bees' non-existent. For the surface of the garment, a bump map » created using a 50% blend between hand-painted textile r the creases and seams) and a fine noise map (for the roughns of the fabric). Another noise map was used in the Specufer channel to break up the uniformity of the highlights. To recrée the look of velvet, in the Diffuse channel I created a fallo4-and increased the RGB value for the fresnel component so*« the maroon color would appear brighter at glancing angles.
LIGHTING
» lie skin texture, I made several UV projections over
ts of the body. Arms, legs, body, hands and neck separate projections which were then loaded into
■ zœrte material. A greyscale map was then used to
-r.-.een each projection so that underlying textures in
z?-zosrte material would show through. For the diffuse
I started off by scanning a patch of skin which sought into Photoshop to duplicate, mirror, rotate, and -- “3rnp across the surface of the texture map. Additional
is to the brightness, contrast and hue were made
-irr me tiling effect. On top of this base I hand-painted
: emails such as veins and blemishes to complete the
- a/er. The bump map was drawn by hand—I would ata concentrate upon a small area where I would create the
- z«pies, cracks and pores, and then rubberstamp this to - adding in extra detail as required. The Specularity
^zssness maps were black bitmaps. I used Photoshop’s ‘ to create the irregularities of the reflected surface.
I wanted the image to appear sunlit and have a warm feel, so I created a spotlight with a slight yellow tint that shone directly across her body in order to pick out her curves. The environment was a simple box, about the size of a large room, with a weathered-looking texture placed upon the walls. Foe the flooring, I used a texture map of wooden floorboards and gave it a golden tint in order to soften the reflected light up onto her skin. For all the mesh objects, Global Illumination was used with photons to bounce the light and give an ever warm tint across the whole image. As the hair was not a geometric object, it couldn’t respond effectively to bounced light and so a separate lighting set-up was used for tos. In order to match the illumination of the rest of the anage-I placed spotlights in positions where light would refect zr" the walls and onto her body.
r rWui
JIKMJE
Red Moon
Photoshop
Svetlin Velinov, BULGARIA [above left]
Ronin Girl
Painter
Oliver Wetter. Fantasio Fine Arts, GERMANY [above]
Bianca
Photoshop. 3ds Max Model: Bianca Beauchamp
Jean-Yves Lelcercq.
JYL Computer Art, BELGIUM [left]
Drop Red Gorgeous
CINEMA 4D. Poser, Photoshop
Client: 3D World magazine/
Future Publishing
Adam Benton. GREAT BRITAIN f ngbt]
_____
Karma
Maya. Photoshop Rene Morel. CANADA [above]
FG
Photoshop. CINEMA 4D
Benedict Campbell. GREAT BF
I right]
Meda Warrior, MechAssault 2 3ds Max. Photoshop
Josh Nizzi Day 1 Studios, USA
MbneJ
Foster, MechAssault 2
3ds Max. Photoshop
Josh Nizzi. Day 1 Studios, USA [above]
Natalia Magazine Cover, MechAssaiA
3ds Max, Photoshop
Josh Nizzi. Day 1 Studios, USA
I right]
Pretty (Strawberry Dream)
Photoshop
Lisa Bertnick. USA
[far left]
Sasha
Photoshop
Lisa Bertnick. USA [left]
Shoot
Photoshop. Poser.
BodyPaint, CINEMA 4D
Benedict Campbell.
GREAT BRITAIN [nghtl
ùlu.Uii)
Muni .’mihi» MHIIAHI
MM
Photoshop, CINEMA 4D, Poser
Rffiftrt Campbel. GREAT BRITAIN
Benedict Campbell. GREAT BRITAIN
I right]
Temple Guard Priestess
Photoshop
Oz Spiniello, AUSTRAL!-
fright]
S-girl (punisher)
Maya. Photoshop
Client: NAKO Interactive
Seok Chan-yoo. KOREA
Mechbeth
Photoshop
Farzad Varahramyan, USA
[left]
Poser. Photoshop
Mark Coulson. GREAT BRITAIN [above]
EXOTIQUE
The Ascent
Photoshop
Henning Ludvigsen, NORWAY
[above]
Nedda
Photoshop
Laura Law, USA
/ top right]
Dawn
3ds Max. Pho'osncr
Soa Lee. KORE-
[ right]
Countess2
Photoshop
Steven Stahlberg, MALAYSIA
[top left]
FEATURED ARTIST
JASON CHAN
www. jasonchanart. com jasonQjasonchanart. com
“During high school I began frequenting online art forums and using those as inspiration and learning from people there.”
Jason Chan was born September 24, 1983 in Stockton California. Ever since he could hold a pencil, he has been drawing. “I learned all over the place,” admits Jason. “Both my parents, as well as some of my uncles all have artistic talent. They were my first teachers.” What began as a childhood hobby soon developed into a passion. His interest in video games, fantasy and science fiction, and anime lead him in a particular path with his work and before he knew it, he was freelancing. “I frequently visit art forums to keep learning while I’m not at school and see what other people are up to”, explains Jason. He is currently pursuing a BFA in ■ustration at the Academy of Art University «1 San Francisco. He is due to graduate in the Spring of 2006.
SKETCHING
Digital art is a funny thing. It gives you unlimited cont -j your image allowing you to step back in time when you it a mistake, zoom in to do the tiniest detail or zoom out tz r the largest stroke. The one thing it lacks is a sense of ptni c reality. You can’t hold your artwork. Because of this, some: the mood strikes me to begin with something I can toucti -piece of paper and a pencil. I will normally start out by dr± ir-a series of quick thumbnails to find a working composte From there I will do a more detailed sketch and possibh i some character designs. In this particular piece, I maoe r mistake of going to paint without working out the backoo.r beforehand in my sketch. I was a little too eager to add etc and I paid for it later. Ideally, you would want to know exa : what you are going to be doing when you go to paint—:'s jle a lot faster and easier.
