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The most difficult part was to find the will and time to complete it. The first layer is the white paint with matte reflections and the second is the Shellac layer with sharp reflections. Meet some of the finest 2D and 3D artists working in the industry today and discover how they create some of the most innovative digital art in the world. Imprint Routledge. In addition to mastering composition, lighting and perspective, they have spent countless hours sharpening their technical skills to an impressive standard. Imprint Routledge.
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New York: Routledge, https: View abstract. Where a painter may spend their entire career using oils or watercolor, the digital artist will have their tools changed on a yearly basis. It is truly an existence of perpetual learning. This volume of Digital Art Masters features some of the most inspiring, captivating and challenging artwork of the past year.
The artists who created these masterpieces travel a road marked by many late nights, trouble-shooting render errors, optimizing scenes and beating computer hardware into submission.
In addition to mastering composition, lighting and perspective, they have spent countless hours sharpening their technical skills to an impressive standard. This collection of multi- talented artists have generously shared their creations with us; from a broad range of disciplines, they take us through the processes used to craft their work.
In doing so they give back to the artistic community, from which each of us draws the potential to grow, create and hopefully inspire our audience, as they most certainly have. To each of you we say a sincere thank you, for the beautiful work that you do and the gift that it is to us. When I had some free time, I started to add some extra features such as the grass strands, roots, leaves, and other small bits here and there.
I considered an old tennis ball, a golf ball, a pack of cigarettes, a bottle etc. Here is why: All those action figures from films like Alien, Predator and Spawn, along with cars like the Audi TT, Ferrari and a couple of smaller models, appealed to me, so I bought them. As the months passed by I started to find these toys in places all over the house and garden, almost destroyed by a 2 year old and a 28 year old boy.
I took one of them and decided to put it into this environment composed of soil.
It was one of the cars I bought simply because I liked it; the Cadillac Eldorado. Software Used: CEO - Noemotion s. So I had to order a new one to get a proper reference for the front bumper. Other inspiration came from just looking at the world around me.
So, just look around and see how things appear. My usual modeling workflow is to start with a simple shape or object, converting it to an Editable Poly and using its most common modeling features such as Extrude, Bevel, Connect, Weld, etc.
Car chassis: I started by setting up planes with images of the toy car on them; notably the top, front and side views. Then I used an Editable Poly to create the basic model. Over this I applied the Turbosmooth modifier to add subdivisions to the mesh, followed by the Shell modifier to add a thickness to it. After the model had been subdivided and was dense enough I added the Noise and Displace modifiers with a little cellular map to add imperfections to the body in order to break up the reflection a bit.
Most of the time it helps to add some deformation to the mesh to achieve more realistic results in terms of the shading Fig. Car wheels: Modeling the wheels was quite easy.
I started with a cylinder containing a certain number of radial segments. I deleted most of it and then used a few Symmetry modifiers to re-create the complete wheel. I had as few control points as possible, thus enabling a fast and easy method of achieving the desired shape Fig. Car glass: For the glass on the front of the car I again used polygonal modeling combined with the Turbosmooth and Shell modifiers.
When I was satisfied with the result, I created an object to subtract it from the glass. For subtracting one object from another I usually use the ProBoolean compound object. After the Boolean operation I had to modify the mesh and fix some of the issues caused by the operation.
Car dirt: After I was done with the chassis of the car, I scattered several types of objects across it to create the effect of dirt.
These involved an array of subtle stones, dust and hair Fig.
Wheel modeling using symmetry Fig. For the soil I used a very dense plane with a lot of Turbosmooth, Noise and Displace modifiers applied. I took some time to experiment with the values and maps used for displacement in order to meet with my expectations.
Soil and rocks: I started with some primitive objects such as boxes. Then I converted it to an Editable Poly and modeled the basic shape of the soil.
With the use of the Turbosmooth, Displace and Noise modifiers, I achieved the desired detail and surface quality. After achieving several soil and rock shapes, I cloned them using the Array tool and then randomized their transformations using a Randomizer script, freely available for download on the internet.
When I had a nice chaotic distribution I used Glue http: Some of the rocks and soil objects were placed manually to achieve exactly what I needed Fig. I started with a simple line shape consisting of many vertices. I used the Noise modifier and then cloned the spline several times, using the Randomizer script once again Fig.
If you are a beginner in 3D modeling, you should read the manual and try to find out how your 3D package works. You can trust me when I say that modeling static objects is one of the easier parts of 3D.
If you want to be a fast, good and precise modeler, you need to know your modeling tools as well as possible, so take the time to read about them and experiment. All the ground and soil objects have the same tileable textures for the Diffuse and Bump maps Fig. Eldorado itself only has a couple of very basic black and white mask textures, used to blend the car paint with the surface underneath to show the scratches.
For the car paint I used VrayBlendMtl to create two layers. The first layer is the white paint with matte reflections and the second is the Shellac layer with sharp reflections.
Note that the Diffuse color of the Shellac layer has to be black to avoid adding more color from the paint material. There are basically two lights in the scene. One is a directional light key light simulating the sun, with a yellowish color.
The second light fill light is a Skydome using a V-Ray sky map. I also used Global Illumination bounces to produce a more realistic result. The image was rendered out as x pixels to an OpenEXR file format.