Elements_v02.pdf

7/27/2019 Elements_v02.pdf

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Digital Painting Tutorial Series :Volume Two


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Contents

Rock and Stone

Rich Tilbury

Rock and Stone

Vinegar

Sky

Linda Tso

Sky

AquaSixio

Sky

Rich Tilbury

SkinRich Tilbury

Skin

Emrah Elmasli

Trees

Chris Thunig

Trees

Rich Tilbury

Water

Rich Tilbury

WaterfallDon Seegmiller

Chapter 01

003

Chapter 02

009

Chapter 03

017

Chapter 04

023

Chapter 05

034

Chapter 06040

Chapter 07

045

Chapter 08

052

Chapter 09

058

Chapter 10

063

Chapter 11

071


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Chapter 1 : By Richard Tilbury

Rock & Stone


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v2 Elements : Rock and Stonewww.2dartistmag.com

elementsRock and Stone

page4

Painting

Rock and Stone

Step 1:The rst stage which forms the starting point

for most of my digital work is a sketch done on

paper. This is where I assemble any unformed

ideas and decide on how the composition

will be structured and try and give myself a

template to begin working from. In Fig01 you

can see a pencil sketch that I scanned in which

would form the basis of my nal painting. For

this tutorial I wanted to combine a natural

looking rock face that incorporated some

element of architecture that had been carved

into the stone.

Step 2:The next stage was to get rid of the glaring

white of the image and so I traced around

the drawing and on a separate layer which

I named Background, I used the Gradient

tool fading from a pale to a darker green. On

another new layer set to Hard Light I used a

dark grey and lled in the area that makes

up the rock itself and then to establish the

light source I simply erased parts of this layer

to reveal the white underneath (Fig02). It is

important to dene the light source as this is

paramount in how the viewer reads the image

and interprets the forms. Rock can be a difcult

subject to paint as it varies tremendously, not

only in its colouration but more importantly

in its structure and the types of formations it

adopts. Because its surface is so uneven with

so many undulations and crevices it is easy

to loose sight of the overall form and get too

involved with details. In order to keep control

of the painting process I nd it is best to work

on a larger scale to begin with and gradually

work your way down to the ner detail. In other

words, decide on a light source and block in

the main highlights and shadows and carve

out the general structure and form of your

image before concentrating on the numerous

incidental passages that will help add interest

and detail to the nal piece.
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www.2dartistmag.com page5 v2 Elements : Rock and Stone

Step 3:In Fig03 you will notice that I have added a

new layer which I called Main and begun

to rough in some of the areas that fall into

shadow and started to shape some of the

crevices. I used warm tones ranging between

those seen on the left using a standard soft

round airbrush with a varied diameter. I set the

opacity to between 65 and 100% and the ow

to around 50% using pen pressure to control

it as shown below the brush presets. It does

not matter too much how rough your marks are

at this stage as the painting will go through a

process of renement until it is nished. Quick

and seemingly random marks are perfectly

suitable and may even inadvertently suggest

part of the nal outcome so be bold and

carefree!

Step 4:At the moment the light areas on the rock face

appear far too light. I want to create quite a

smooth and reective surface but white should

only be reserved for the extreme highlights

and not used across the entire picture. In order

to tone it down Ive added a new layer set to

multiply at 71% which I called Overlay, and

with a very pale brown lled in some warm

tones to soften the contrast and reduce the

white to certain areas (Fig04).


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page6

Step 6:The image is now starting to take shape and

we can see how the eventual rock face will

look. The two vertical uprights on the left and

right are meant to almost form a right angle but

at the moment the rock in between appears

to be on a similar plane and so in order to

remedy this I am going to add a Shadows

layer set to Hard Light at about 50% opacity

and using a dark grey, block in a large area

that signies shadows cast by the sun (Fig06).

At this stage we have the main elements rmly

established and we can now begin the nal

phase which is that of rening what we alreadyhave and painting in some details across the

rock face. You can either do this on separate

layers, work on the existing ones or even

atten the PSD le and then continue it is up

to you. It is wise not to continually create new

layers as the le will become very large and

navigating through it will become a chore just

preserve the key layers if need be. Also do not

be afraid to change anything if you feel it is

wrong no matter how advanced the painting is;

it is never too late to re-work problem areas!

Step 5:Because there will be a strong light source in the upper left of the picture with some very bright

highlights it is only tting that there will be some strong shadows to match. So on another layer

which I named Dark areas, I used a dark brown as seen in Fig05 to accentuate the forms and

add volume to the rock face.


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www.2dartistmag.com page7 v2 Elements : Rock and Stone

Step 7:To the details then! You will have noticed from

Fig06 that I had painted in some cracks, most

notably the one running up the at face on

the left. However the overall surface still looks

at and uninteresting and so needs far more

fractures and undulations. I started by erasing

parts of the original grey layer (part2) to create

highlights exactly as before. Knowing that the

light is being cast from the top left I then traced

a darker line to the left of these lines on the

Dark areas layer where the shadows would

reside. With the large shadow layer above

all other layers it means that when erasing

the grey it does not reveal a white anymore

(Fig07).

Step 8:In Fig08 you will see that Ive added a lot more

detail in the form of cracks and crevices aswell as darkening the shadows around the top

and bottom of the picture. The best approach

is to be quite loose and free about the way you

apply marks to begin with if they are wrong

you can simply erase them (if you are erasing

from a layer such as the grey one, just add

in more grey to undo it). There is no logical

pattern or set of rules to follow here, just use

your intuition and add detail where you see t.

This is when I use some of the initial marks

made in stage 3 to suggest how and where

to place the details. You can see when you

compare this image with Fig06 that there is

now more clarity and denition and the whole

image looks less sketchy.


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page8

Step 9:The nal phase of the tutorial involves

improving the detail further and using a

customized brush to add a subtle pattern

across certain areas to break up the surface

somewhat. Starting with a default Dry brush I

then opened up the brush presets and chose a

suitable Dual brush and altered the Scattering

settings until I ended up with a result similar

to that shown in Fig09. You could do this

on separate layers if you wish and set the

blending mode either to Soft light or Multiply

depending on the area and desired effect it

is up to you. You can see in the picture where I

have applied the marks, numbered 1- 4. With a

bit more work and a few tweaks I arrived at the

nal result as shown in Fig10.

Tutorial by :

Richard Tilbury


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Chapter 2 : By Vinegar

Rock & Stone


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www.2dartistmag.com


page10 v2 Elements : Rock and Stone

Painting rocks, mountainsand stonesThis tutorial will show you how to basically get

the nal scene (image 2) from this rough sketch

(image 1), focusing on painting rocks from a

close and distant view. I have to admit painting

rocks and mountains was never something

I focused on before, although I painted quite

a few as backgrounds in my illustrations. So

with for this scene Ill try to show the general

progress and some tips about painting various

kinds of rock structures. For painting this scene

I used both Adobe Photoshop 7 and Corel

Painter 7, but frankly speaking it doesnt really

matter which program youre using.