FEATUF?£Z AJÏMS3I
LOCKING-IN
DETAIL
ze have the image scanned, I begin by blocking in colors. *~s image, I was going for a more photorealistic look for characters so I didn’t bother saving the lines under the - ± block-in. All I needed was the initial idea and gesture. ’’ t sketch was then laid on my desk where I could look at it * I needed to. I don’t like to work on a white canvas, so ri “o get the whole image in some sort of color. It’s important
* - to get your values correct so that you can see the overall ■ zact of the image. Colors come second to value normally, . I really needed to get that intense red in from the get-— ~he whole time I knew that I wanted a green image with i zrflzant red character. I ran into trouble with this image --ïiajse I didn’t resolve the background in my initial sketch, ren through numerous different trees, fiddled with the bridge, --z cbd various changes to the mountains before I was happy
~ now the background was working.
Finally, after much struggle with the background, I was able to start adding details to the background, and my favorite part, the characters. For this image, I wanted things to look fairly realistic so I took some photos for reference. If I had been going for a more stylized look, I would probably have skipped that step. I also had to do a little research into Chinese architecture and art aesthetics. I love the great vertical paintings of mountains in the mist that you see on scrolls, and I tried to mimic that a I tt^e in this image. I applied the detail in multiple passes. I added some general detail to the image as a whole so that it and then added more and more detail to areas I wanted to pcc out. This leaves a looser look to areas that are less importarc. which draws your eyes to the areas that you have deta ec and are most important to you. It also allows you to stop at anr point and still have the whole image read. Normally. I don7: *e to render the image until every inch is photorealistic so iMt parts of the image somewhat loose. Once I was happy w zr way the image looked I took it into Photoshop for some zocr balancing for the final touches. At that point, w* aru ixM.
hours of intense work will have hopefufty come to fewBow
Samouraï
Photoshop
Damien Chanez.
FRANCE
[top left]
Huang Rong
Photoshop
Leung Chun Wan.
HONG KONG
[above]
Fantasy Female Character
Photoshop
Daniel P. Ferreira,
USA
[top right]
QIN 1
Photoshop, Painter, ArtRage
Client: le 7éme Crecle
Aleksi Briclot, FRANCE
[right]
Divine Protection
3ds Max. Photoshop
Hyung-Jun Kim, KOREA
[left]
Dragon and Phoenix of Ancient Chinese
Photoshop
Camille Kuo, TAIWAN
Character Studio 4
3ds Max. Character Studio.
Brazil r/s. Shag Hair
Koji Yamagami. Beans Magic. JAR* I right]
•This Wonderful Life’ girl 3ds Max, Brazil r/s
Liam Kemp GREAT BRITAIN [above]
Mei
3ds Max
Mark Tan. Insane Polygons.
SINGAPORE
[above]
Lunch
CINEMA 4D, Poser. Photoshop
Benedict Campbell. GREAT BRITAIN
Blue | Lilith | Christmas |
3ds Max, Photoshop | Photoshop, Painter | Photoshop. 3ds Max |
Soa Lee, | Client: Hotu-Culture Publishing Co. | Client: Actoz soft |
KOREA | Linda Tso. NEW ZEALAND | Soa Lee. KOREA * |
[top] | [above] | [above] |
Obsidian Eyes 3ds Max
Olivier Ponsonnet
FRANCE
[right]
Infirmière!
Photoshop
Model: Brigitte
Jean-Yves Lelcercq
JYL computer art.
BELGIUM
EXOTIQUE
Belly Dancing Queen
Illustrator. Photoshop
Banyen Hongphakdy AUSTRALIA
(right}
Pirate
Photoshop
Ho Sung Chung. KOREA [above]
Memories of Lost Happiness Photoshop
Valentin Fischer. GERMANY
[above left J
Excalibur cover art
Photoshop
Kerem Beyit. Céidot Studios
TURKEY
[top]
Dance of Blades Painter, Photoshop Jason Chan. USA [right]
William Blood
Photoshop
Kerem Beyit. Céidot Studios
TURKEY
[left]
Elanie
Painter, Photoshop
Katarina Sokolova. UKRAINE
[left]
Thus mellowed to that tender Light
Photoshop
Linda Bergkvist. SWEDEN
[right]
Don’t Whisper into the Wind
Photoshop
Linda Bergkvist. SWEDEN
[left]
PASCAL BLANCHE
ivw. 3dluvr. com/pascalb/ Iobo9 71 ©yahoo, com
“I’ve worked in the game field for eleven years, and I still smile in the morning when I go to work.”
Pascal Blanché is Art Director at one of the world’s biggest gaming companies, Ubisoft Canada based in Montreal. His most recent game project was ‘Myst IV: Revelation’, the fourth in the cult adventure game series. Pascal started on the path towards a career in art/design for games at the Art School of Luminy, Marseille. Following art school, he freelanced for TILT magazine, an early video games magazine and then worked in modeling, concept art, texturing, lighting and animation for various French gaming companies. Pascal worked for one year as an animator, then lead animator on the first French/Canadian full-CG movie—Kaena: The Prophecy (distributed by Sony). Pascal is an influential artist in the CGTalk community and was a central figure in the first CG challenge concept where artists came up with a collective brief, then created a piece according to those restrictions. CGTalk’s CG Challenges now run regularly with thousands of entrants and major prizes on offer.
MODELING
This picture was at first a pure anatomy study. I’m insprr by artists such as Corben, Bisley, Frazetta and Brorr always been frustrated by the limitations of 3D when it co- e to anatomy subtleties. Using the box modeling techno r I created a basic structure, at a very low level of deta s break down the main shape of the model. At this point, the ne? common tools I use are the Turn Edge option of the ecfctat -mesh and the Relax tool. I tend to exaggerate the shape cr muscle then I use a Relax to smooth all of the odd angles 2 I go back into extreme shapes, then repeat the process agar The Relax tool has to be used with caution as it always flafeer* your structure. When I feel I’ve gone far enough with the > poly cage, I add a subdivision or MeshSmooth on it and ster to build up the details again.
