digitalpainter

2011-12-23T13:37:00.000+02:00

feng zhu поделился полезной вещичкой

Blackravell

2011-12-17T01:15:00.000+02:00

Супернатурально. Если вы понимаете о чем я.

deviantart

2011-12-16T01:50:00.000+02:00

Нужно как-то менять формат, но пока просто попробую воскресить данный сайт. А там видно будет.

2011-02-25T13:22:00.000+02:00

Пару дней назад вышел 13-й "magic cg". Одно время ничего нельзя было скачать но сейчас все уже ок.

Хайрез версия.

создание Тэйна

2011-02-03T16:16:00.000+02:00

На геймере нашел перевод статьи с гейминформера о создании Тейна из Mass Effect 2

Ссылка

Поздравляю

2011-01-16T12:41:00.000+02:00

Повод замечательный.
Asus анонсировали то что станет, вероятно, первым планшетным компьютером для иллюстраторов.
Инфы пока мало, так что предлагаю самостоятельно погуглить на тему Asus EEE Slate EP121
И да, уровни нажатия воспринимаются.

Posemaniacs

2010-12-10T14:57:00.000+02:00

Интересный сайтик. Чем-то может даже заменить тулзы вроде Daz, то есть экорше не статичны, их можно слегка покрутить.

http://www.posemaniacs.com/

Рисование на ipad

2010-12-10T14:37:00.000+02:00

Ну, есть три комментария, на самом деле.
1. Апл продолжает хавать мозги беззащитных гуманоидов.
2. Что и требовалось доказать, дело не в инструменте, а в том кто его использует. Хотя результат удручающий, да и процесс бредовый.
3. Может быть, лет эдак через пять мы все ж увидим планшет годный для рисования. И это было бы божественно.

Will Murai

2010-12-08T02:41:00.000+02:00

Я вообще недавно полюбил Assasin Creed Немного потупил из-за Саботера, но все же полюбил.
А вот так вот полюбил бы еще больше. Я в этом уверен.

Изменил бы даже совсем всем принципам и побегал бы "Эцией". Просто интересно было б. Ну вот как она с крыши на крышу приыгала б, например, или там по стенам и балконам порхала... очень было бы интересно и приятно я думаю.
Художник чудотворец. Кстати бразилец. И ubisoft. А то!
Will Murai

Галерея Агнеша Штаудта из Crytek

2010-12-05T10:53:00.000+02:00

Штамп на штампе канечн, но выглядит клево. Говорят что к отмененной игре Крайтека Codename: Kingdoms

12-ый номер журнала «Magic CG»

2010-11-23T20:05:00.000+02:00

Скачать, как всегда, можно на офсайте

Отрисовка игровой локации

2010-11-18T13:31:00.000+02:00

Photoshop and screenshot every 3 sec. Finally about 10000 screenshots.

2010-10-23T12:19:00.000+03:00

Не совсем обычный материал но, тем не менее, мне кажется очень интересным. Видеодневники студии работающей над комиксом Assasin`s Creed: the Fall

На канале можно поискать еще всего разного.

11-й Magic CG

2010-10-12T12:28:00.000+03:00

Hi-res

Low-res

2010-10-10T12:58:00.000+03:00

Еще видео от Karin Schmyntt

Color Blending + Painting an Eye

Raiden Rising Metal Gear

2010-10-06T20:58:00.000+03:00

На idrawgirls тоже новый ништячок

face painting tutorial

2010-10-05T02:17:00.000+03:00

Свежак с DTuts.com
(здесь оригинал, а здесь кисти)

denfo: Painter

2010-09-30T14:49:00.000+03:00

В ЖЖ появилась серия добротных материалов по пеинтеру.

Часть 1. Базовые настройки.

Часть 2. Кисти.

П.С. Лично у меня "самые кастомные" кисти в 11 и 11 портабл не открылись (

наверное пригодится

2010-09-19T13:59:00.000+03:00

2010-09-12T02:37:00.000+03:00

На рутрекере появилось новое видео от Месив блек

Ссылка

2010-09-06T21:20:00.000+03:00

Cвоеобразная техника, как и результат.
Сперто из конкурса Твори@Созидай

45 min drawing from Solyaev on Vimeo.

2010-09-02T23:44:00.000+03:00

Зааплоадил видео. Для себя. Создание FX типа glow-форм в фотошопе. А то память такая ссука )

Свежий Magic CG

2010-09-01T13:18:00.000+03:00

Вышел новый номер русскоязычного журнала о CG
В номере:
— плагин Phoenix Fluid Dynamics от компании Chaos Group, разработанный для моделирования и рендеринга газообразных сред (огня и дыма) в Autodesk 3 ds Max Autodesk и 3 ds Max Design.
— уроки PS
— интервью c художниками
и т д.

Ссылки:

Hi-res 39 mb
Low-res 14 mb

2010-08-31T19:11:00.000+03:00

Вот, все с того же блога Idrawgirls раскопал интересный хинт о применении режимов наложения слоев:

Once I have the basic design with color scheme, I will once again blow it up to 1,400 x 1,000 px. At this stage, I will try to find basic value using layers:

-Overlay (use dark gray if you want darker value, light gray for lighter value)
-Multiply (use local color for darker value only, same apply to dark gray to black.)
-Screen (use local color for lighter value only, same apply to light gray to black.)

I might use overlay again to accentuate more saturation and hue of some area, especially around the focal point.

Вообще в самом посте речь шла, на самом деле, о размерах холста. Если интересно - весь пост здесь.

2010-08-31T18:55:00.000+03:00

Зашел в блог одного из наиболее любимых инструкторов, Xia Taptara (известного, правда, мне до сего момента исключительно по серии видеоуроков Idrawgirls, которую очень, крайне рекомендую) и нарыл там кучку интересных видео, с чем всех и поздравляю.
Видео ниже, а на rss канал блога можно подписаться вот эдак

Captain America

THOR

Mecha Gaiking

Ессесно есть и тьма всего_остального, так что вот адрес блога, а вот канал на youtube.

2010-08-31T14:54:00.000+03:00

Gregory Fromenteau
Грегори имеет большой опыт работы в игровой индустрии, в том числе работал над Assassin's Creed Brotherhood,Prince of Persia: The forgotten sands и Jame's Cameron Avatar : the videogame. Специализируется на свете и атмосферных эффектах в видеоиграх, был арт-директором в ubisoft, рисует иллюстрации (как видно ниже, матте паинт - его конек :) )
Сайт иллюстратора
Приятного просмотра.

2010-08-14T03:06:00.000+03:00

In this lesson, Steve Argyle covers some of his sketching/composition process. Then a quick bit of skin surface shading, smooth and rough surfaces. After that he gives away some of his know-hows. For example, how to paint digital fire.

УРОК РИСОВАНИЯ НИКЛАСА ЯНССОНА

2010-07-23T16:34:00.000+03:00

Когда я употребляю слова "правило" и "искусство" в одном предложении, я часто получаю негативные комментарии. Многие считают, что в искусстве нет правил. Возможно, я по-своему понимаю эти слова, но мне кажется, что "правила" или "логика" определяют, удачный получится рисунок или нет.

Я также думаю, что основываясь на определенных правилах, можно создать художественный искусственный интеллект. Я не считаю, что есть нечто "духовное", что позволяет человеку творить. Не знаю, как скоро искусственный интеллект будет создан, но сейчас мы даже не приблизились к его созданию. В любом случае, это уже другая история.

Этот урок - попытка выделить те правила, которых я придерживаюсь в своей работе. Должен отметить, что мои правила очень общие, не слишком последовательные и, может, даже где-то противоречивые. Учитывайте, что многие правила основаны лишь на моем личном опыте, не стоит принимать их на веру.