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v2 Elements : Rock and Stonewww.2dartistmag.com page11

Choosing colour schemeand blocking in the shape:I have chosen a very natural colour scheme

without any fancy lights, thinking that itll show

you how some things work. As for colours its

not as simple as just picking grey for stones,

green for grass and blue for sky. Actually there

are colour perspective rules used by artists

since Renaissance and a general law that

works in nature things you see in the distance

are becoming more and more desaturated

and begin to get a blue-ish tone. I know it may

sound obvious but very often I see images

that lack depth because an artist didnt follow

this simple rule. Draw some basic outlines

of the rock face youre interested in (image

3), Id recommend to draw these two plains

on separate layers as it will help to keep the

focus on each. At this point it doesnt matter

what brushes youre using, you just have to

block in the general shape. Choose colours

as I mentioned before here you can see the

ones I chose more saturated for the closest

foreground, colour 3, and desaturated for the

background, colours 1 and 2. The same rule

applies to the grass. Now you need to block

the general light source. As you can see on this

picture I drew lines to show you how it looks

like (image 4 & 5). Follow strictly the scheme

you chose, remember that some parts will take

more light than other. Same goes for darker

parts in places where the light wont reach it.

See it on the picture (image 4) the light source.

Darken them but only the parts that need it, not

the whole structure.


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Photoshops low opacity brushes, smudge tool

or Painters blenders its all up to you, just

remember not to overuse them later in nal

touch ups.. Right now youre just working on

a structure, not on the details so it can be as

smudgy and rough as you like.

Creating a structure:Now the general rule is to work from big surface

to small details. When we have a general

shape, its time to focus on rendering smaller

bits of rocks. Lets see the general work ow

here (image 8, 9, 10 & 11). Right now you

shouldve seen many pictures of rocks already

so try to add some more details to this structure

using what you noticed about stones structure

(see images 8, 9 & 10). Also try to think of such

stones as a 3D form, dont forget it has its

own depths and is lightened from one or more

sources. It doesnt matter what brushes youre

using. In Photoshop Id recommend standard

brushes with low opacity and ow and in Painter

I usually use Digital Airbrush or Detail Airbrush

and later blend it a bit with blending tools. The

outcome will be really similar. In image 11 you

can see some textures added to make it more

realistic..

Defining the shape (rockson the first plan):Right now lets focus on the rocks at the rst

plan. As for drawing the shape there are no

magical tricks here. Your best friends in this

case will be Google for reference pictures.

Try nding many various example and study

for a moment how the structure of rocks look

like. You can for example notice that very

often small rocks will be at the bottom of the

structure, also that often small stones, at

places and bigger stones are mixed all together

and such observations tried to implement in a

rough sketch (image 6 & 7). A nice trick here

use brushes with a low opacity, this way you

wont loose your basic light scheme so quickly

(although youll probably need to correct it very

often and youll see that in a minute). You can

blend the general structure you have using


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Using your own brushesand textures.NEVER, and I really mean never, use directly

photos for creating textures. Well, I cant forbid

you anything but if youre using photos youre

not really painting, youre just making a photo

manipulation and thats not what were doing

here. Use photos to make your own textures

and brushes with which youll paint later. Also

whenever you use some photo make sure its

royalty free (there are plenty of web-sites that

offer such photos with no credit needed) or,

well, take some yourself ;). Add bits of texture

in various places but dont do it mindlessly.

Try to imagine which texture will be better in

which place some are more at, some have

very rough structure (image 12). Dont use one

texture only, mix them together, experiment

with settings. Add them to a new layer set to

soft light or screen or any other blending

mode depending on which will look better. And

remember, there arent any strict rules when

it comes to painting. Its always a constant

experiment and every painting is done in at

least slightly different way. Also try to add some

depth by painting with custom brushes. You

can see here how mixing various textures and

brushes gives you a more interesting results

(images 13, 14 & 15) than just at pasting a

random photo. As for creating brushes (I think

Photoshop will be a more useful tool here,

although you can try and use Painter, for me

Photoshops brush settings are just more

intuitive) the same rule apllies, experiment to

create various ones and have a bit of fun with

your own brush settings, opacity and ow. Lets

take a look. Images 16 and 17 shows how I

created this brush. Image 16 is a cutout I did of

some royalty free photos, image 17 is a brush I

dened after playing about with it a bit (erasing

some parts, repainting others). Use Edit >

Dene Brush in Photoshop and voila! You have

a new brush. Here Im showing a few I created

and used to paint this picture (image 18). Butyoure not done yet, now have some fun with

the Brushes options (image 19), spend some

time to see how itll act with some scattering

options, play with adding a texture to it, change

its opacity, ow and dynamics. And save your

best results. Now you have a whole palette

of new ways to add some more depth to the

picture. You can see (image 20) how quickly

you can achieve something resembling bushes

just by experimenting with your newly created

brushes.


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Setting rocks in the

environmentNow the reasonable thing to do, would be to

set your rocks in some environment so they

dont look too fake (its a simple thing of xing

the lights and adding some greenery to it). As

you probably have already noticed, low rock

structures are never completely bald so adding

some grass and moss will make them look

more realistic (image 21). And now heres a

little trick on how to x the lights. This far into

your image you probably might of lost the light

source a bit. At least I always do. So what I do

is create a new layer above the rocks and ll

it with a black and white gradient (image 22).

Then I change the blending mode to multiply.

This way the lower parts, which the sun cant

reach, became darker (image 23). Compare

image 21 and 23, and the difference I think is

obvious.

Right now youre pretty done with the rocks on

foreground. Of course later on, some additional

touch ups will be needed to blend it well with

the rest of your picture, but as for now lets

focus on the background.


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Painting rocks andmountains in the distance

The general work ow will be, of course, similar.

Whats most important to remember, is that

things in the distance wont have as much detail

as these on foreground. If youll add too many

youll lose a feeling of depth as everything will

look too at. Another important thing is what I

mentioned at the beginning. For things in the

distance use more desaturated colours than

the closer ones. With all that in mind and after

checking references just start to render the

general shape (image 24, 25 and 26).