DEFINITION
ZBRUSH
tow that I have the general proportions I wanted (not fully and zta’ly photorealistic I know), I can start to work on muscle ignition and face details using the smooth cage I’ve just □srt It’s easy to create nice subtleties following the cage, and rs also where I find the limits of this technique. Before going
• further into the details, I did a fast rigging and skinning - The mesh, using the built-in Character Studio Skeleton and •-^*sique modifier. After creating the basic influences of the : :nes deformation, I set my character into its final pose, and l~en I refined the deformation assignation so it fit with the new :«e, correcting little errors here and there. Finally, I created a snapshot of the model and exported it in .obj for ZBrush.
I have to admit that I’ve been impressed by the ZBrush experience. I’ve been following the package since its beginnings, and was not quite sure how it could help me in my work process. When I saw the demos of ZBrush 2, I knew I would have to give it a try*
I was also able to refine the overall shape using the Move tool
and push a little more of the general shape of the character to give him a nicer silhouette. By using the Drawing tool in Standard mode, Inflate or Pinch mode (transform options) and by usra a large variety of brush sizes and brush z intensity. I starred to literally sculpt the model without bothering with the cage he best technique I found was to start with a low resotobor cage.
refining general shapes, and the more I work on défais toe "O=
I work on high resolution cage. By going back and xrto
time to time into those different levels of défais I was aeto x
totally control my model, from reshaping musdes. to adarç to*
wrinkles and veins. After exporting the mode t
I played around with different lighting and renderings to par woe emphasis on the body definition. I added toe st* bar andtortt
it
Andromeda - The Al Cr*
Bryce, Poser, CINEMA
Photoshop
Adam Benton,
GREAT BRITAIN
[left]
Bio Bot 1
Photoshop. CINEMA C Benedict Campbell GREAT BRITAIN [right]
2sid
Photoshop, Poser.
BodyPaint, CINEMA -D
Benedict Campbell.
GREAT BRITAIN [left]
Temple Guard Priestess
Photoshop
Oz Spiniello. AUSTRALIA
[above]
Bride of Lucifer
Painter
Hong Kuang. SINGAPORE
[right]
f»ii^
Metal Painter, Photoshop Wei Wang. CHINA [top left] | Chinese Persons of Ancient Times Photoshop. Painter Weng Ziyang, Chinese Fantasy Magazine, CHINA [above senes] | In the Fear Slavery Photoshop Olga Barkhatova, CANADA [top right] | Portrait of an Asian Vampa Photoshop Christine Griffin. USA 1 right] |
128 EXOTIQUE |
Pu Yi
CINEMA 4D, BodyPaint
Alberto Blasi, ITALY
[left]
The Messenger
Photoshop. Painter
Oliver Wetter. Fantasio Fine Arts
GERMANY
[right]
Chinese Princess
Painter, Photoshop. 3ds Max Kornél Ravadits, HUNGARY lleft]
¥. •'
I
Xaea
Photoshop. Painter
Jennifer Reagles. Saiaii. USA
I top J
The Red Dress Photoshop Yulia Startsev. CANADA
[above]
Andromeda
Painter
Marta Dahlig, POLAND
I top]
The Passing
Photoshop. Painter
Linda Tso, NEW ZEALAND [above]
Happiness is a Blue Bird ^Photoshop . ' ' '
José Manuel Fernandez OIL
EXOTIQUE
134
The Pirate Queen
Photoshop
Client: Elizabeth Weimer Christine Griffin. USA [right]
Anastasia
Painter
Client: Anastasia
Vadim-Leon Strelkov. LATVIA
[above]
The Well of Tears
Photoshop
Annah Hutchings,
GREAT BRITAIN
/top/
Elf of Forest
Photoshop
Client: Suvist
Kwang Sub Shin. KOREA
[above]
Nelicquele
Photoshop
Linda Bergkvist.
SWEDEN
I top]
Red Weed Brocade.
Painter
Gracjana Zielinska.
POLAND
[above]
Hajieelkhe
Painter. Photoshop
Linda Bergkvist.
SWEDEN
Master
Photoshop
Client: Aesthetic Compounds. LLC
Camille Kuo. TAIWAN
[above J
Mistress
Photoshop
Client: Aesthetic Compounds. LLC
Camille Kuo. TAIWAN
[above]
Her Valentine
Photoshop
Ian Field-Richards
GREAT BRITAIN
[right]
Face to Face with the Guardian Angel
Painter. Photoshop
Katarina Sokolova. UKRAINE
I top]
Her Eyes... Photoshop
Bao Pham. USA
[above]
Winterfall
Painter
Hong Kuang. SINGAPC-
[right]
r .TvT |
< J A | 7£| |
JEAN-YVES LELCERCQ
www.jyl.be jyl@swing.be
“I mainly work in Photoshop, sometimes adding a little bit of 3D. I show my art in exhibitions, and also demonstrate how I use Photoshop to paint my pin-ups”
Jean-Yves Lelcercq is best known for his stylized pin-ups of beautiful female characters. He has always drawn, as far back as he can remember: “I followed courses here and there, but I don’t have an art degree. The main reason is that when I decided to become a freelance artist, computers had invaded the professional art world, but not yet the Belgian art schools. So I learned computer graphics by myself. I’ve been working as a freelance illustrator for an image bank, producing two pin-ups per month, and for several other clients. My activities are now diversified: illustrations (for magazines, mobile phones images, card games), digital photography and post-treatments, advertising, posters and flyers. I mainly work in Photoshop, sometimes adding a little bit of 3D. I show my art in exhibitions, and also demonstrate how I use Photoshop to paint my pin-ups.
SKETCH
This drawing was made for a client who designs dresses a-swimsuits in Paris (Feel Good). They wanted an image n style of my pin-ups, with a discrete background with ‘so go: written twice. The purpose was to publish it as an ad or îre back cover of a magazine. I received the black skirt via and did a photo shoot with my girlfriend as the model. I use:: : Nikon D70 with two studio flashes: one main light in front of —t model, and one back light to give volume on the right side z the character. The six megapixel image from the D70 provors more details than an illustrator needs, but with a black dress w-this one, or with black latex, the levels need to be pushed tc z little bit to make all the details visible. I drew on an A3 sheer z paper, transforming the normal proportions of my mode! n*c x kind of stretched fashion model. It’s a drawing—exaggeratior : normality. I then scanned the pencil sketch and my work o— computer started using Photoshop and a Wacom A4+ tab e*.