Самый полезный совет для развития художника - больше практики. Пробуйте рисовать все подряд разными средствами. Зачем же этот урок, если все, что нужно - это практика? Ну, я думаю, здесь есть несколько моментов, которые лучше знать заранее. Но ничего не изменится от простого прочтения этого урока.

Читать урок полностью

пару хинтов по портретам

2010-07-17T14:23:00.000+03:00

Стоит отметить что анатомия совсем перекошенная, но карты света/теней вполне полезные

+Бонус

Палитра цветов которую можно использовать в портретах. Довольно неполная, но как основа для создания собственной очень даже сойдет

Источник PsdTuts+
Оригинальный материал

How to draw REALISTIC FACE

2010-06-28T16:16:00.000+03:00

Dragon's trial - digital painting

2010-06-28T16:10:00.000+03:00

Fallout скетч

2010-06-01T17:46:00.000+03:00

кощунственно быстро, но все же не бесполезно.

Финальная картинка (все еще скетч)

Arthur de Pins

2010-04-16T00:21:00.000+03:00

2 текста о создании игровых персонажей

2010-03-18T13:37:00.000+02:00

Материалы из области gamedev

Создание низкополигонального персонажа

(текст + картинки, рус.)

Making of Paragalis

(текст + картинки, eng.)

Рисование профилей

2010-03-18T13:06:00.000+02:00

Новое видео от Bobby Chiu
Забавная техника рисования лица в профиль.

Ariel Olivetti - Clase de color digital

2010-03-11T14:43:00.000+02:00

Интересная техника работы с цветом. Собственно техника позволяет вообще избежать какой-либо "ручной" работы со смешиванием цветов, что довольно интересно, хотя и узковато в плане специфики применения имхо

Quick start with Corel Painter (russian)

2010-02-25T00:42:00.000+02:00

Quick start with Corel Painter (russian) from Roman Guro on Vimeo.

Портфолио Stefan Morrell

2010-02-13T14:37:00.000+02:00

Работы Stefan Morrell

Большая подборка CG героев и монстров

2010-02-12T01:13:00.000+02:00

Январский Magic CG

2010-01-31T19:12:00.000+02:00

http://is.gd/7qghE

Портфолио Horia Dociu

2010-01-31T14:42:00.000+02:00

Работы Horia Dociu

Портфолио: Greg Broadmore

2010-01-29T01:14:00.000+02:00

Работы лучшего друга роботов, иллюстратора Greg Broadmore принимавшего участие в создании фильма Район №9.

Январский 2DArtist

2010-01-27T17:24:00.000+02:00

http://is.gd/76yrG

Портфолио: Carlos Cabrera

2010-01-15T15:24:00.000+02:00

Искренне надеюсь что Карлос Кабрера в представлении не нуждается.

Anne-Claire Paye

2010-01-14T02:41:00.000+02:00

В разнообразии техник и стилей есть большой смысл.
Работы Anne-Claire Payet не так сильны как то что чаще всего появляется в этом блоге, но все же заслуживают если не интереса то внимания.. минут на 2-3.
Вообще это фотоманипуляции на самом деле, что, впрочем, проявляет себя скорее косвенно, чем прямо.

2010-01-02T19:05:00.000+02:00

Интересная техника, своеобразная, не скажу что эффективная, или позволяет экономить время, позволяя добиваться потрясающих результатов, но для общего развития самое то.

Портфолио: James Paick

2009-12-28T06:24:00.000+02:00

Работы James Paick

How to Create Cityscape Concept Art

2009-12-27T20:54:00.000+02:00

Опубликовано на PSDTuts:

In this tutorial, I will teach you how to easily create a successful piece of cityscape concept art. We’ll be using a very basic 3D scene as a foundation for the piece, then taking it into Photoshop for some creative photo manipulation of reference photos, basic painting and adjustments. Let’s create this urban scene!

Final Image Preview

Tutorial Details and Requirements

3D Program: Any application capable of rendering a daylight system will do. I used Maya in this tutorial.
Lots of reference photos: This will be covered in the steps below.
Photoshop, and an Intermediate understanding of its tools and terms.
Graphics Tablet: Not essential, but very useful.
Difficulty: Intermediate – Advanced
Estimated Completion Time: 8-10 hours

The Brief

The brief, in my case, was to create a historical street scene from anywhere in the world before 1914. It wasn’t to be a particular street, but the concept had to serve the purpose of seeming as though it could be a real street in the time and place I chose, to have a sense of architecture and light, and overall atmosphere.
Obviously you can do anything you want for your projects, but for the sake of the tutorial let’s roll with my choice, which was Glasgow (Scotland) in 1900.

Step 1

The first thing to do is to gather lots of visual reference. Just because you’re doing Glasgow in 1900 doesn’t mean you should only be searching for photos or paintings of Glasgow in 1900.
You should be looking at the work of traditional painting masters, contemporary painters and concept artists, photographers, sculptors, arch-vis studios, etc. This will get you thinking about color, composition, lighting, and so on. All of this can be found online, in books, television, newspapers & magazines, and generally just about anywhere. If something inspires you, retain it somehow! I could sit here boring you with lists of incredible work you should look at, but that would take up a whole article in itself…
I can’t emphasize enough how important reference material is, because without it, you’re working blindly. And more often than not, the work you make up in your head will be ten times weaker than work produced with well used reference. Just about any successful concept artist will tell you this.
Another great way to gather visual reference, is of course to capture it yourself! Below for example, are a couple of photographs from a batch I took in London.

Step 2

Beyond the general inspirational type of reference, it’s a good idea to gather the more practical and useful type of reference material. By this, I mean actually photos of Glasgow in 1900 we can use to help build our scene in the later stages.
In my case, I found an incredible resource through the AMICA Library, which is a free service for searching all sorts of arts from all sorts of periods, but you have to pay a premium to access the full resolution images.
Here, you’ll see that I came across images from a fantastic book by photographer Thomas Annan called "The Old Streets and Closes of Glasgow," from 1900. It is these images precisely that we’ll eventually cut up and manipulate in order to add texture to our scene. You can find the images here.

Step 3

Once you have all your reference images and are roughly sure what sort of image you’d like to create, it’s a good idea to do lots of thumbnail sketches. You can use a pencil or paint directly into Photoshop. These thumbnails were painted using some of Photoshop’s default brushes set to pen opacity, but I’ll go into brushes a little later on.
For this you should work quite small, and spend the smallest amount of time on each one. Speed is key! If I can remember correctly, these were drawn in between 30 seconds and two minutes. This way you really have to figure out the composition and main idea of the image rather than getting caught up in the details.
Don’t be scared to do this step. I’m not a great painter, but you can see in some of the thumbnails below that they are simple yet complex enough to convey the idea for a scene.

Step 4

Now we’ll actually start working on our final piece. Open up Maya (or the program of your choice), then create a polygon Plane. Make it quite large, so it can act as our floor.

Step 5

Next, create a cube on top of your plane, this will be the template for our other buildings.
Once it’s created, press the Insert key. This will turn your manipulator into a slightly different icon, and will allow you to move just the pivot point of your object. In a side view, move the pivot point to the bottom of your cube (you can change viewports by pressing the spacebar whilst hovering the mouse over a viewport to maximize it or zoom out to 4-panel view). This will mean when you scale it, that it won’t really scale below the floor, but instead it will grow outwards from the bottom.
Once that’s done, press the Insert key again to get out of pivot point edit mode.

Step 6

Once you have your basic cube setup, you’ll need to start placing duplicates around the scene to create the street.
To do this, select the cube and press Command + D to duplicate it, the W key to move it, and the R key to scale it. Do this enough times until you have something like the image below.
Don’t try and align things perfectly, the charm of these kinds of streets is the chaotic asymmetry and variation.