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When youre done with it start working on

smaller details and more specic shapes of

rocks (image 27, 28 and 29). The last useful

trick is to add some grain to it in the end (image

29). You can use Photoshops Filter > Noise >

Add Noise or Painters Add Grain tool to get

this effect. Adding textures can also work ne,

just remember it needs to be less sharp than

the ones you used on foreground. You know

what Im going to say now, just take one last

look at what youve done and add adjustments

if needed so it all looks more natural. And youre

done! I hope youll nd this tutorial helpful :)

Tutorial by:

[email protected]

www.vinegaria.com
http://www.2dartistmag.com/mailto:[email protected]:[email protected]://www.vinegaria.com/http://www.vinegaria.com/http://www.vinegaria.com/mailto:[email protected]://www.2dartistmag.com/


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Chapter 3 : By Linda TsoSky


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v2 Elements : Skies 1www.2dartistmag.com

elementsSkies 1

page18

Step 1:

Take a large soft edged brush to block in the

most basic colours. I have used a very dark,

saturated blue, a lighter medium blue as the

base colours of the clouds, and a medium

purple to suggest the sky.

Step 2:

Choose a bright, saturated red, with mode set

to Hard Light and brush over the bottom of the

picture, then use bright orange and yellow and

brush over the same area a few times. This will

create a nice sunset like gradient.

Step 3:

Using custom brushes, and mainly picking

some colours from the image, block in the

main shapes of the clouds/sky. I have decided

on the upper left corner to have some bright

sky showing through with a large supercell-

type cloud occupying the rest of the space.

The custom brushes add some interesting

irregular edges and textures at this beginning

stage.


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elementsSkies 1

v2 Elements : Skies 1www.2dartistmag.com page19

Step 4:

Using more strokes of various custom brushes

to paint in the back lit cloudy sky in the upper

left. The brush sizes are still quite large here.

Examples of custom brushes and their set-

tings.

Step 5:

Use smaller brush sizes to start rening the

cloudy sky. I alternate between simple painting

with the colours chosen, or colour-picked off

the image, and a soft edged brush set on Soft

Light with a medium saturated blue over the

areas where the sky colour shines through.


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elementsSkies 1

page20

Step 6:

This step is mainly using the smudge tool to

drag out some of the textures from the custom

brushes, which have become just a bit too

much for clouds. I mainly use the smudge

tool with the spacing not checked, which is

great for smooth blending of colours without

that Photoshop look, although for this I also

wanted to have that pulled colours look so

sometimes I leave the spacing checked.

Step 7:

Adding more details, this time using mostly

small soft edged brushes, and start working on

the large supercell.

Step 8:

More details with a small soft edged brush,

and blending and pulling colours with the

smudge tool.


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elementsSkies 1

v2 Elements : Skies 1www.2dartistmag.com page21

Step 9:

The last step is really just checking the overall image, I decided it would be good to adjust the lighting, and this can be done quite easily with a large

soft edged brush. Chose more saturated colours with similar hues and mode set on Overlay/Soft Light/Hard Light. If you want to lighten an area,

make sure the value of the colour is more than 50%, and vice versa if you want to darken an area. These blend modes are very useful for making

things glow. I also blend out more of the too-recognizable texture from the custom brushes. If this were to be a complete painting, I would probably

spend a lot more time to add details to the supercell, which could really enhance the sense of scale.

Using a soft edged brush set on Overlay or Soft Light/Hard Light blend modes to lighten or darken large areas. These blend modes are usually bet-

ter than say Screen or Multiply since they also tend to saturate the colours a bit more.


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elementsSkies 1

page22

In order to bind the image together and nish

it we need to bounce some of the orange light

along the bottom left edge across the clouds

and unify the colour scheme slightly. Using

Select - Colour range pick an area of the dark

blue storm cloud and then feather the selection

somewhere between 30 and 50. With this done

go to Image - Adjustments - Colour Balance

and add some warmer tones by moving the

sliders towards the red and yellow. Then select

an area of the bright orange using the colour

picker and then on a new layer set to Overlay

start painting in some light above the dark

cloud in the upper left and also highlight some

of the lighter clouds in the right of the picture in

front of the main cloud formation. This will help

these lighter clouds reect the light source at

the bottom of the picture and bring it together

more. If you like you could also select the light

area in the upper left of the painting using the

lasso tool and after feathering the selection,

adjust the colour balance in a similar fashion to

the large cloud.

Tutorial by :

Linda Iso


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Chapter 4 : By AquaSixioSky


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v2 Elements : Skywww.2dartistmag.com

elementsSky

page24

You have your head

In my Cloud.

How can I start ?First, I had to choose two complementary

colours. I tried the orange / light-purple combo.

Then I choose a basic brush ( size: 100

Opacity: 100 ow: 20 ) and I paint in rough

shapes. I drew the same cloud forms as I did

when I was a small child. Use the form of the

brush to help you ( size: 50 opacity: 100 ow:

20 ). Reduce the opacity to add a misty effect

( size: 50 opacity: 50 ow: 20 ).


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elementsSky

v2 Elements : Skywww.2dartistmag.com page25

The light outlineI added A third colour ( dont ask me why lol ) and used the same process as before except for

one thing: The light outline - I picked the light-orange from the previous cloud and drew the

clouds form( size: 6 opacity: 75 ow: 20 ).


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elementsSky

page26

Here, I tried to unify the two parts of the drawing.

What about the bottom part ?Here I added a dark orange. Then I drew a rough cloud form. I changed the hue ( -9 ).


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elementsSky


Its not Precise !Now is an important phase: WORK AND

CLEAN, I tried to change all the crude shapes

into precise cloud forms ( using the same

brushes as the previous clouds).


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elementsSky

page28

Recapitulatory for the

brushesRemember there are no strict rules here

because there no magic formula ha ha...

Canvass size 480*640 pixels and one layer

used. For crude clouds form: Size 100 opacity

100 ow 20. For the cloud details: Size 30-60

opacity 100 ow 15-25. For the mist: Size 100

opacity 30-50 ow 15-25. For the lights out-

line Size 3-6 opacity 60-100 ow 20-35. You

can build the cloud structures using the form of

the brush, it easier.


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elementsSky


The second partThe heaven thing... bah its the continuation of

the drawing. You will see what I draw when I

havent any inspiration lol. So I added another

light effect with the basic brush ( size: 150

opacity: 20 ow: 10 ).


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elementsSky

page30

The compositionHehe now its time for the composition. Whats

the composition ? It is the structuring of how

people see your work and read your picture. If

you dont consider the perspective, the frame

or the colours then the render wont be as in-

teresting as your work. I am sure my composi-

tion is not perfect but I tried my best.


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page32

Canvass size revolutionHere you can see the new composition of the

drawing as I was not satised with the previous

version. I decided to change the canvas size

400*800 as the waterfall might work better...

Why did I added the green I cant explain, the

fact this drawing is very light could be a pos-

sible explanation. I painted the green as mist,

but this time it was the waterfalls mist.