PAINTING IN SELECTIONS
The first thing I do with the scan is to separate all the different parts of the body into selections, stored as alpha channels. This drawing had only four selections: hair, skin, skirt and shoes. When that was done, I added a white background, keeping the scan on top of the layers in a ‘Multiply’ mode, to see only the pencil lines. On top of the background, on a new layer, made the ‘skin’ selection active, and filled it with a medium skin tone. I then created a new layer again and painted darker and lighter to define all the volumes. I used a brush with a hardness of 50%, and progressively made it softer and softer. This simulated the feeling that I had used a classical brush and smoothed the painting with an airbrush. Opacity was about 10%, though never more than 15%. When all the volumes were visible, with all the details, in a sepia color, I added a bit of red and pink to give ‘life’ to the skin. When the background was defined, I also painted the reflected lights that would integrate the character into the image. With a grey background, the 'effected lights are not colorful. I used a little bit of yellow to suggest a light source on the left side of the image.
REFINING SKIN TONES
All the other parts of the character followed the same process. I defined the volumes with two values of the same color, added the colors that would give life and realism, then added the reflected lights. I used a hard brush to start and a soft one to finish, to copy an airbrush technique that I used before working with a computer. I usually spend a day on the skin of a pin-up, which is the most difficult part of the job. When all the areas are colorized, the connections between them need to be ‘cleaned' with the Smudge tool with all the selections being inactive. The ground was made with a texture, modified with a perspective effect. The rest was a combination of text and gradients. Some gradients were applied on the background layer, and some layer effects for the text.
So Good
Photoshop
Model: Brigitte
Client: Feel Good, Daniel Wertel
Jean-Yves Lelcercq.
JYL computer art.
BELGIUM
EXOTIQUE
A Pure Coincidence
Photoshop
Raffaele Marinetti. ITALY
[above]
My Love in Bed
3ds Max, finalRender Marek Denko. SLOVAKIA [top]
I was made to love you
Photoshop
Raffaele Marinetti. ITALY
[right]
Exotic Beauty
3ds Max. Photoshop
Shoaib Zaheer Malik.
Image Dynamics.
PAKISTAN
[left]
Gray Mag
Maya. Renderman
Francisco A. Cortina and Steven Giesler. USA I right]
Female anatomy study 3ds Max, finalRender Marek Denko, SLOVAKIA [left]
TIQUE
Man with Gun
3ds Max. Softimagi
ZBrush. mental ray
Jonas Thomqvist,
Mistress and servant
Photoshop
Henning Ludvigsen ‘JOPBjn-
l nght]
Furious Ming
3ds Max. Photoshop
Copyright: Bioware Corporation
Mike Sass CANADA
Red Cloud
3ds Max
Seong-Wha Jeong,
KOREA
[above]
Redyan
3ds Max. Phocosr x Client: Actoz sPt Soa Lee. KOREA [right]
Air Hostess
Photoshop
Model: Brigitte
Client: Tristanah
Jean-Yves Lelcercq
JYL Computer Art.
BELGIUM
Tala: Vampire
Photoshop
Art Director: Farzad Varahramyan
Steve Jung,
High Moon Studios. USA
Lady of Eagles
Photoshop. Painter
Wioletta Szczepahska. POLAND
[above left]
Sunshine After the Rain
Painter, Photoshop
Jennifer Duong. CANADA
[above]
Dark Stalker
Painter
Howard Lyon. USA
[left]
Spellforce Cover
3ds Max
Virgin Lands Animated Pictures GmbH.
GERMANY
[right]
xmouE
FRED BASTIDE
www. texwelt, net tex@texwelt.net
“When I work on human characters, I like to express a monstrous nature. When creating non-human characters, I try to accentuate human characteristics.”
Fred Bastide had a classical art education. At 34, he is a graduate of the ‘Ecole des arts appliqués de Vevey’, and ‘Ecole supérieure d’arts décoratifs de Genève’. While he was there, he learned the many aspects of drawing, painting, sculpture and photography, but as an autodidact with CG, he had the most fun sitting at home with the very first version of 3ds Max. He began tinkering with the artistic boundaries of computer-generated art about eight years ago. Although curious, he admits he wasn’t completely convinced of the creative potential of CG, so the first few years of studying the phenomenon were not very intensive. “It was more like a kind of videogame for me,” explains Fred. “Just a txt of fun.” Fred lives and works in Montreux, the French-speaking part of Switzerland. He is presently working in an unrelated field of wore from CG. so has made his name as a frotanco CG artist in his spare time.
SKETCHING
This small alien came from a picture more ambitious than a simple “character in repose” image named “the most boring planet of the universe”. For technical reasons, I scheduled * for a later endeavor, but chose to exploit this little guy in a “portrait like” feature. I really don’t know how much time I’ve spent on it, and I’ve made drastic changes during the process Usually, I make better preparations for my images, but this one was more experimental and clearly disorganized. As I usually do, I made some quick sketches to define the color scheme proportions and principal characteristics of the small invader I chose very neutral colors to give an annoying feel to the space suit, and I avoided decals or decorative elements on the armour elements for the same reasons. My goal was to give him the most inoffensive appearance possible. I gave him human bab? proportions, chubby fingers and very big eyes, inspired by those of a Loris, a kind of monkey-lemurian like creature.
E
TIQUE
CLAY MODELING
I made a very quick plasticine model to have a better idea of proportions. Where possible, I prefer to have a conceptual approach with a physical material, which is more sensitive and moldable than a set of vertex. Of course, the small sculpture didn’t need to be precise or beautiful, but just be sufficient to be used as a reference. I originally planned to make the little guy 15 centimeters small, and to place him on a desk covered with typical pre-1990s (computerless) office materials like a stapler, paperclips, a paper punch and highlighters. I completely modeled, unwarped and textured these boring office objects, only to decide that they didn’t work in the scene.