Step 7

Now that we have a basic street setup, we’ll create a simple daylight system. Open up the render settings and under the Render Using drop-down, choose Mental Ray. Then, under the Quality tab, choose the Quality Preset called "Preview: Final Gather."

Step 8

Still in the Render Settings window, go to the Indirect Lighting tab, and next to Physical Sun and Sky, press the Create button.

Step 9

The daylight system actually created a Directional light to act as the sun. This light may be hard to find by eye, so go to Window > Outliner. In there, you can see a list of all the elements in your scene. Scroll down until you see something called “sunDirection,” then use the move and scale tools to place it somewhere a little easier to see and manipulate.
Note that these types of lights don’t change according to their size or position, only the rotation will affect the appearance of light.
So, to manipulate the light, press the number 7 on your keyboard, which activates the light preview mode in your viewport, and rotate the sun light until you are happy with it. Don’t be scared to experiment with this and produce a few test renders. I wanted my sky to be coming almost against the camera, so I positioned it similar to what you can see below.

Step 10

We’re going to make our camera slightly more interesting by giving it a wide-angle view. In your viewport, click on View > Select Camera.
If your Attribute Editor isn’t already up, press Command + A. Then, under Camera Attributes, type 18 in the Focal Length parameter.

Step 11

When you’re happy with your angle, go to the Render Settings once again, and under the Common tab you can change the size of your render output. In my case, I was working with A4 size, so I put those dimensions in, but feel free to choose your own.
Then under the Render menu, press Render Current Frame. You should end up with something similar to the image below!
In the Render View, press File > Save Image. Save it as a nice, high-quality Targa file.
Then, create a new Photoshop document (again, A4 size in my case) and paste your rendered image in it.

Step 12

This is where it gets fun!
Start by opening up your reference photos, and thinking about which pieces of the photos can go where. You can then start by using the Polygonal Lasso tool to make selections around rectangular patches of your reference images that vaguely resemble the angle at which you want to paste them over your render. Once a selection is made, Command + C to copy and Command + V to paste on your document with the rendered image.
At this point, don’t worry too much about scaling up small reference images, it will hardly be noticeable in your final result. Once you have a patch of buildings pasted in to your scene, press Command + T to Free Transform, and use Command+click & drag on the corners of your sample images to manipulate their perspective roughly into place. Set the blending mode to Overlay, Multiply or whatever else works best. You can also play around with opacity.
Again, don’t feel the need to be very precise. It doesn’t matter all that much if some of the perspective appears to be wrong, it’s a very loose concept, and the images are only there to establish an idea of architecture and surface texture. These mistakes will be covered up in the later stages anyhow.
One thing you should be very cautious about is scale! Try and picture a human standing in the street (paste one in, if it helps!) and work out if there is anything too unrealistic compared to the person in scale.
This is a very organic process, I can’t tell you exactly where to paste each image, but I hope you get the idea of the process!

Step 13

The next step is where a graphics tablet really comes in handy. That’s because we’ll be doing some actual painting! The custom brushes I use 99% of the time are the "MyBroosh" and "Oil Pastel Large 3," which are included in the free brush pack kindly provided by artist Daarken on his website. You can find the brushes in his fantastic Tutorials section.

Step 14

Don’t be put off if you haven’t had any previous digital painting experience. We’re not painting a whole scene, but rather just adding bits of detail and tone to blend the photo elements together.
Make sure you work in new layers when doing things like painting, so that you can always delete all your brush strokes without damaging the material underneath.
As you can see below, you just need to add random tone and detail all over your scene, without being too precise. Just remember to consider the light source, so that you add highlights and shadows in the right places. On the second image below, you can see just the painting layer pasted over red, so that you can see the black and white strokes. I hope you can see just how messy you can be with this!

Step 15

A good, cheap way to add color information without painting it, is to use existing photographs or paintings. For example, I really liked the color and light in this photograph by Leo Rubinfien, so I just pasted it over my document, stretched it to fill my whole canvas vertically and set it to Overlay, at about 67% opacity. Then, I just erased the top part of the image so that it didn’t go into the sky.
Feel free to experiment! A lot of times these experiments will go wrong, but the mistakes are worth it just for the few times when they work.

Step 16

You should then start to establish the light and shadow areas a bit further, to tighten up the scene. Once again you can see just the new painted layer pasted over red. I set the opacity of this layer to around 84%.

Step 17

If you feel the need to, go ahead and keep adding more bits of texture and architecture to your scene. In this case, I’ve placed a few more windows and some chimneys around the scene, since it was looking a bit too box-like.
Then, start to add more tone by creating a Gradient Map adjustment layer, setting it to Soft Light and about 11-15% opacity. I used the gradient "Yellow, Violet, Orange, Blue." I also added a yellow/orange grunge texture found at designshard.com and set it to Soft Light, at about 22%.
These steps are by all means not absolute. Again, they aren’t exact values and resources that will work with every image, so by all means experiment until something works for you. I’m just hoping to share the method of creating this particular image, and that will hopefully give you ideas when creating your own.

Step 18

Create a new layer and start painting a few brush strokes in orange-ish and red tones, with the layer set to color, and about 40% opacity. Since the image was leaning mostly to cooler tones, I thought this could add some of color balance and variation.
Then, I add a new Curves adjustment layer, and create a slight S curve on it, to darken the shadows and brighten the highlights.

Step 19

To accentuate the shadow and sun-lit tones further, create a new layer and fill it with a gradient going from an orange to a blue tone, as you can see in the image below. Then, set this layer to Overlay at around 10% opacity.
You can then add another yellow/orange grunge texture, much like the one previously mentioned, and set it to Soft Light at around 34% opacity.
I also thought I should mention that even at this stage, I kept adding architecture reference photos in where I thought they were needed to add more detail.

Step 20

We’re nearly there! Just add any last minute subtle Gradient Maps or any other adjustment layers. Then, create a new layer and fill it with Mid-Gray, and go to Filter > Noise > Add Noise. Depending on your image size, adjust the percentage so that it’s just a very subtle effect, and tick the Monochromatic box. Set this layer to Overlay at around 60-70% opacity, or until it looks right to you.
Then, flatten your image and apply an Unsharp Mask filter to taste!

Conclusion

You can now do whatever you want to it, I just added a white border over a black background, and a bit of text, but the presentation is up to you.
Thank you so much for taking the time to read this. I hope this tutorial has been insightful and inspirational.
As you can see, you don’t have to be a great painter with years of experience to create successful pieces of concept art. Can’t wait to see what you guys come up with. Good luck in your future creations!

Портфолио: Yap Kun Rong

2009-12-25T21:18:00.000+02:00

Работы Yap Kun Rong

Women in Art - The evolution

2009-12-20T15:17:00.001+02:00

Познавательно

Model a Modern Spiral Staircase in 3ds Max

2009-12-20T13:07:00.001+02:00

Martin Deschambault: Есть чему поучиться

2009-12-17T05:05:00.000+02:00

Портфолио Martin Deschambault
Martin Deschambault is a video game concept artist from Quebec, Montreal Canada. He obtained his degree in Industrial Design, and after working in the product design industry, he decided to switch to the video game industry in 2005. He has worked on a variety of titles including Prince of Persia, and recently worked on Assassin’s Creed II. His work has been featured in D’Artiste Concept Art, as well as Imagine FX and he has won several awards for his work.

Разное из игр.

2009-12-08T00:34:00.000+02:00

Все кликабельны до немного большего размера

Концепт персонажа игры Саботёр

2009-12-08T00:14:00.000+02:00

Отличная работа.

Больший размер

Портрет

2009-11-28T23:59:00.000+02:00

Еще одно "портретное" видео.