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elementsSky


Finished Artwork

I changed the brightness, but I think the

composition is still unresolved. I tried another

composition idea below. You can see the

process I use when starting a new drawing in

Photoshop 7 and you could now possibly try to

do your own cloud drawing.

Tutorial by:

Aquasixio


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Chapter 5 : By Richard TilburySky


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elementsSky


Painting a Sky

Intro:This tutorial will attempt to outline a brief and

straightforward approach to painting a simple

sky with particular attention to the interaction

between sunlight and cloud formations. It is

aimed at beginners who are keen to nd a

technique to in which to tackle a very popular

and universal subject and one that features in

much digital painting

Step 1:The rst step is to ll in a base colour but due

to the very changeable nature of the sub-

ject there is no particular hue that should be

chosen here. In this case I have decided upon

a reasonably neutral light blue grey ( R 153, G

167, B180 ) and lled in the entire canvas.

Step 2:Next stage is to decide upon the positions

of the main clouds which in this example will

enter the frame from the left edge. For this I

will use a darker version of the background

colour ( R 126, G 140, B 157 ) and rough in

the general shape on a separate layer. It is a

good idea at this stage to use loose and bold

brush strokes and encourage happy accidents

that may help suggest the forms and then

rene them further down the line. You can see

in the image that I have varied the edges to

add some interest and realism and this I did by

using the eraser to create sharper accents and

also the smudge tool to blur some sections.

You can also use the eraser to gradually fade

out some of the edges by setting it to around

25% opacity.

Step 3:With this main cloud in place it is time to add

the light source which will emanate from the

bottom left corner and so on another new layer

I selected a pure white and placed this layer

under the previous one to ensure the light is

behind the cloud. With a large airbrush around

400 pixels I simply blocked in the light in the

bottom corner and faded it out slightly across

the image.


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elementsSky

page36

Step 4:With these two key components blocked in it is time to rene the main cloud by varying the tones to prevent it looking too at. So using the eraser

tool partially begin erasing areas to give it some form and also fade some of the edges as well as perhaps adding in lighter accents using a paler

blue grey.

Step 5:It is now time to begin adding in some of the detail that will make up the distant clouds that will run along the base of the canvas to the right as well

as add in highlights around our main cloud where it thins out and catches the sunlight. Again on another layer I start to paint in the highlights using

a pure white by rst outlining the top edge of the cloud with some thinner wisps extending from the right edge. Lastly I suggested a formation of

clouds in the distance by just painting in the top edges which have caught the light using a small airbrush around 3 - 5 pixels.


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Step 6:In order to add a little more drama and volume to the cloud I added some darker tones on a separate layer which was set to Multiply but made sure

to focus these only on the far left where the sunlight is at its brightest and so increase the contrast.

Step 7:With this layer done it is just a question of rening what we have already done by either adding one or two nal layers or manipulating the ones

already in place. For the purposes of this tutorial I worked on the existing ones and painted in some ner lines along the top of the cloud to give

it some denition and highlights. I also painted in some traces of detail across the middle of the cloud to give it some form as well as some small

smudged clouds around it. Here is the nished article done in about an hour and a half.


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elementsSky

page38

Conclusion:It is a good rule of thumb to paint in rough shapes and then use the Gaussian blur lter to

soften the shapes and then using a small airbrush simply add in a few sharper lines to create

the forms. It is not often necessary to add an equal amount of detail across the entire painting

because the brain does a very good job of lling in where the eye is only offered a suggestion

of something.

Tutorial by :

Richard Tilbury


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Chapter 9 : By Richard TilburySkin


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elementsSkin

v2 Elements : Skinwww.2dartistmag.com page41

Step 2Quite often I place the predominant colour down

across the entire canvas, which in this case

is a light brown (R157, G103, B76), but here I

wanted to keep a white backdrop, so I made a

mask around the drawing and then lled in the

body only (Fig.2)

This tutorial will deal with the topic of painting

skin. As with any subject, it is important to

gather as many references as possible before

starting. Skin is yet another element that varies

greatly, hence the importance of research. No

one person looks the same and so it is important

to decide on a rough colour scheme early on. I

decided as a starting point, to begin with a rough

drawing I had already done on paper in one of

my sketchbooks.

Step 1The rst stage, as always, was to make a quick

copy of the drawing on a new layer using a

small standard airbrush set to about 8 pixels

wide and set to Multiply. This will act as our

guide for the painting, which you can see in

Fig.1.


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elementsSkin

page42

Step 3This will form the base colour, over which I shall

now start to paint in some general highlights

and shadow areas. I usually paint these on

two separate layers, but in this instance I am

putting them on the same layer and leaving it at

the standard Normal blending mode in order to

make quicker changes (Fig.3) At this stage, we

are just trying to establish the basic forms and

where the light source is situated. You can see

the type of brush used in the top right, along

with the ow setting (50%). Try to keep the light

and dark areas as derivatives of the base colour.

You can see the two shades I have used in the

top left of the image.

Step 4Now that the body has begun to take form, and

I know roughly where the light is falling, it is time

to create a new Shadow layer which will be set

to Multiply. This will dene the key shadows and

will be done using a soft airbrush and will help to

further dene the forms. The colour used can be

seen in the top left (Fig. 4).

Step 5You will notice that, so far, the detail has

been dened tonally, with various sizes of the

soft airbrush. Certain areas, such as the lips

and around the deltoid muscle at the top of

the left arm, have used a hard round brush

which creates a more clearly dened edge, as

demonstrated by the two brush strokes in Fig 4.


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Step 6Now that a shadow layer has been established,

it is time to create one for the highlights, which

will be set to Soft light as a blending mode. In

Fig. 5, you can see the colour used in the top

left. I have also gone back to the original lighting

layer and also added in some highlights across

the face and neck to improve the head area.

Step 7There are essentially two further layers that I

will use before attening the image and making

colour adjustments. One shall be reserved for

detail only, namely the nipples and veins, and

the other will be called renements which shall

be another highlights layer in essence. In Fig.

6, you can see this layer isolated over the base

layer. It is set to Normal blending mode and

uses the same colour as the highlights layer.

The purpose of the layer is to enhance what is

already there by using ner strokes, as well as

paint in the brightest areas. Keeping this as a

separate layer just means more control when

making nal adjustments to the tonal ranges.

Step 8With this layer complete, and the small details

painted in, it is just a question of making some

minor colour changes, which in this case means

a colour balance adjustment layer which I

tweaked towards a more yellow hue. One last

layer, which is set to Soft Light, is used to add

some colour to the ears and lips, as well as

some of the random areas, to add a little colourvariation.

Step 9One could now add some blemishes and marks,

along with some subtle colour variation, to help

reduce the consistency of the skin tones.