SETTING THE SCENE
Once the small alien was placed in the environment, a problem with proportions became evident: a very small creature like this would certainly have very thin limbs like a tiny monkey or an insect. I decided to re-scale the character and re-think the entire scene. I settled on a small corner of my own apartment. The floor was very important in the image, so I reproduced a kind of early 20th century tile of my corridor with textures found on www.mayang.com. They were not exactly the same as those in my corridor, but gave the same feeling of old time elegance and coldness that I was searching for in my image. I chose an old and heavy 1950s radiator (from my own apartment too), to contrast the fragile and shy invader. I used 3ds Max for modelling, VRay for the render (chosen principally for the efficiency of the Gl illumination) and Photoshop to paint the textures.
EXOTIQUE
165
The Mercenary
3ds Max, Photoshop
Marc Tan, Insane Polygons.
SINGAPORE
[left]
Blackman
Maya, ZBrush
Francois Rimasson, FRANCE
[nght]
Masuimi
Photoshop
Model; Masuimi Max
Jean-Yves Lelcercq JYL computer art, BELGIUM
•This Wonderful Life' girl 3ds Max. Brazil r/s
Liam Kemp. GREAT BRITAIN labo^]
Mamegal Face
3ds Max. Character Studio.
Brazil r/s, Shag Hair
Koji Yamagami, Beans Magic. JAPA"-.
[right]
Cassidy Sharp
Photoshop
Art Director: Farzad Varahramyan
Steve Jung,
High Moon Studios. USA
[above left J
Lil’ Devil
Photoshop
Alistair Fell. GREAF BRITAIN
[above [
S-girl
Photoshop
Client: NAKO Interactive
Seok Chan-yoo KOREA
I'eftl
Lady Frances Drake
Photoshop
Alistair Fell. GREAT BRI FAIN I right]
Tala: Vampire
Photoshop
Art Director: Farzad Varahramyan
Steve Jung.
High Moon Studios. USA
Bat Surf
Photoshop
Henning Ludvigsen
NORWAY
Face
Maya, mental ray
Francisco A. Cortina, USA
lleft]
Luscious
Maya, Photoshop
Rene Morel. CANADA
[right]
Kaya Pose
Maya. Photoshop
Alceu Baptistao, Vetor Zero, BRAZIL
[left]
Endless Rain
3ds Max A
Wen Bo Cao. CHINA
Pants
Photoshop, 3ds Max Client: Actoz soft Soa Lee. KOREA [above]
Curves
Maya, Photoshop
Dustin Davis. EA Chicago.
USA
[above]
Figure study
Maya, mental ray Francisco A. Cortina USA [right]
Jiri Adamec Smojedy47. Pardubice. 53 CZECH REPUBLIC astii@volny.cz wwwa-5ti.com 28
Sang Hyun Bang
KOREA
40,92
Alceu Baptistao
Vetor Zero,
Rua Joaquim Floriano, 913,
8th Floor,
Sao Paulo. 04534 013
BRAZIL
alceu@vetorzero.com.br
149.180
Olga Barkhatova
Acuity,
63 Pinto Drive, Toronto, ON. M2 J 3T9 CANADA chameleonds@yahoo.ca www.olgabarkhatova.tk 128
Fred Bastide Grand Rue 56 bis, Montreux. Vaud, 1820 SWITZERLAND fredbasbde@vtxnet.ch 164-167
Adam Benton
GREAT BRITAIN emad@kromekatcom www.kromekat.com
«1,124
Linda Bergkvist
SWEDEN
10-1116 18.118.119.136.
137
Lisa Bertnick
1515 14th Street NW, Suite 300,
Washington, DC, 20007 USA
lisa@lisabertnick.com www.lisabertnick.com 86
Kerem Beyit
Céidot Studios,
60. Yil Sitesi. 34. Sokak no:21, Ankara, 06370
TURKEY kerembeyit@hotmail.com www.kerembeyit.gfxartist.com 49.116
Pascal Blanché UBISOFT.
Montreal. QC, H2J 3S2 CANADA
Iobo971@yahoo.com 42, 120-123
Alberto Blasi
ITALY thirdeye_01 @hotmail.com 130
René Blom
Skogsâ; 205,
Boden, Norrbotten, S-961 91 SWEDEN
nenne@reneblom.com reneblom.com
148
Aleksi Briclot
9 rue de Nemours, 75011 Paris, FRANCE aleksi@aneyeoni.com www.aneyeoni.com 45. 103
Benedict Campbell Barn Walls,
Oxford, 0X3 OPX GREAT BRITAIN www.benedictl .com 83, 87, 90, 91,108-109,124, 125
[Back cover: EXOTIQUE Softcover edition]
Wen Bo Cao
Building E7, Junhu Shanzuang, Yinhu villa, Luohu, Shen Zhen Guang Dong, 10086
CHINA livia@newcg.com 182
Kelly Carter 449 Packet, Gwinn, Ml, 49841 USA www.madspiderstudio.com 38
Jason Chan
P.O. Box 7234, Stockton, CA, 95267 USA jason@jasonchanart.com www.jasonchanart.com
39, 98-101,117
Seok Chan-yoo
NAKO Interactive, 3f, Dongsimbldg.825-26, Yeoksam-dong,Gangnam-gu, Seoul, 136-112
KOREA bbyag3@hotmail.com
40, 48, 95, 176
Damien Chanez la med use, 95 Boulevard Mansart, Dijon, 21000 FRANCE re-torsion@freesbee.fr www.3dvf.com/modules/ galeriev2/artiste php?idartist=3832 102
Robert Chang 832 Columba Lane, Foster City, CA, 94404 USA
luna@ethereality.info www.ethereality.info 24
Jiansong Chen
Room 309, LianHuaShiji Building No.11, LianHua-XiLi Residential, FengTai District. Beijing, 100000