Painting Fundamentals

2009-11-22T11:01:00.000+02:00

Еще раз о фундаментальных вещах, вроде "вы должны рисовать не контурами и фигурами, а светом и тенью".
Вполне поучительно.

http://illustrators.ru

2009-10-30T13:58:00.000+02:00

Лично мне сайт показался довольно бесполезным (я себе представляю соцсеть иллюстраторов совершенно иначе) но может такое случится что кто-то найдет в нем именно то что хотел бы найти в сети

http://illustrators.ru

Администрация отзывчивая. Работы встречаются шикарные.
Из минусов: рейтинговая система аля Хабр, профнаправленность сайта не так ярко выражена как хотелось бы, бесплатное портфолио в первое время ограничено 20 работами, кроме того для начальных аккаунтов, судя по всему, существуют и другие ограничения.

В общем регайтесь, пробуйте, может вам понравится.

Fairie

2009-10-29T22:37:00.000+02:00

Отличная работа. Настолько впечатляющей работы с цветами давно не видел.

Nature Spirit Green Forest Girl 'Speed Painting' by Dave Larks

2009-10-29T22:33:00.000+02:00

Еще одно видео от Дэйва. Ошибки все теже: анатомия и пластмассовость, но так или иначе вдохновляет.

Be Green, Nature Spirit, Speed Painting by Dave Larks

2009-10-29T22:13:00.000+02:00

Не ох и ах, но посмотреть интересно, тем более видео довольно короткое, хотя на самом деле все это заняло порядка 15 часов.

How to Create a Rusty Texture in Photoshop – Screencast

2009-10-29T00:21:00.001+02:00

Making od "Judith"

2009-10-17T20:28:00.000+03:00

Найдено на http://dahlig.blogspot.com/

Sketching a Face- Basic Proportions

2009-10-17T15:54:00.000+03:00

Портфолио: Mathieu Leyssenne

2009-10-17T03:22:00.000+03:00

Работы французсого иллюстратора Mathieu Leyssenne aka Aniii
Сайт автора http://aniii.cgsociety.org/gallery

Обнаружено на:

Видеообзор интерфейса Blender

2009-10-13T15:21:00.000+03:00

In this comprehensive video tutorial Blender guru, Karan Shah, will walk you through a detailed demonstration of the Blender user interface. From navigation, to modeling, and even animation, this tutorial is a must for anyone who is interested in learning this free, yet very powerful, open source 3d application.

You can find a comprehensive list of Blender keyboard commands here: Blender Keyboard Shortcuts.

Опросы

2009-10-08T22:32:00.000+03:00

В сайдбаре появились опросы, поскольку меня действительно интересуют некоторые вещи относительно этого сайта. Было бы здорово узнать ваше мнение.

Чеширский кот и другие

2009-10-08T22:19:00.000+03:00

Я уже постил одно видео Бобби Чу (или хрен знает как это звучит на самом деле).
Сегодня Бобби рисует чеширского кота. качество видео ужасное, но, как и в прошлый раз, посмотреть и послушать интересно. как минимум мотивирует здорово.

Портфолио: Andree Wallin

2009-09-29T01:23:00.000+03:00

Работы Andree Wallin

Роботы в иллюстрациях

2009-09-27T22:56:00.000+03:00

Compiled exclusively for WDD by Jarkko Laine.

Рисуем лицо: героический типаж

2009-09-27T17:48:00.001+03:00

Портфолио: Young Choi

2009-09-27T17:26:00.000+03:00

Работы Young Choi

Tae Young Choi is a Korean-US concept artist who works primarily for the videogame industry. While he grew up dreaming of being a comic book artist, he obtained his degree in fine arts, and after moving to the United States, quickly got a degree in the gaming industry as a concept artist.

Tae is a genius at capturing digital environments, and he is also talented at illustrating a given concept for an image to meet client specifications. His work has been featured in a variety of publications, including imagineFX.

(с) http://www.presidiacreative.com

Урок Maya: Model and Texture a Posh Living Room Scene in Maya

2009-09-22T01:57:00.000+03:00

In this tutorial you will go through the process of modeling and rendering a Living Room in Autodesk Maya. You will also learn to use Mental Ray (along with the new architectural materials), create realistic fur, and implement studio lighting to create nice and soft shadows and highlights.

Final Effect Preview

Click on the image to open a High-Rez version.

Step 1

Create a primitive cube.

Step 2

Go to the ‘Attributes’ editor of the cube, and change the “Subdivisions Width” to ‘20′ (this will give us enough geometry to deform the cube).

Step 3

Go to “Edit Mesh > Insert Edge Loop Tool”.

Step 4

With the “Insert Edge Loop Tool” selected, create 2 lines around the cube.

Step 5

Select all of the faces that go around the cube.

Step 6

With those faces selected, go to “Edit Mesh > Extrude”

Step 7

Extrude outwards, just a little bit.

Step 8

Select the small faces that go around the cube.

Step 9

Go to “Edit Mesh > Extrude”.

Step 10

Extrude the faces outwards a bit.

Step 11

With the cube selected, press number 3 (the entire cube should smooth out). It it should pretty good now, but the corners are not sharp enough yet.

Step 12

Go to “Edit Mesh > Insert Edge Loop Tool”.

Step 13

With the “Insert Edge Loop Tool” active, create 4 edges to make the corners smooth out.

Step 14

With the “Animation” menu active and the cube selected, go to “Create Deformers > Nonlinear > Bend”. This will create a deformer to make the curvature of the sofa.

Step 15

With the ‘Bend’ deformer selected, go to the ‘Attributes’ editor and change the ‘Z’ rotation to ‘90′ (this number will vary depending on the position of your cube).

Step 16

Go to the “bend1” attributes and change the following settings:

Curvature: 1.700

Low Bound: -0.600

High Bound: 0.400

Note: These settings will vary depending on the shape of your cube and how you want it to deform.

Step 17

The result should look something like this.

Step 18

Select the cube and the deformer, and rotate them to position the sofa. The sofa is almost ready now. You are only missing the legs.

Step 19

Create a cylinder.

Step 20

Go to the ‘Attributes’ editor of the cylinder, with the “polyCylinder1” tab active, and change the “Subdivisions Height” to ‘36′.

Step 21

Select the cylinder, and using the scale tool, squeeze the cylinder on one axis.

Step 22

With the “Animation” menu active, go to “Create Deformers > Nonlinear > Bend”.

Step 23

Go to the ‘Attributes editor, and change the ‘Y’ rotation value to ‘90′ (this setting will vary depending on the position of your cylinder).

Step 24

Go to the “bend2” tab of the ‘Attributes’ editor, and change the following settings:

Curvature: 0.750

Low Bound: -0.300

High Bound: 1.500

Note: These settings will vary depending on your cylinder, and how you want it to deform.

Step 25

Make 4 duplicates of the cylinder, and position them to match the size of the sofa.

Step 26

Select all of the cylinders (including the deformers), and move them into position.

Step 27

Now that the sofa is finished, select all of the objects and go to “Edit > Group”.

Step 28

Under the ‘Attributes’ editor of the new group, change the name of the group to “Sofa”.

Step 29

With the side view active, go to “Create > CV Curve Tool”.

Step 30

With the “CV Curve Tool” active, make a curve.

Step 31

Duplicate the curve, and move the copy to the other side.

Step 32

Select both curves, and with the “Surfaces” menu active, go to “Surfaces > Loft”.

Step 33

Duplicate the “Sofa” group, and position both sofas.

Step 34

Go to “Create > Polygon Primitives > Pipe” and create a pipe.

Step 35

Rotate the pipe into position.

Step 36

Go to the ‘Attributes’ editor of the pipe, and change the “Subdivisions Axis” to ‘6′.

Step 37

Select some of the vertices and start modifying the base geometry of the table. When you are finished, press ‘3′ on the keyboard to make the table smooth.

Step 38

Under the “Polygons” menu, go to “Edit Mesh > Insert Edge Loop Tool”.