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Chapter 7 : By Emrah ElmasliSkin


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In this tutorial, Ill try to explain the painting process of a realistic human

skin texture. Ill use the upper torso of a male body as my subject, which

is a very good surface to apply light, form and detail. Its always good to

use a reference in subjects like this - a photograph or a live model will do.

I begin my painting process by creating a new A4 document in Photoshop

CS2. The rst step is drawing the lines of the torso. I start by drawing the

main sketch on a new layer with a simple brush (gure 01), by looking at

a torso reference found in an anatomy book. To begin, its always useful

to draw a basic sketch which indicates the main forms of the subject. By

doing this, our painting will be better and correct (gure 02). After nishing

my sketch and being happy with it, I change the layer properties to

multiply and open up a new layer underneath it. I ll this new layer with a

medium skin tone (R: 219; G: 190; B: 156), which Im thinking of using in

my painting, using the ll tool (gure 03).


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As we know, skin tones vary by the races and countries we live in. The skin that Im going to paint belongs to a white man, with a medium-toned skin. I

continue by opening a new layer between the sketch and the medium skin tone layer. I start to determine general forms with the soft brush that you will

see detailed in gure 04. The colours that I use while painting the forms are the darker and warmer tones of the medium skin tone that I used before. I

pay more attention to the general stain values, then going more into the details and trying to gure out the form of the skin, the curves of the muscles

and the colour of the nal skin tone. (gure 05). For the next step I can start to apply the highlights by considering the angle of the light source. I use the

yellowish and lighter tones of the skin, so that the form starts to slowly become more dened (gure 06). After being happy with the highlights and the

shadows of the form, I start to paint over the lines and try to make the painting look more realistic (gure 07). The brushes I use while painting over the

lines are the airbrushes that I use frequently, and the hard-edged brushes which I use to paint the sharp edges (gure 08).


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NOTE: Skin takes the form of the muscles and wraps it like a cloth. One of the most important things that we should pay attention to, whilst painting a

realistic skin texture, is successfully applying the curves of the muscles. If we take a look at the shoulder muscles, we can see the harmony between the

skin and the muscles under it (gure 09). Human skin is a reective surface, in despite of its matte appearance. If we look at the area between the bicep

muscle on the upper arm and the ribs (gure 10), we can see the bouncing light effecting the bicep area. We call this radiosity . This reection changes

depending on the colour and the density of the light. It is important to get the reections right, whilst painting a realistic skin texture. After painting over

the lines (gure 11), I can start the detailing process. The best way is to examine our own skin to see what kind and amount of detail it has. Skin has

details like freckles, hair and spots. Now, Ill try to apply these details to my painting. I can start with the freckles and spots detail. One of the best ways

to produce freckle details, is to create them traditionally by using a brush and watercolours. All you need to do is to spatter some watercolour paint on to

white paper. After creating the spatter effect, you scan it and make it ready to use digitally.


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Using Photoshop, I desaturate the spatter texture and adjust the levels

until it becomes pure black and white (gure 12). Then I copy this texture

on my painting and apply it to the suitable places. To integrate the freckles

with the skin I change the layer properties of the layer to colour burn,

and to make it less dominant I decrease its opacity to 50% (gure 13). To

make it look more homogeneous, I erase some of the spots. I also apply

some brown coloured spots to make the skin texture richer (gure 14).

The other way of make the texture look more detailed is to add some hair

to it. I paint these hairs on the lower arm with a thin, hard brush one by

one (gure 15).


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The colour of the hair I chose is a lighter tone of the skin colour ( R: 199 , G: 154 , B:116). (gure 16) . Another detail which reveals under the skin,

is the veins. I add some blue-ish, grey coloured vein details on the bicep muscle with a soft and calligraphic brush, without over-doing them. To make

them pop out more I add some highlights to them with a lighter tone of the skin colour (gure 17). After adding all these details, Ive almost nished the

painting. There are just some colour and contrast adjustments left to be made. Over all my layers I open some Adjustment Layers like; brightness/

contrast, colour/balance and hue/saturation. You can nd these by going to the layer menu and clicking on the New Adjustment Layer. I increase

the contrast and decrease the saturation a bit. Also, I adjust the colours by the help of Colour Balance and make them look more accurate. As a last

step I will add a noise effect over the skin to make it look rougher. I open a new layer and ll it with a greyish tone of the skin colour (for example:

R:180; G: 170; B:150). After this, I go to the Filter menu, click on Noise and select Add Noise effect, then make these adjustments: Amount: 400%,

Distribution: Uniform (gure 18). After this, I use the Spatter Effect to make the noise look messy and unbalanced. (Filter> Brush Strokes >Spatter).

Then I apply Blur Effect on the same layer twice. (Filter> Blur> Blur) (gure 19). Lastly, I decrease the opacity of the layer to 4%. Finally, my skin

painting is complete (gure 20). This is the method I use to paint realistic skin texture. I hope you like it.


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Emrah ElmasliMore work from this artist can be found at:

www.partycule.com

You can contact them via:

[email protected]


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Chapter 8 : By Chris Thunig

Winter Trees


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Intro:This tutorial will attempt to outlinea shape-based approach to painting using

a snowy tree as an example. It is meant to

explain a more graphic as opposed to a fully

rendered modus operanti while limiting oneself

to using mainly contrast and form to create an

illustration.

Step 1:Before actually starting up the computer I produced a quick ink sketch on aquarelle paper to lay down some interesting shapes, nda decent composition and dene the general direction I plan on going into. Besides the fact that I am able to stay looser when exploring an idea

traditionally before eshing it out in Photoshop I nd that the paper structure and ink shapes will give the image a subtle naturalistic quality that is

otherwise difcult to reproduce digitally. When sketching, even at this early stage, it may be worth to hint at perspective and volume by blocking out

some of the inner shapes with a few strokes instead of solely relying on the outlines as this will initially give a clearer idea of where the drawing is

headed. (Fig.01)

Step 2:After scanning the sketch I rst of all applied an overall Brightness/Contrast layer to darken the image enough to allow me to addboth, darker and lighter values when rendering the volume of the tree later on. I then roughly lled the shape of the tree with a base colour in a

multiply-layer using a medium sized chalk brush. Though the brush itself generates a solid coat of colour the outline of it makes the smudges look

more natural than a normal round brush would, resembling somewhat of marker sketch. (Fig.02)


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page54

Step 3:Since the subject matter is characterized by a rather limited colour spectrum and sharp, contrasty lines in a usually diffuse lightsituation I am using what I call a shape-based approach in creating this image rather than setting a denite light source and going straight for a

realistic light source-based rendering. In doing so I try to dene light and dark areas that form shapes by contrasting each other. In achieving this

the snow patches in this picture play an important part and I start laying out them in broad, rough strokes with a smaller charcoal-shaped brush.