CHINA
chainjane@126.com www.chainandjane.com 9
Isabelle Chen
High Moon Studios, 6197 El Camino Real, Carlsbad, CA, 92009 USA
Leung Chun Wan
HONG KONG onimask@hotmail.com www.heretic-family.com 75,102
Liu Chun-Nan
5F, No.3, Alley 10, Lane 82, Yuanshan Rd,
Jhonghe City, Taipei, 235, TAIWAN
dark0319@hotmail.com 186
Ho Sung Chung
KOREA crazyhoya@msn.com 114
Francisco A. Cortina
CA, USA www.cortinadigital .com 153, 180, 185, 187
Mark Coulson
4 Crowcroft Road.
Ipswich, Suffolk, IP7 7HR GREAT BRITAIN mark@rogue-art.co.uk www.rogue-art.co.uk 94
Yves Couturier
High Moon Studios, 6197 El Camino Real, Carlsbad, CA, 92009
USA www.highmoonstudios.com 31
Marta Dahlig
Hirszfelda 14/16, Warsaw, 02-776
POLAND blackeri@poczta.onet.pl www.blackeri.com 8,132
Dustin Davis
EA Chicago, 196 Dublin Court, Unit 2W, Schaumburg, IL, 60194 USA ddavisart@yahoo.com www.ddavisart.com 184
Marek Denko
Strojarska 361/13, Hlinik Nad Hronom, 96601 SLOVAKIA denko@centrum.cz denko.maxarea.com 146,152
John Dickenson
Carbon Canyon Studios, Vista, CA, 92083 USA
www.jdd ickenson .com 70
Thitipon Dicruen
THAILAND xric7@yahoo.com 171
:ohque
Andrew Dobell
3 Valerie Court,
Sutton, Surrey, SM2 6PU GREAT BRITAIN andrewdobell@hotmail.com www.andrewdobell.com 30, 65
Edward Draper
13 Broseley Lane, Culcheth, Warrington, Cheshire, WA3 4HP
GREAT BRITAIN drapereddie@hotmail.com 50
Jennifer Duong
CANADA www.pinnacle-elite.com 162
Bryan Eppihimer
416 Teal Court, Roswell, GA, 30076
USA
bryan@bryaneppihimer.com
Alistair Fell
GREAT BRITAIN alyfell@darkrising.co.uk www.darkrising.co.uk 176,177,183
Jose Manuel Fernandez Oli
La Via 4 Esc Izda 3E, Zaragoza, 50009 SPAIN
josman_oli@yahoo.es nibbledpencil.com
14. 15. 133
Daniel P. Ferreira 6410 Green Valley Circle, Culver City, CA, 90230 USA daniel@wonderslime.com www.wonderslime.com 102
Ian Field-Richards
GREAT BRITAIN ifr@sevenseventyfour.com www.zilla774.com 139
Valentin Fischer
Langer Weg 23,
Winterbach, 73650
GERMANY contact@artby shu .com www.artbyshu.com 116, 156
Gez Fry
Tebiro 154,
Kamakura-shi, Kanagawa-ken,
Kanagawa-ken, 248-0036, JAPAN
gerald_fry@hotmail .com www.gezfry.com
72, 73, 74
Steven Giesler
CA, USA
sgiesler@stevegiesler.com
153,187
Christine Griffin
920 Waverly Drive,
Longwood, FL, 32750
USA
griffingirl.epilogue.net
67,129, 135
Aaron Habibipour
High Moon Studios, 6197 El Camino Real, Carlsbad, CA, 92009 USA
Miao He
Schackstrasse. 8, Augsburg, 86165 GERMANY
mimiao88@hotmail.com 90
Derek Herring 6134 W Indore Place, Littleton, CO, 80128 USA hemng@spiritchasers.com www.spiritchasers.com 151
Mauricio Hoffman
High Moon Studios, 6197 El Camino Real. Carlsbad, CA, 92009 USA www.highmoonstudios.com 31
Banyen Hongphakdy 1B Foxlow Street,
Canley Heights. NSW. 2166 AUSTRALIA yhongphakdy@yahoo.com.au 115
Annah Hutchings
Kent, ME20 6JL GREAT BRITAIN amaris_firebr@hotmail.com www.un-seelie.co.uk 136
Kyung Up Hyun
Seoul, 135-090
KOREA hku64@naver.com www.xcomicx.com 46-47. 64
Seong-Wha Jeong
Yu-seong Bldg, 3F, 901-25
Daechi 4-dong,
Kangnam-gu. Seoul, 135-841
KOREA
sephiloss@lycos.co.kr
158
Patrick Jones
33 Orchid Street.
Brisbane. OLD, 4051
AUSTRALIA
patrickjjones@optusnet.com.au members.optusnet.com.au/ artinprogress/
44
Mark Jordan
Klek 40.
Trbovlje, 1420
SLOVENIA
gartdigital@gmail.com www.gartdigital.com 60. 68
Steve Jung
High Moon Studios, 6197 El Camino Real. Carlsbad, CA, 92009
USA
www.highmoonstudios.com 62, 161, 176, 178
Liam Kemp
GREAT BRITAIN www.this-wonderful-life.com 76-79. 88-89, 106, 174
Hyung-Jun Kim
Joogong Apt.Poongdeok, Apt. 108-1501, Cheon2-dong,Yong-in, Kyong-gi, 449-987
KOREA kjunorg@hotmail.com 4, 6, 104
[Front cover. EXOTIQUE Special Edition]
Hyon ‘Mario’ Kim
High Moon Studios, 6197 El Camino Real, Carlsbad. CA, 92009 USA
Kyri Koniotou
GREAT BRITAIN k_koniotou@hotmail.com 154
Hong Kuang
352 Balestier Road, Singapore, 329780 SINGAPORE zn@zemotion.net www.zemotion.net 26, 43, 51,71,127 141
Chao Chin Kung
10F, No.111-1, Hsing De Road, Sanchung City, Taipei County, 241
TAIWAN
jazz@d-plus.idv.tw 21
Camille Kuo
5th Floor, #40, Alley 14,
Lane 12,
Section 2, Jan Jiouian Road, Taipei, 92870
TAIWAN
camilkuo@hotmail.com www.camilkuo.com/main.htm
69, 105, 138
Cho Kyoung-Min
Seocho-Dong, Seochogu, Seoul,
KOREA
98km2303@naver.com www.black-eye.co.kr
36, 37, 63
L->
Laura Law
PO Box 320,
Piedmont, SC, 29673
USA laura@yanmei.net www.yanmei.net 16, 96
Hoang Le
243/24 Chu Van An F12 Q.Binh Thanh, Ho Chi Minh, VIETNAM
aurory@vnn.vn www.theaurory.com
19
Soa Lee
516 LGtwinhouse, Gumi-dong. Bundang-gu, Sungnam-Si. 463-709
KOREA soanala@naver.com www.soanala.com
22, 23,24, 28.41,48. 58.66, 97. 110, 148, 159. 184,186
Jean-Yves Lelcercq
JYL computer art.