Step 39

With the “Insert Edge Loop Tool” active, add some edges around the table to make the corners sharper.

Step 40

With the table selected, go to “Mesh > Smooth”, change the “Division Levels” to ‘2′, and click “Smooth”.

Step 41

You are almost done modeling, but you are still missing the table top and the vase.

Step 42

Go to “Create > Polygon Primitives > Cylinder” and create a cylinder.

Step 43

With the top view active, scale the cylinder to match the size of your table.

Step 44

With the side view active, go to “Create > EP Curve Tool”, and create a curve that matches the silhouette of one half of the vase.

Step 45

With the curve selected, go to “Modify > Center Pivot”.

Step 46

With the “Surfaces” menu active and the curve selected, go to “Surfaces > Revolve”.

Step 47

If your object does not look improperly deformed (like the ones in the image), skip to “Step 49”.

Step 48

Select the curve and move it to right or left until the object looks right.

Step 49

Congratulations, you have reached the end of the modeling stage of the tutorial! Stay tuned for part 2…Materials!!

Портфолио: Philip Straub

2009-09-19T16:47:00.000+03:00

Работы Philip Straub

Bobby Chiu Broadcasting 09/16/09

2009-09-17T22:43:00.000+03:00

Bobby Chiu делает несложные зарисовки и отвечает на множественные вопросы поступающие в чате во время записи. Интересное видео.

Видеоурок PS: Painting Princess Mononoke

2009-09-17T13:53:00.001+03:00

Портфолио: Greg Staples

2009-09-17T03:39:00.000+03:00

Работы Greg Staples

Видеоурок 3dmax: Реалистичная вода

2009-09-16T01:42:00.000+03:00

In this tutorial we will be looking in depth at the water space warp in 3D Studio Max. We will first dive into the theory of the space warp, and fish out all of the little details that most people only swim past. Then, after we’ve had our fill of theory, we will look at how to practically apply that theory in a realistic pool scene, and render in Maxwell Render for our final result.

Final Effect Preview

View Tutorial

(с) http://cg.tutsplus.com

EverybodyLovesSketch

2009-09-16T01:12:00.000+03:00

Демо революционной программы для 3d рисования

Новости

2009-09-15T15:47:00.001+03:00

Починил внешний вид журнала - сайдбар вернулся на свое место. Оказалось проблема с новым катом more

Портфолио: Svetlin Velinov

2009-09-15T04:16:00.000+03:00

Работы Svetlin Velinov

Andrée Wallin Interview

2009-09-12T13:45:00.000+03:00

Andrée Wallin is an exceptional digital painter who also specializes in Matte painting which is a blend of Photo-Manipulation and painting. In this interview Andrée discusses the process of creating a few of his amazing paintings. He also tells us about the tablet he uses to paint. This is another interesting interview for the readers, so lets get into it!

1. Welcome to Psdtuts+, please introduce yourself. Could you tell us where you’re from and how you got started in the field?

Thanks! My name is Carl Andrée Wallin. I’m 26 years old and currently living in my old hometown in Sweden. I started scribbling in Photoshop when I was about 19 and bought my first Wacom at the age of 23 I think.

When I turned 24 I started studying 3D at a school in Stockholm where I stayed for one year, got a job as a concept artist at RealtimeUK in England where I stayed for another year. Now here I am, working as a freelance artist.

Dragon Vs Soldiers

2. Your paintings cover a wide variety of topics and almost no two paintings are the same. So where exactly do you fish for ideas when you are looking to start a new illustration?

I’d say other artists and movies are my biggest sources for inspiration. I can study other paintings for hours and try to break them down and figure out what makes them so good. Then I take what I learn and try to do something of my own.

Enhanced T-Rex

3. Part of your paintings are made from scratch and the other part are matte paintings. So which type of painting do you prefer to do and why?

I think a mix between them both. I love working with photos, no matter if it’s speed paintings or matte paintings. But I think I love the semi-detailed concepts the most, the ones that take between 4-6 hours to make.

Jungle Outpost

4. From sprawling scenery shots to dragons to mech warriors, what would you say was your favorite painting to do is and why?

That’s a tough question. I have so many favorites and so many pieces I struggled so hard to finish, but if I had to pick one I’d say my painting called “Exploring.” It’s a speed painting I did last summer when I had just arrived in England and sat in my tiny room in the company cottage and listened to the rain outside.

Somehow that was a really emotional moment for me, being alone far away from home because of my art, my hobby, and whenever I look at it I can imagine myself sitting there alone in the dark – cheerful

Exploring

5. All digital painters use a tablet, so break down your set up for us. Also, why do you prefer your tablet to all others?

I use my trustworthy Wacom Intuos A5. I had an older Wacom A6 before, but since I bought this one I don’t feel the need to look around anymore. To me this is the ultimate tablet. It’s high quality stuff, well designed and comfortable to use.

Robots Inc.

6. “Hole in one V2″ is probably the design that stands out the most to me because of the immense amount of detail you put into all the debris in this illustration. First off how long did this piece take? And secondly, could you walk us through the concept and the execution of this painting?

The initial concept took me about 8 hours, it was just something I started on at work during the afternoon and finished back home in the evening. Several weeks later I was asked to work it up for a cam projection for an internal project at work so I spent about a week and a half (on and off) working on it at the office. It was just a vision I had from the beginning, so I did a simple block out with big round brushes and then started working up the detailed areas.

I used both regular brushes and photos of damaged concrete-buildings and tried to integrate them in the damaged areas. It was a lot of work to make it look natural and fit the surroundings. The finished version also had everything layered and organized in alpha layers in order for the 3D artist to project it onto a mesh and be able to move the camera around!

Hole in One V2

7. Who would you say are your “heroes” in the design field? And why do you look up to them?

First of all Craig Mullins, you just can’t give him enough credit. There’s no one like him, he set the bar for every good artist out there. His technique is extraordinary and still leaves me in awe. A true talent. Then there’s John Wallin, one of my biggest influences. He has an amazing eye for details.

Jamed Paick is another one of my favs, a very solid concept artist. Then of course Dylan Cole and Yannick Dusso, my favorite matte painters. These guys have stuff in their portfolios one can only dream of producing.

Starship Factory

Where to find Andrée on the Web

The Farmbot

Ludwig van Beethoven digital painting

2009-09-11T20:44:00.001+03:00

How to Paint Ludwig van Beethoven Digitally in Pho

Per Haagensen

2009-09-11T19:47:00.000+03:00

Страничка автора: http://www.artbyper.com/

Урок PS: Металлический текст с эффектом коррозии

2009-09-11T16:29:00.000+03:00

In this tutorial I’ll show you how to create an eroded metal text effect. Throughout this tutorial we’ll make use of various drawing techniques, channels, and patterns. Let’s get started!

Final Image Preview

Take a look at the image we’ll be creating. Want access to the full PSD files and downloadable copies of every tutorial, including this one? Join Psd Plus for just $9/month. You can view the final image preview below.

Step 1

First we need to define a pattern of dots. Lets start by creating a new document 100 pixels wide and 100 pixels high, with a Resolution set to 300 pixels/inch. Fill the "Background" layer with black. Grab the Elliptical Marquee Tool, set the Style to a Fixed Size and set the Width and Height to 24 pixels. Click anywhere inside the canvas, then click inside the selection, drag and position it in the top-left corner of the canvas.
Fill the selection with white. Drag one vertical and one horizontal guide to the center of the selection. Hold down the Shift key, press Down the Arrow key four times to move the selection down 40 pixels. Fill it with white. Now move the selection 20 pixels up and 20 pixels right, then fill it with white again. Move the selection this time, 20 pixels down and 20 pixels right and fill with white.
Now drag two more guides to the center of the selection as in the image below. Move the selection 40 pixels up and fill with white once again. Now grab the Rectangular Marquee Tool and select the area between the crossing guides as shown below. Go to Edit > Define Pattern and name the pattern "Holes." Now that we have defined our pattern, you can close this document.