(Fig.03)

Step 4: By darkening the base layer of the tree slightly more I increase the contrast between snow and organic structures further and startblocking out details of the trunk, rocks, and grassy bits to begin generating volume as well as giving more shape to leaves, roots and branches.

Adding just a subtle touch of colour on in places will be enough to prevent the image from looking too monotone. (Fig.04) .


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Step 5:Next, the cleaning up of the yet untreated areas could begin. In doing so I found it important to angle the sharp outlines of shapes of,for instance, the snow patches in interesting ways to generate appealing compositions and as such lling white space by relatively simple means.

This ensured that none of the less important areas would become overworked and the focus stayed rmly on the tree. (Fig.05)

Step 6:As the detailing continued by eshing out the texture of the bark I also took the opportunity to add small gimmicks such as icicles andtiny tracks to break up larger shapes and lines into smaller ones and invoke a touch of lively playfulness. A slight gradient as a background not only

helped to juxtapose the contrast of the snow patches on top of the tree further but also gave a subtle hint at a damp sky. (Fig.06)


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page56

Step 7:With the tree painted up and the largest part

of the clean-up work completed I decided

to add some patchiness to the gradient to

somewhat

diminish

the CG feel.

A few more

roots peeking

out from under

the snow on the

left helped the trees

perceived

stability. I

then balanced

the composition

on the right

by adding a few

grass leaves in the

foreground and a fence

behind the tree while

the subtle disk of the

moon simply serves

as another means of

contrasting shapes

against each other and virtually leading the

focal point from the base of the gnarly trunk

over to the right towards the fence. The

comparably young, slender and fragile plant

clasping the batons to the right also serves the

purpose of juxtaposing opposites. (Fig.07)

Conclusion:Breaking up large shapes into smaller ones

while using tonal contrasting to separate

them can be a relatively quick and easy

way to create interesting compositions

while maintaining some form of readability

by detailing mainly the areas of interest

and keeping the surrounding forms simple

and sharp, yet appealing in their layout and

angularity.

Tutorial by :

Chris Thunighttp://www.thunig.com
http://www.2dartistmag.com/http://www.thunig.com/http://www.thunig.com/http://www.thunig.com/http://www.2dartistmag.com/


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Chapter 9 : By Richard TilburyTrees


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IntroThe following tutorial will attempt at outlining

an approach to painting trees and hopefully

summarise techniques that can be applied

to the subject as a whole. Off course the

capabilities of creating custom brushes in

Photoshop is very useful with regard to

painting different types of trees and will need

to vary accordingly but overall the principals

explained will remain universal.

Step 1:The rst step is to draw in a rough shape that

represents the trunk and branches of the tree.

I made an initial plain white background and

then using the polygonal lasso tool simply

traced in the shape of the tree and then lled it

with a dark brown colour similar to (g 01).

Step 2:Then using one of Photoshops standard dual

brushes called dry brush which appears in the

default palette and using a mid green (R42

G65 B11) start blocking in some of the main

areas of foliage as seen in (g 02). Try varying

the size of the brush until you get the scale

right.


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Continue adding the leaves until you are happy

with the look and have lled out the shape of

the tree (g 03).

Step 3:Then in order to add some volume and

shadows I duplicated this layer and erased the

upper most portions so that the sun appears to

be shaded from the lower boughs and in

contrast highlighting the highest branches

(g 04). Then on another new layer I painted

in some lighter green highlights across

the top sections of the foliage to also help

create the volume. In (g 05) I blacked out

the background so you could more easily

see these areas. You will also notice how I

have included highlights on the branches to

reinforce the sensation of light.


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Step 4:The next stage is to add some further highlights on the same or a new layer as well as some extra branches that appear in front of the foliage. It is

important to remember that the branches and foliage spread out in every direction as well as towards the viewer and so branches disappear behind

leaf groupings and also overlap them at points (g 06). You can see the extra highlights when you compare the picture to the previous image. These

represent the leaves that have really caught the light and often appear very pale due to their reective quality.


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Step 5:All that is left to do now is atten down the layers of the tree and then using the colour dodge and colour burn tools enhance some of the qualities

of the light across the branches and foliage. I also decided to add in the sky painting from last months Elements tutorial and tweaked this using the

Colour Balance and Hue/Saturation values to give it a sunnier and warmer quality. You can see the nal result in.

Tutorial by :

Richard Tilbury


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Chapter 10 : By Richard Tilbury

Water


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v2 Elements : Waterwww.2dartistmag.com

elementsWater

page64

Painting WaterDuring this tutorial I will try to outline one

way to go about painting water that is

representative of a calm sea. Now this is a

subject that varies greatly and is dependant

on so many factors that it is almost impossible

to lay down strict rules and guidelines. Water

by nature is highly uid and transformable and

therefore does not have a particular form to

it. It is both transparent and at the same time

very reective and so is always at the mercy

of its environment and surroundings in the

way it is perceived by the human eye. It is

also affected by light, weather conditions and

gravity and so can appear in an innite number

of ways. A waterfall or fast owing rapids look

white and opaque compared to a still pool for

example and the colour of the ocean always

reects the sky above it. Therefore the way we

go about painting water is always reliant upon

a number of issues and aspects in our scene

and all of these must be considered before

we begin. As I have already mentioned this

particular tutorial concerns a relatively calm

sea and so the only real issue to be mindful of

is the sky. If we were to include land masses or

trees for example then these elements would

undoubtedly have a bearing on our painting.

Step 1:So the rst thing to do is blockin our horizon line and colour of the sea. I

have decided to start with a dull grey blue

but this can easily be changed later on. On

the background layer ll in the whole picture

with a white and then using the rectangular

marquee tool create a selection area at the

base of the image and then go to Select

Feather and enter about 10 pixels and ll in

with a blue colour as seen in Fig 1. With this

done select the entire image and go to Filter

Blur Gaussian Blur and enter around 6.7.

This will sufciently soften our horizon line and


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lessen the transition between the sky and sea.

This of course is not always how we perceive the

horizon sometimes it is very crisp but for the

purposes of the tutorial we shall create a bit of

atmospheric perspective.

Step 2:With the two colours blockedin the next thing to do is start to create the

reections across the surface which will dene

the motion of the water. I decided to make

a reasonably calm sea without too much

turbulence but enough to create a pattern.

For this I started with a standard soft roundairbrush and under the Brushes tab added a

sample tip as a dual brush with settings similar

to Fig 2. I then created random strokes across

the blue on a separate layer using a variety of

brush diameters and using a pure white. I then

set the layer opacity to 50%. The nal result

can be seen in the upper right.