bd d’Avroy. 238a. bte 43, Liège. Belgium. 4000 BELGIUM
80.113. 142-145, 160, 173
Henning Ludvigsen
Roveveien 77, 3080 Holmestrand. 3080
NORWAY
henlu@online.no www.henningludvigsen.com
54-57. 96. 122, 150, 157, 179
Howard Lyon
3063 East Menlo Street.
Mesa. AZ. 85213
USA
me@howardlyon.com www.howardlyon.com 162
Christos Magganas
29 Aglaonikis Street, Athens. 117 43 GREECE
www.pvuk.com 170
Shoaib Zaheer Malik
Image Dynamics,
H.no A/1384 Motti Tibba.
Lahore. Punjab. 54000
PAKISTAN
shoato_1999@yahoo.com
152
Raffaele Marinetti corso Itaka 341, Quarto. 80010
ITALY
Rene Morel
64 St. Paul Ouest #201, Montreal, QC, H2Y 1Y8 CANADA morelr@sympatico.ca www.renemorel.com 82, 181
Anry Nemo
Post Office Box 72,
Moscow. 127562
RUSSIA
anry@datgames.ru
61
Hoang Nguyen
2202 Duvall Court, Santa Clara. CA. 95054
USA
hnguyen@ea.com
liquidbrush.com/paintings.htm 74
Josh Nizzi
Day 1 Studios.
Northborook, IL, 60062
USA
joshnizzi@joshnizzi.com
www.joshnizzi.com 84. 85
Cris Ortega
Cofradîa del Carmen. 7.
Villanubia, 47008
SPAIN
dark-spider@crisortega.com
Sergio Paez
High Moon Studios.
6197 El Camino Real, Carlsbad. CA. 92009 USA
www highmoonstudios com
31
Egil Paulsen
Oévre Kalfarlien 27,
Bergen, 5018
NORWAY
egil.paulsen@gmail.com
24, 60
Francisco Perez
6500 NW 114th Avenue #1034,
Miami. FL. 33178
USA
pacman23@gutterspaced.com
pacman23.gutterspaced.com 72
Friedric Petrequin
Heavydarkness Studio, 2 rue Hector Berloiz, Valentigney, 25700
FRANCE
fnedric.p@heavydarkness.com www.heavydarkness.com 53
Bao Pham
1703 Dover Street.
Iowa City, IA, 52240
USA
thienbao22@hotmail.com
thienbao.deviantart.com 140
Olivier Ponsonnet
53 rue Hoche.
Bordeaux. 33200
FRANCE
re1v@free.fr
7. 22. 32-35, 59. 111
Karl Poulson
7560 E. Kenyon Ave, Denver. CO. 80237
USA
todd poulson@excite.com
22
Kornél Ravadits Istvântelki iit 52., Budapest. H-1045 HUNGARY komel@formak.hu
Jennifer Reagles
Saiaii, 1907 Mattie Drive,
Copperas Cove. TX, 76522 USA
saiaii@saiaii.com saiaii.com
132
Francois Rimasson
9 Place Albert Camus, St Gratien. 95210 FRANCE ffrima@wanadoo.fr perso.wanadoo.fr/rimason/ 169
Natascha Roeoesli Gotthardlistrasse 16.
Ennetmoos. Nidwalden, 6372 SWITZERLAND n@tascha.ch www.tascha.ch 25
Mike Sass
Bioware Corporation CANADA
www.bioware.com 158
John Shannon
Flat 9 Menll. Triq J.Quintinus,
Saint Pauls Bay. SPB06 MALTA johnshan@keyworld.net www.jeshannon .com 16
Kwang Sub Shin
Webzen,
14F. Daelim Acrotel, 467-6.
Dogok-Dong,
Kangdam-Gu. Seoul, 135-971
KOREA
suvist@naver.com www.suvist.com 136
Katarina Sokolova
Klovsky Spysk Street. #12. Flat #5.
Kiev, 01021 UKRAINE katarinasokolova@gmail com 50. 118, 140
Oz Spiniello
AUSTRALIA www.ozspiniello.com 27. 93.126
Steven Stahlberg 7-6-2 Menara Hartamas. Kuala Lumpur. Selangor. 50480
MALAYSIA www.androidblues.com 96
Yulia Startsev 11111 43rd Avenue, Edmonton. AB. T6J 0X6 CANADA
yulia.startsev@gmail.com 132
Franz Steiner Gneisenaustrasse 16. Berlin. 10961 GERMANY contact@franzsteiner.de www.franzsteiner.de 16
Armin Stocker
Stumpergasse 48/27, Vienna. 1060 AUSTRIA
armin.stocker@chello.at www.amoe.net
14
Vadim-Leon Strelkov Kristapa street 12 f.26. Riga, LV-1046 LATVIA valeon@gmail.com 134
Wioletta Szczepanska uI.EIfow 53/29.
Tychy. 43-100 POLAND ladyloreena@vp.pl republika. pl/ladyloreena 162
SOFTWARE INDEX
Marc Tan
Insane Polygons, Block 29, #12-645, Havelock Road, Singapore. S160029 SINGAPORE
nospam @ i n sane pol y .co in www. I n sane p ol y .com 106. 168
Jonas Thornqvist
Ostgptagatan 32, Stockhom, 116 25 SWEDEN
jonas @s ubdivme.com 155
Linda Tso
NEW ZEALAND www. stic kydood I e. co m 38. 110, 132
Farzad Varahramyan
High Moon Studios, 6197 El Camino Real. Carlsbad CA. 92009
USA
fa rzad @h ig h moonslu dios .com www. h igh moonst ud i os. co t 48,94
Svetlin Vehnov
Evksinograd. 20 Str. No. 23.