Step 2

Now create a new document 1450 pixels wide and 700 pixels high at a resolution of 300 pixels/inch. Make sure the Color Mode is set to RGB. Use the Horizontal Type Tool to type your text. I used Arial Black at a size of 116 pt.

Step 3

Now we’ll apply two Layer Styles. First apply a Stroke using these settings: Size set to 10 pixels, Position set to Inside, Blend Mode of Normal, Opacity at 100% and color set to black. Then apply a Pattern Overlay and use the following settings: Blend Mode set to Normal, Opacity at 100%, Pattern set to “Holes,” and scale set at 50%.

Step 4

Make the "Background" layer invisible and create a new layer on top and name it "2 Alpha." Go to Image > Apply Image and check Invert. This will flatten the current visible layers in the selected layer and invert it.

Step 5

Command-click the "2 Alpha" layer to load the selection and hit Command + C to copy. Go to the Channels Palette and create a new Channel. Hit Command + V to paste. Hit Command + D to deselect.

Step 6

Go to the Layers Palette. We don’t need "2 Alpha" layers anymore so delete it. Turn off the visibility of the Pattern Overlay style of the "PSD" layer and set the Text Color to white. The layer is named "PSD" because I typed the text: "PSD". Your text layer is named whatever you typed.

Step 7

Create a new layer on top and again name it "2 Alpha" because this one will be going to an alpha channel. Make sure the "Background" layer is still invisible. Go to Image > Apply Image and uncheck Invert.

Step 8

Now Command-click the "2 Alpha" layer to load the selection and hit Command + C to copy, go to the Channels Palette and create a new channel, then hit Command + V to paste. While you’re in the Channels Palette, Command-click the "Alpha 1" channel to load the selection.

Step 9

Go to the Layers Palette and create a new layer named "Text." Set your Foreground Color to 80% gray by hitting Alt + Backspace, then Deselect.

Step 10

Since we’ll have a dark background in our final image, it’s a good idea to make the background darker now. So fill the "Background" layer with 90% gray. Now we’ll apply two Layer Styles to the "Text" layer. The first one is a Pattern Overlay with these settings: Blend Mode set to Soft Light, Opacity at 100%, Pattern set to “Black Marble,” which is located in the “Rock Patterns” and Scale set at 100%. The second Layer Style is a Drop Shadow with these settings: Blend Mode set to Multiply, Opacity at 100%, Angle set to 120 degrees, Distance set to 16 pixels, Spread set at 30% and Size set to 15 pixels.

Step 11

Go to Layer > Duplicate Layer and name the duplicate "Paint." Drag the Effects of this layer to the trash in the Layers Palette as shown below.

Step 12

Go to Channels Palette and create a new channel. Go to Filter > Render > Clouds. Now go to Filter > Render > Difference Clouds. We’ll apply this filter twice more, so Press Command + F twice. Now go to Image > Adjustments > Invert. Go to Image > Adjustments > Levels (Command + L) and set the Input Levels to 200, 1, 255. The white areas in this image is going to be the eroded parts of the paint. Command-Click the channel to load the selection.

Step 13

Go to the "Paint" layer in the Layers Palette and hit Delete to clear the selected area. Go to Layer > Duplicate Layer and name it "Grain." Make the "Grain" layer invisible for now, then Deselect.

Step 14

Go back to the "Paint" layer and apply a Drop Shadow Layer Style with these settings: Blend Mode set to Multiply, Opacity at 100%, Angle set to 120 degrees, Distance and Spread set to 0, and Size set to 5 pixels. Apply an Inner Glow and use these settings: Blend Mode of Color Burn, Opacity at 35%, and Size set to 1 pixel. Now apply a Gradient Overlay with these settings: Blend Mode set to Overlay, Opacity at 60%, Gradient set to Black and White, Style set to Linear and Angle set to 90 degrees. Set the "Paint" layer Blending Mode to Soft Light.

Step 15

Create a new layer above the "Paint" layer and name it "Color." Grab the Gradient Tool, open the Gradient picker in the Tool Options and pick: Blue, Red, Yellow. Set it to Linear Gradient and fill the layer as shown below. Hold down the Alt key and click the line between the "Paint" and "Color" layers to define the "Paint" layer as a Clipping Mask. Set the "Color" layer Blending Mode to Difference.

Step 16

Go to the "Grain" layer in the Layers Palette and make it visible. Go to Filter > Artistic > Film Grain. Set the Grain to 10, Highlight Area and Intensity to 0, and set the Blending Mode for the layer to Color Dodge.

Step 17

Command-click the "Text" layer to load the selection. Create a new layer on top and name it "Highlight." Grab the Elliptical Marquee Tool and use the Arrow keys to move the selection 1 pixel left and 1 pixel up. Fill the selection with white. Move the selection 1 pixel right and 1 pixel down, back to where it was and hit Delete to clear. Apply an Outer Glow Layer Style to the "Highlight" layer using these settings: Blend Mode of Overlay, Opacity at 100%, and Size set to 2 pixels.

Step 18

Go to the Channels Palette and Command-click "Alpha 2" to load the selection. Go back to the Layers Palette and create a new layer on top. Name it "Highlight 2." Move the selection 2 pixels right and 2 pixels down. Fill the selection with white. Now move the selection 2 pixels left and 2 pixels up and hit Delete to clear. Now deselect.

Step 19

Go to Filter > Blur > Gaussian Blur and apply with a Radius of 1 pixel. This is going to smooth the highlight.

Step 20

Go to the Channels Palette and Command-click "Alpha 2" to load the selection again. Go back to the Layers Palette and create a new layer on top and name it "Shade." Move the selection 2 pixels left and 2 pixels up. Fill the selection with black. Now move the selection 2 pixels right and 2 pixels down and hit Delete to clear.

Step 21

Deselect by hitting Command + D. Go to Filter > Blur > Gaussian Blur and apply with a Radius of 1 pixel.

Step 22

Command-click the "PSD" layer to load the selection. Create a new layer on top and name it "Shade 2." Fill the layer with Black. Move the selection 2 pixels up and 2 pixels left, then hit Delete to clear. Command-click the "PSD" layer again. Go to Filter > Blur > Gaussian Blur and apply with a Radius of 2 pixels.

Step 23

Command-click the "PSD" layer again and load it’s pixels. Create a new layer on top and name it "Highlight 3." Fill the selection with black. Move the selection 2 pixels down and 2 pixels right and hit Delete to clear. Command-click the "PSD" layer and load the selection again, because we don’t want this highlight to be blurred towards the outside. Now go to Filter > Blur > Gaussian Blur and apply with a Radius of 1 pixel. Deselect by hitting Command + D.

Step 24

Create a new layer above the "Background" layer and name it "Texture." Fill the layer with black. Go to Filter > Render > Lens Flare. Set the Brightness at 160% and set the Lens Type to 50-300 mm zoom. Then go to Filter > Render > Difference Clouds. Go to Image > Adjustments > Desaturate. Apply a Glass filter by going to Filter > Distort > Glass and use these settings: Distortion set to 20, Smoothness set to 2, and Scaling set at 100%. Finally, apply a Gradient Overlay Style to this layer and use these settings: Blend mode of Multiply and Opacity set at 70%.

Step 25

You can achieve different variations of this effect by changing the gradient or color of the "Color" layer and changing the Texture of the Pattern Overlay Layer Style of the "Text" layer.

Conclusion

Yes that’s it! I hope you learned something new and enjoyed this tutorial!