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Step 3:The next stage involves creatinga new layer and doing exactly the same thing

except creating marks in different areas (Fig

3). Set the blending mode of this layer to pin

light and turn the opacity down to around 70%

- you can see the two layers combined in the

upper right.

Step 4:In this exercise I am going tohave a setting sun in the centre of the image

just above the horizon line and so will need

stronger reections at this point. So again on

a new layer using the same process as before

add in some extra highlights below the position

that the sun will occupy as seen in Fig 4. You

will notice that my marks are quite rough but

do not be worried about that at this stage as

we are far from nished. When you are happy

with the layer set the blending mode to linear

dodge and leave it at full opacity again the

small inset shows culmination of layers so far.


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Step 5:Make a copy of this layer andthen add a gaussian blur similar to the amount

seen in Fig 5. and keep this layer set to linear

dodge.

Step 6: So far I have only used onebrush to paint the highlights but to give the

water a shimmering quality I will need to use a

different brush in this case a standard chalk

brush. This will break up the edges of the

light reecting on the surface and help create

the impression of a sun low on the horizon.

Concentrate the brush marks near the horizon

where perspective reduces the visibility of the

waves as seen in Fig 6. You will also notice

that I have added in a simple sky to help

contextualize the water and show how the two

are co-dependant.


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to do is select a dull pink with an RGB value

of 146,134,136 and ll a new layer entirely.

Then set the layer mode to lighten and erase

areas near the base of the image and across

the clouds (Fig 8). This will produce the subtle

impression that more light is bouncing of the

water in the mid distance from a low sun and

help the sense of perspective. You can see in

Fig 8. On the left of the line where the layer has

been added compared to the right side which

is as it was.

Step 7:Using the chalk brush I haveadded some marks across the water but

concentrating around the central section of the

image on two separate layers similar to the

way I made the initial highlights. I then blurred

both layers slightly to soften the effect and the

result can be seen in Fig 7.

Step 8:There is no need to really addtoo much more detail on the water now. We

have reached a stage where we have enough

information to interpret the brush marks but

not laboured over them too much. The overall

image remains very blue and suggests an

almost early afternoon light but as the sun is

low in the sky it seems as though an overlay

would help imply an evening light. First thing


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Step 9:We are now going to add a warmer overlay across our sky and the lighter areas of the water. We can limit the areas we apply thecolour by going to Select Colour Range and using the eyedropper to select the highlights. Once done feather the selection by no more than 2

pixels and again on a new layer ll in with an orange yellow and set the blending mode to Colour at around 25% opacity. In g 9. you can see again

the before and after effects of this and how the yellow has been limited to the lighter areas.

Step 10:Last of all we are going to add one more overlay to the water only so that the sun is the brightest area in the picture. Choose a paleorange and ll in an area across the whole of the water and then set the blending mode to multiply at around 20% opacity. In Fig 10 you can see

how this looks before we change the blending and how it looks afterwards. On this layer I have erased some of the colour across the sky so there

are some cooler blue tones remaining in order to avoid too much uniformity.


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That about concludes this tutorial and as

always renements could be made but

hopefully it will prove useful to many people

wishing to paint seascapes. The nal image

can be seen above.

Tutorial by :

Richard Tilbury


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Chapter 11 : By Don Seegmiller

Waterfall


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elementsWaterfall

page72

Painting Rocks & StoneThere are many different types of waterfalls.

They range in from small trickles of water to

immense and thundering rivers of water. They

can be calming or terrifying. Each type would

call for a somewhat different treatment as you

worked. In this brief demonstration, I will show

how I would go about painting a rather small

waterfall. In this demo, I have used done the

majority of the painting in Corel Painter and

used Adobe Photoshop for a few nal touches.

The general procedure would be the same

regardless of what application you would use.

Figure 1:

You rst need to begin with something to paint

the waterfall on. In this case, I have used a

rather strange rock formation that I painted

earlier. That in itself could be the subject for

another tutorial but for now, this is the rock we

are going to paint a waterfall on.

Figure 2:As the water pours over the rocks, it leaves moisture wherever it spills and you wan to get this

effect. The simplest way to accomplish this is to add another layer, change its composite method

to either multiply or gel and paint a darker layer. You can see in the image the initial values on

the bottom of the rock and how they become more rened as I work them into the higher areas of

the rock. I nd that I will almost always lower the opacity of the layer and apply a slight blur. The

amount of opacity and blur is strictly an individual choice. I leave this on a separate layer for the

time being incase I want to make some changes as I paint the water.


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Figure 3:This gure shows the wet layer after it has

been worked a bit more and blended. I also

decide that there is not quite enough contrast

or colour in the rocks themselves. To correct

this problem, I duplicate the rock layer, change

its composite method to gel, and turn the

opacity down until I get just the right change in

contrast and colour saturation. I go ahead and

combine the two rock layers into one.

Figure 4:Using a chalk brush, I indicate the initial fall of

the water stream on a new layer. I use colours

that are picked out of the sky to retain an

overall colour harmony. I am not concerned

about detail at this point but just the overall

look.

Figure 5:I continue to rene the water paths a bit

getting some smaller streams pouring over

the rocks. I try and not paint too thickly so that

the underlying colours of the rocks still show

through.


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Figure 7:I work down the surface of the rocks adding

additional white into my colours as the water

bubbles and splashes. I try and make the

water take a path in the rocks that will feel like

a natural ow in the cracks and crevices.

Figure 8:The water is not only white but changes colour

as it ows in and out of the shadow. You can

see at the red arrow points where I have

changed the colour of the water to a blue that

I picked out of the sky colours. If you do not

make your water change colour as it ows in

and out of the shadows, the whole image will

look at and will not help give the illusion of

owing water.

Figure 6:Using the same brush, I begin to develop the

look of the sheets of water as they spill over

the rocks. I refer to good reference materials

to make sure the effect is natural. Remember,

all of this is taking place on the water layer.

Working in layers does make correcting

mistakes so much easier.


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Figure 9:I add an additional layer and using the

variable splatter airbrush, I paint in some

big splashes where the water hits the rocks.

Almost always, I will need to go back in with

the eraser and gently erase here and there to

keep the effect from becoming overpowering.

Figure 10:Using the digital airbrush, I add the misty

and foggy effect on a new layer on top of the

splashy layer.

Figure 11:When painting objects like waterfalls, it is almost impossible to tell the scale of the object without

something in the picture to give the viewer a sense of the size. In this case, on a new layer, I

added the ock of birds. Now, you the viewer know that the waterfall is not very large and not just

a trickle but maybe just 12-15 feet in height on the rst tier. I do arrange the birds pretty carefully

after painting them in.