Varna, 1000
BULGARIA
s vetli n @ ve I mo v. com www.velinov.com
80
Virgin Lands
Animated Pictures GmbH.
Hauptstrasse 5,
Volkach, Bavaria. 97332
GERMANY
i nfo@ virgin-la nds.com
w ww. v i rg in-l ends. com 163
Wei Wang
Room 1901 Plaza.1266 Nanjingfw),
Shanghai, 200040
CHINA blizzard-art@126.com www bltzzard-art.com 52, 12S
Oliver Wetter
Fantasio Fine Arts, Obermenniger Str. 20, Konz, 54329 GERMANY tinea rts @fa nia sio. i nfo www.fantasio.infb 131.70, 80
Koji Yamagami
Beans Magic,
Hutong103. 6-1-21 Nakano, Nakano-ku.
Tokyo, 136-0074
JAPAN
beans@beans-magic.com www. bea ns -mag ic corn 29r 107, 175
Fan Yang
14715 Bel-Red Road, Suite
#100,
Bellevue, WA. 98007
USA
jiugefan@126.com
20
Chris Young
16 Ormonde Court. Upper Richmond Road Putney, London, SW1 56YW GREAT BRITAIN
c h ri sy o u ng2 0@y ghocco. uk 38, 68
Products credited by popular name in this book are listed alphabetically here by company,
Adobe.........................Illustrator.................. www.adobe,coni
Adobe.........................Photoshop................ www adobe.com
Alias......*....................Maya.....................www alias.com
Ambient Design.................ArtRage...................www.ambienldesign.com
Autodesk.......................3ds Max..................www autodesk.com
Autodesk .............Character Studio........... www.autodesk.com
AVID..........................SoftimageJXSI .............www softimage.com
cebas........................ ..finalRender................www.finalrender.com
Chaos Group....................VRay......_.............. www.chaosgroup.com
Corel..........................Painter................... www.corel.com
Corel.....,....................Paintshop Pro............. www.corel.com
DAZ Productions.................Bryce....................www.daz3d com
Digimation ,,,................ .Shag Hair .............. www.digimalion.com
e frontier......................Poser_____.......________www.e-frontier.com
MAXON ..................... BodyPainl.................www.maxoncomputer.com
MAXON.......................CINEMA 4D_______________www.maxoncomputer.com
Mental Images..................mental ray................www.mentalimages.com
NewTek......................Lightwave 3D..............www.newtek.com
Pixar........................, .RenderMan .. r..... .. t.... www.pixar.com
Pixologic ............. .........ZBrush ...................www.pixologic.com
Splutterfish.................., .Brazil r/s..................www.splutterfish.com
Gracjana Zielinska
Warsaw,
POLAND
vinegar@vp.pl
vinegaria.com
136
Heng Ziyang
Chinese Fantasy Magazine,
Mailbox 33, Nangang Post
Office,
Harbin, Heilongjiang. 150001
CHINA
contacl@fa n la sy ma g az i ne.com w ww.fa n la sy-stu d io .com
128
NEW
NEW
Ballistic Publishing produces the world's best CG art books from the EXPOSE annuals which showcase the best CG art in the known universe, to the d’artiste series which offers a Master Class in CG techniques from the leaders of their craft. Ballistic Publishing offers each of its titles as Limited Edition collectibles. A single print-run of these black leather-bound, foil-embossed, numbered copies is produced with no more than 2.000 copies available. Each copy also comes with its own numbered Certificate of Authenticity. Visit: www.ballisticpublishing.com
BALLISTIC
Ballistic Publishing
Publishers of digital works for the digital world
Correspondence
info@BallisticPublishing.com
Partners
The CGSociety (Computer Graphics Society) www.CGSociety.org
About Ballistic Publishing
Ballistic Publishing is the leading independent publisher of digital art publications worldwide. We are setting high standards in all areas of publishing from the quality of our content to design, delivery and responsiveness to the market.
Our staff have strong backgrounds and experience in serving the creative computer graphics industry. We understand digital art intimately and are founders of The CGSociety (www.CGSociety.org), the world’s leading, and largest, society of digital artists. We work closely with our authors, giving them the valuable feedback needed to produce high quality product for our readers. We hold the utmost respect for the artists that contribute to our book titles.
Biz de dijital sanatçılar olarak, konu görüntü kalitesi olduğunda en iyiden başkasını kabul etmiyoruz. Kitaplarımızda yer alan her görsel, dijital ortamdan basılı sayfaya aktarımda mümkün olan en iyi görüntü kalitesini elde etmek için elle ince ayarlara tabi tutulmuş ve renk düzeltmeleri yapılmıştır.
Ballistic Publishing, Avustralya merkezli küresel bir yayıncılık şirketidir. Bizimle iletişime geçilebilecek Adelaide Hills'te faaliyet gösteriyoruz:
Balistik Medya Pty Ltd
Aidgate Vadisi Yolu
Mylor, SA 5153
Avustralya
ABN: 63 104 352 758
info@BallisticPublishing.com
Diğer Balistik Yayıncılık başlıkları için lütfen şu adresi ziyaret edin: www.BallisticPublishing.com
. *
Harika hikayeler harika karakterlere ihtiyaç duyar. EXOTIQUE, bilim kurgu, fantezi ve anime gibi türlerden fotogerçekçiliğe ve stilize gerçekçiliğe kadar dünyanın en güzel CG karakterlerini tek bir kitapta bir araya getiriyor. EXOTIQUE ayrıca sekiz önde gelen sanatçının bireysel karakterleri nasıl yarattıklarını gösteriyor. Öne çıkan sanatçılar arasında Linda Bergkvist, Liam Kemp, Pascal Blanché, Jason Chan, Fred Bastide, Olivier Ponsonnet, Jean-Yves Lelcercq ve Henning Ludvigsen yer alıyor.
Düzenleyen: Daniel Wade
BİLGİSAYAR/DİJİTAL/SANAT
/BALİSTİK/
« Prev Post
Next Post »
Yorumlar
Yorum Gönder