(с) http://psd.tutsplus.com

Tentacle Girl Color Sketch

2009-09-11T03:23:00.000+03:00

(с) http://you-kept-me.livejournal.com/

20 замечательных иллюстраций мужских персонажей

2009-09-09T01:04:00.000+03:00

1. Gangsta game character by Bernardo Barbi

2. Sergej the false clown by Michael Kutsche

3. Obama by Vincent Hie

4. Last Elf by Piotr Fox Wysocki

5. Sgt ROCK v1 by Vadim Makarenko

6. Kicking Hell’s Ash no 2 by Vincent Hie

7. Spiderman 3 by Jeremy Roberts

8. Bishop by Michal Kwolek

9. Islander by Gina Pitkanen

10. Tom Cruise by Dave Gaskin

11. October by Del Melchionda

12. Carlzon portrait by Dave Gaskin

13. Tom Baker by Lee Davies

14. Minh by Elizabeth Le

15. Gerard Butler Digital Painting by Sarah Rose Oliver

16. Leonardo detail by Mahir Ates

17. Angry Mage v2 by Raffaele Picca

18. Home and the Fairies by Michael Zancan

19. After the rain by Diane Ozdamar

20. Captain Jack Sparrow by Jeremy Roberts

Автор подборки

Lilian Ostropel is a freelancer in search of online perfection. His passion for quality, in terms of usability and content, speaks for itself when you take a closer look at Photos-room and Wallpapers-room.

(с) http://sixrevisions.com/

Портфолио: студия Massive Black

2009-09-07T10:42:00.000+03:00

Список клиентов студии Massive Black откровенно впечатляет. Какая еще из известных вам концепт-арт студий работала с такими монстрами как Blizzard, LucasArts и Sega? Стоит посмотреть на их портфолио чтобы понять что им такую работу доверить можно. Каждый артист Massive Black впечатляет сам по себе, так что нет ничего непонятного в том что студия может с наилучшими результатами показать себя в любом проекте в области искусств и game индустрии.
Сегодня вашему вниманию представлены 30 работ студии. Мало? Посетите официальный сайт и загляните в разде Портфолио.

Concept Art Portfolio

(с) http://designfeedr.com/

Warren Louw

2009-09-05T20:55:00.000+03:00

From South Africa, Warren Louw’s got a pretty wicked style when it comes to making illustrated girlies. I just love the girls he creates… straight out of a pin-up dream.

I found his Devianart page and i didn´t see any website. If you wanna check out more of his work go to http://warrenlouw.deviantart.com/

(с) http://popwhore.com

Elpinoy

2009-09-05T20:52:00.000+03:00

The deviantArt community always got me clickin!!. Today i found talented filipino Elpinoy’s work and man… he is talented.

His mangaish style is a pure delight, and taking a really good look at his work you can see lots of attetion to detail.

Please check out his work at http://elpinoy.deviantart.com/

(с) http://popwhore.com

Росомаха

2009-09-05T16:15:00.000+03:00

Портрет Меган Фокс

2009-09-05T16:10:00.000+03:00

Уроки: мятежный Скейтбордер в Photoshop

2009-09-01T17:17:00.000+03:00

The aim of this tutorial is to take you through the process of coloring an image in Photoshop using digital painting techniques. Being such a flexible piece of software, there are several ways to approach this task, each with its merits. Concept artists will often work in grayscale for their base and apply color on top, which is a great method. The method I’m going to demonstrate in this tutorial uses a regular color base, and the shading is done with Hue Saturation layers. This method enables easy modification of color values and frees you up from worrying about any existing color values in your image while shading. To achieve that aim, we’ll be working a lot with the Hue/Saturation adjustment layer.

Rebellious Skateboarder

This is the image that we will be creating. You can download the source files for this tutorial here.

Preparation

You’ll need:

A copy of Photoshop (preferable CS3 or greater)
A sketch - you can use the scan provided in the source file or make your own.
A Wacom tablet (any model is fine).

I have a collection of brushes I’ve accumulated over the last few years that I regularly use for Photoshop work – but I tend to use a very small subset of them for most of my work. You can download the brushes used in this tutorial here. They’re nothing special, just a variety of brush settings is all.

Brush 1: Sharp Edge Brush

This brush will be used to block out the main areas of the image

Brush Tip Shape:

Hardness - 100%
Spacing – 25%

Shape Dyamics:

Size Jitter - Pen pressure
Minimum Diameter - 0%;

Other Dyamics:

Opacity - Pen pressure

Brush 2: Detailing Brush

This brush is used, surprisingly, for details such as highlights

Brush Tip Shape:

Hardness - 0%
Spacing – 25%

Shape Dyamics:

Size Jitter - Pen pressure
Minimum Diameter - 0%;

Other Dyamics:

Opacity - Pen pressure

Brush 3: Soft Brush

This brush is used for some delicate ambient shading jobs

Brush Tip Shape:

Hardness - 0%
Spacing – 25%

Shape Dyamics:

Size Jitter - Pen pressure

Other Dyamics:

Opacity - Pen pressure

Brush 4: Pallette Knife Brush

This is the heavy lifter in the tutorial - the main thing to note about it is that the Angle Jitter is set to direction, to make the brush angle track with the direction of motion. It uses an image as it’s base - but it’s pretty basic, just a circle blurred laterally.

This brush uses a graphic – it’s a simple ellipse blurred slightly in the X axis:

Brush Tip Shape:

Spacing – 10%

Shape Dyamics:

Size Jitter - Pen pressure
Minimum Diameter - 0%;
Angle Jitter - Direction

Other Dyamics:

Opacity - Pen pressure

Tip: While paying attention to the brushes you draw with, pay equal attention to the brushes you erase with. A general rule of thumb is always erase with the same brush you use to draw.

Step 1: Prep the Artwork

Ok, we’re all set. First , we need to ink the artwork. I tend to use layout pads for work like this, it’s ideal for making adjustments and tracings. I ink on a separate sheet to preserve the original sketch. Try to be tidy, it’ll only cause you more work later if you rush.

How you ink the drawing is entirely up to you. Inking is a whole art form in itself, but here I’ve gone for some fairly simple inking – the sketch is rendered first using a 0.5mm pen, and then a fatter outline is made with a 0.8mm, with an eye to emphasise the main elements of the form. Scan the artwork in using gray scale – you don’t want any color artefacts in your line work.

Switch to the Sharp brush, and try to clean up the artwork, removing any unwanted artefact or mistakes you made while inking. I actually sometimes use this phase to completely rework a component. In fact, I completely redrew the face at this stage – I felt that the original was a bit bland. Try to ensure that the outline of the overall form is closed, this will be important in step 2.

Tip: Set the background color to white, foreground to black. As you’re working round the image, use x to switch between white and black. The image will be used as a multiply layer, so any white will be transparent anyway – so it’s slightly quicker than moving between the eraser and brush all the time.

Step 2: Block Out the color

Now we need to block out the color for the drawing. Click on the magic wand tool, and make sure it’s tolerance is set to 64.

Select the white space outside the figure. If the outline is closed, it will make a nice solid selection. Any openings will allow the magic wand to leak inside the figure – if that’s the case, take another look and try to close any openings in the outline. You can create the first block of color using the lasso tool, but that can get real tedious.

Assuming you have a clean silhouetted selection, hit CTRL+Shift+i. This will invert the selection. Create a new layer, and fill the selection with your base skin tone. Make sure the line art is at the top layer of the document, and set its blending mode to “Multiply”.Now, create a folder and pop the new color layer inside it. CTRL+click on this layer to create a selection, and create a mask on the folder using this selection area. This will guarantee that you don’t color in outside the lines!

Step back inside the folder, and create a new layer for each component of the model, applying color as you go – e.g: a new layer for the shorts, new layer for t-shirt etc. Some of these layers will get merged into one later, but for the sake of simplicity, make a new layer each time. Work down through large areas of color to smaller. This will reduce the need to worry about overlapping areas. You can sometimes do several components at once if they have a common “theme” – so I tend to group all metallic parts into one layer, and all details into another layer.