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Figure 12:I switch to Photoshop at this point to add a rainbow. Once again, on a new layer I create a circular marquee and ll it with acircular gradient. The gradient is custom build to utilize transparency. I reversed the order of the colours to add more strangeness to the scene. The

colours are harsh, too saturated, and the placement is bad but since we are on a new layer, this is easily xed.

Figure 13:Using the Gaussian blur tool in Photoshop, I soften the rainbow. There is no correct amount and you will need to experiment toget just the right amount for your individual image.

Figure 14:I scale the size of the waterfall down and position it where I want it. I lower the opacity to about 40% and also change theblending mode to colour. This gives me a very nice and subtle rainbow like you might expect to see with a waterfall.


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For the nal touch I carefully

erase some of the lower part of

the rainbow. The image is now

nished.

Tutorial by :

Don

Seegmiller


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Introduction:Michel Rogers famous Joan of Arc

tutorial re-written for Maya by Taylor

Kingston, Cinema 4D by Giuseppe

Guglielmucci & Nikki Bartucci,

Lightwave by Vojislav Milanovich and

Softimage by Luciano Iurino and

3DCreative Magazine.com.

If there has been one single tutorialthat has educated and inspired more

budding 3d artists than anything else,

this complete step by step project by

Michels must be it. The community

is in debt to him.

for more products in our range visit http://www.3dtotal.com/shop

These 120 plus page, Downloadable PDFs are

designed for ease of use to help beginners and

intermediate level of artist alike in the creation

of a female character. The tutorial takes you

through the process of modelling, texturing and

mapping to fnally adding bones.

Chapter 1: Modeling of the Body

- Body

Chapter 2:Modeling of the Head

- Head, Ear & Assembly

Chapter 3: Modeling of the Accessories

- The Sword & Armour Legs


- Armour Bust, Hair & Glove


- Accessories & UVW Mapping

Chapter 6: UVW Mapping

- Sword, Clothing, Armour & Body

Chapter 7: Texturing & Hair

- Eyes, Skin & Hair

Chapter 8: Bones & Skinning

- Bases, Hierarchy & Skinning

ImagebyMichelR

oger
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Introduction:The original character of the Swordmaster

was created by Seong-wha Jeong and we

had 3DTotals in-house 3d artist Richard

Tilbury, re-create the character in 3dsmax

as well as create the textures in Photoshop,

in our new precise, step-by-step tutorial for

highly polished, low polygon game character

with detailed texturing for real-time render-

ing. We have also converted the tutorials into

Cinema 4D, Maya, Lightwave and Softimage

platforms. Even if you are not a user of one ofthem, the principles should be easily followed

in nearly all other 3D applications.

The Swordmaster tutorials is spread over 8

Chapters which outline, in detail, the process

for creating the Swordmaster below are the

details.


Chapter 1:Modelling the Head

Chapter 2:Modelling the Torso

Chapter 3:Modelling the Arms & Legs

Chapter 4:Modelling the Clothing & Hair

Chapter 5:Modelling the Armour

Chapter 6:Mapping & Unwrapping

Chapter 7:Texturing the Skin & Body

Chapter 8: Texturing the Armour & Clothing

image by Seong-wha Jeong

Downloadable Tutorial EBook
http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/http://www.3dtotal.com/swordmaster/


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http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/http://www.3dtotal.com/textures/


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Introduction:The Digital Art Masters: volume 1 book, is

a collection of work from artists which

have featured in the gallery of 3DTotal.

Spread over 192 pages, the book features

some of the finest digital 2D and 3D art-

work that you can see today, from artist

as Natascha Roeoesli, Philip Straub, Rob

Chang, Jesse Sandifer, PiSONG, Meny Hilsen-

rad and Ryan Lim and many more. More

than just any other gallery book, each

artist has written a breakdown overview,

each with supporting imagery of how they

made there piece of work.


The first book in the Digital Art Masters series,

contains work by the following artists:Andr Holzmeister, Andrey Yamkovoy, Balazs Kiss, Cetin Tuker, Daniele Montel-

la, dEttorre Olivier-Thomas, Donald Phan, Drazenka Kimpel, Egil Paulsen, Eric

Wilkerson, Fabricio Micheli, Francisco Ferriz, Fred Bastide, Fredrik Alfredsson,

Haure Sebastien, Jesse Sandifer, Jorge Adorni, Juan J. Gonzlez, Juliano Castro,

Khalid Abdulla Al-Muharraqi, Landis Fields, Laurent Gaumer, Laurent Mnab,

Li Suli, Linda Tso, Marcel Baumann, Marco Siegel, Mariska Vos, Meny, Hilsenrad,

Natascha Roeoesli, Nicolas Richelet, Niels Sinke, Norbert Fuchs, Olli Sorjonen,

Omar Sarmiento, Patrick Beaulieu, Philip Straub, PiSONG, Richard Tilbury, Rob

Adams, Robert Chang, Romain Cte, Ronnie Olsthoorn, Rudolf Herczog, Ryan

Lim, Siku and Thierry Canon

: volume 1
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Introduction:A Collection of the nest independent animated

movies and commercial trailers. The DVD includes

work from a whole number or different sources,

such as students, independents animators and

commercial studios. We want people to be able to

view this wealth of elite animation in one conve-

nient high resolution package whilst generatingmuch exposure for these talented artists at the

same time.

Running Time: 3hrs 8 mins

- Running Time: 3hrs 8 mins

- 27 Shorts movies- 6 Clips & Trailers

- Region Free, NTSC & PAL versions

- Shorts & trailers from artist and studio like:

Blur Studios

Brian Taylor

Marco Spitoni

Patrick Beaulieu

& Alex Mateo
http://www.3dtotal.com/shorts/http://www.3dtotal.com/shorts/http://www.3dtotal.com/shorts/http://www.3dtotal.com/shorts/http://www.3dtotal.com/shorts/http://www.3dtotal.com/shorts/http://www.3dtotal.com/shorts/http://www.3dtotal.com/shorts/http://www.3dtotal.com/shorts/http://www.3dtotal.com/shorts/http://www.3dtotal.com/shorts/http://www.3dtotal.com/shorts/http://www.3dtotal.com/shorts/http://www.3dtotal.com/shorts/http://www.3dtotal.com/shorts/http://www.3dtotal.com/shorts/http://www.3dtotal.com/shorts/http://www.3dtotal.com/shorts/http://www.3dtotal.com/shorts/http://www.3dtotal.com/shorts/http://www.3dtotal.com/shorts/http://www.3dtotal.com/shorts/http://www.3dtotal.com/shorts/

Elements_v02.pdf

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Transcript of Elements_v02.pdf