The actual colors you choose at this stage are not so important; you can easily adjust these colors at the end of this stage.

Once you’re done, take a quick once over, make sure your colors are neatly applied. Make any tonal adjustments now if you wish – and collapse any layers together you think are too trivial to merit a separate layer.

Tip: At this stage, I would advise you to go through your layers and NAME them. It can be really helpful when working with the document – but is generally good practice to get into. There’s a certain joy in opening a flat PSD comprised of 200 un-named layers. Try to group layers in folders, and apply colors to the folders to increase layer readability.

Step 3: Apply Basic Shading

2 down! Now for the fun part. Photoshop provides lots of options for shading artwork. You could hand pick colors in the traditional fashion, or use overlays/transparencies of color. The method I’m going to show you now is one I derived from my work as a texture artist in the video games industry. All too often there would be a last minute change to a texture, or multiple variations required for a multiplayer mod. This method allows you great flexibility, so you can change color values easily as you progress.

Create a new folder called “Shading”. Apply the same masking technique we used for the color folder. Within this folder create a sub folder called “Dark”. Create a new Hue/Saturation layer in this folder. You can make one by clicking on the black and white button at the bottom of the layers panel

Slide the lightness down by about a third, move the saturation up by about a quarter, and nudge the hue left or right slightly. This last part ensures that your shading doesn’t become too “monochromatic” and gives the image more body. (Taking a hint from the old masters, you want to try and alternate your layers of shading through cold/warm variations). The whole image will appear dark. Set the background swatch to black, hit CTRL+A and then CTRL+X to clear the layer of information.

Select your Palette Brush and, setting the foreground swatch to white, begin working in to the image. I love working with this brush, it’s directional nature is really “tactile” and you can get very involved sculpting the form out with shadow. I like the way that it lends itself to creating strong geometric forms as you shade.

Work over the entire figure applying a medium level of shading. As you can see, the shading technique will nudge the existing color down and across slightly – thus bypassing the need to keep manually selecting colors relevant to the base, while the slight hue adjustment prevents the shading from being too tonally flat. There is one caveat to this technique. If you have used the hue slider to push the color towards red (for example), the layer will struggle to apply the effect to that colors complementary. In contrast, it will be really strong if you apply the shading to the color’s analogue or the same color. That being the case, you might have to make a couple of additional HS layers to accommodate this problem. Overall however, this technique is pretty fast.

Once you’re done with the dark shading, make a new layer doing the same for light – experiment with the hue/saturation settings to get a nice value across as much of the image as possible.

Step 4: Finishing Touches

All things being good, you should now have a relatively nicely shaded image. Now for some finishing touches. Create another darker HS layer, and select your Soft brush. We’re going to apply some “ambient” shadow, picking out some softer shadows to emphasise the form. You don’t need to get too specific with this level of shading. Do the same with a light layer.

Create a new standard layer, but move it ABOVE the line artwork. This will allow us to apply some nice highlights to the image. I like to use a very light yellow for this job – picking out fine details like the shine in the eyes, or on the bridge of the nose. Use the Fine Detail brush for sharp edges or highlights, and the Soft brush for broad soft areas like the shoulder muscles.

Next I want to try and add a little bit of tonal variety. Using the lasso tool, select an area around the chin where the beard would grow on the character. Create a new HS layer, and drop the lightness and saturation values slightly. Apply a Gaussian blur filter to this layer.

Create another HS layer, and focus on making a more ruddy skin tone. Clear the layer again, and use the soft brush to apply a the redder skin tone to key areas like the cheeks, nose, knees and fingers.

I grabbed a swatch of camo of the internet and applied it to the shorts layer. This is primarily to demonstrate a point about the advantage of this method, in that you don’t need to worry about any color values in the underlying image. Working with HS layers takes care of that for you.

Finally, I create one last HS layer, above all the shading but beneath the color, drop the light values and nudge the color in the general opposite direction of the dominant color in the image. Apply a simply linear gradient to this layer, and it adds that last little touch that emphasises the direction of light.

I have to confess to a little cheating in this next step - to create a simple background I popped out to the local retail park and took some photos low to the deck. I then applied a spherical distortion filter, and applied a cutout filter to simplify the image. Finally, I made a little sun using a white circle selection with an outer glow filter - and added a dark orange soft-light layer to the backdrop to unify and warm the color slightly.

Conclusion

So, to round up - this tutorial has hopefully shown you some interesting methods using HS layers. The joy about this method is that you are effectively painting a black and white image - which adapts itself to any underlying color information. It’s fast and versatile - and that’s just the HS layer!! Try the same trick with some of the other adjustment layer types to see what you can come up with!

Создание реалистичного носорога в ZBrush

2009-08-28T15:30:00.000+03:00

When creating an animal or character for use in a modern game engine, an essential part of the process is sculpting a high-poly mesh to be used for generating normal maps, ambient occlusion maps, and anything else that may be needed to make the final result look realistic.

In this tutorial you will learn the key theory behind how to set up your low poly mesh appropriately, and the best way to go around sculpting to get the desired level of detail. This tutorial covers the creation of a Rhino, but when you are finished, you should be ready to start sculpting any organic model you lik.

Final Effect Preview

You can find the reference images here: Reference Image.

(c) Cgtuts+.
"

inspiration

2009-08-27T21:49:00.000+03:00

(c)Dropped by goreki.: ""

digitalpainter

Blackravell

создание Тэйна

Поздравляю

Posemaniacs

Рисование на ipad

Will Murai

Галерея Агнеша Штаудта из Crytek

12-ый номер журнала «Magic CG»

Отрисовка игровой локации

11-й Magic CG

Raiden Rising Metal Gear

face painting tutorial

denfo: Painter

наверное пригодится

Свежий Magic CG

УРОК РИСОВАНИЯ НИКЛАСА ЯНССОНА

пару хинтов по портретам

How to draw REALISTIC FACE

Dragon's trial - digital painting

Fallout скетч

Arthur de Pins

2 текста о создании игровых персонажей

Создание низкополигонального персонажа(текст + картинки, рус.)

Making of Paragalis

(текст + картинки, eng.)

Рисование профилей

Ariel Olivetti - Clase de color digital

Quick start with Corel Painter (russian)

Портфолио Stefan Morrell

Большая подборка CG героев и монстров

Январский Magic CG

http://is.gd/7qghE

Портфолио Horia Dociu

Портфолио: Greg Broadmore

Январский 2DArtist

http://is.gd/76yrG

Портфолио: Carlos Cabrera

Anne-Claire Paye

Портфолио: James Paick

How to Create Cityscape Concept Art

Final Image Preview

Tutorial Details and Requirements

The Brief

Step 1

Step 2

Step 3

Step 4

Step 5

Step 6

Step 7

Step 8

Step 9

Step 10

Step 11

Step 12

Step 13

Step 14

Step 15

Step 16

Step 17

Step 18

Step 19

Step 20

Conclusion

Портфолио: Yap Kun Rong

Women in Art - The evolution

Model a Modern Spiral Staircase in 3ds Max

Martin Deschambault: Есть чему поучиться

Разное из игр.

Концепт персонажа игры Саботёр

Портрет

Painting Fundamentals

http://illustrators.ru

http://illustrators.ru

Fairie

Nature Spirit Green Forest Girl 'Speed Painting' by Dave Larks

Be Green, Nature Spirit, Speed Painting by Dave Larks

How to Create a Rusty Texture in Photoshop – Screencast

Making od "Judith"

Создание низкополигонального персонажа

(текст + картинки, рус.)

Работы французсого иллюстратора Mathieu Leyssenne aka Aniii
Сайт автора http://aniii.cgsociety.org/gallery