Photoshop for 3D

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

  

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   

  

  

You can see the base images and free brushes in the resources folder that accompanies this ebook.

 Render Passes | By Zoltan Korcsok



Chapter1: Render Passes

 Created In:Photoshop  This article showcases the tools and settings typically needed for the compositing of render passes in Adobe Photoshop. Rendering images into passes from rendering software makes it possible to modify tone, colour and certain effects in the rendered image, without the need for rendering it again.

 To follow this tutorial, we need to have the following render passes at hand:

Final Color Pass – We’ll use this pass as a reference for setting up the layer structure.

indirect lighting, shadows, specular and Fig.01) This contains the colours of the materials in the Fig.02) This contains the specular effects of the materials in the scene ig.03) This contains the

Fig.04

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Chapter 01

Chapter1: Render Passes 

This contains the ambient occlusion effect; it gives shading

and so on).

to the areas hidden to the ambient light and it shades the more obscure parts of the models in the scene. Using this pass gives Fig.05)

  Create the base layer structure using the

This contains the depth map

Fig.07):

of the scene measured from the camera. We use this pass in Photoshop to create a lens

blending mode: Normal

Fig.06)

blending mode: Multiply blending mode:

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Chapter 01

Chapter1: Render Passes

blending mode:

Fig.09). The simplest way of correcting this is

pass layer to 30%. The strength of any render Here are the passes combined after putting the

pass is easily adjustable by changing the

Fig.08). used for brightening the midtones by duplicating

 image put together using the passes reveals

be adjusted by modifying the opacity.

that the ambient occlusion effect is too strong Here we can see the composited image with

Fig.10 – 11).

by dragging the slider. Another method is to go

to the background layer; it doesn’t have such values.

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Chapter 01

Chapter1: Render Passes 

Fig.12), and the

Fig.13).

  The image put together from the passes looks a bit pale compared to the Final Color pass Fig.14). We can make the colours more vivid

Fig.16).

  

mask. First of all, merge all the passes into one and adjustment layer icon, and select Hue/

click on the Add layer mask icon, or alternatively

Fig.15).

We’ll give a bit more contrast to the image now The blur effect can be achieved using the

Fig.17

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Chapter 01

Chapter1: Render Passes can see it with the current settings, alongside the settings panel. The Preview section can be found on this panel, where it can be turned on and off, or switched to Faster or More Accurate.

preview image we want to focus on. The iris’ shape can be adjusted under the Iris section; we

to the value of 0.

highlights of the image can be adjusted under

of the blur effect can be set up under the Noise

these at their default 0 values for this task. After applying the effect, delete the mask.

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Chapter 01



is linking the layers belonging in one set easy to duplicate, so you can always leave

with the currently selected layer to it, and

a backup copy of the arranged layers in the Fig.18). copy for lens effects

  is to select the layer, select the Move tool,

 For more from this artist visit: dragging it down onto the Create new layer

http://trurl.cgsociety.org/

icon at the bottom of the palette

or contact:

and then type in the number you want the

[email protected]

percentage of its opacity to be the Create new set icon which can be found on the bottom of the palette. You can then simply drag the layers into it. Another option

 Blending & Cloning | By Richard Tilbury



Chapter 2: Retouching Final Renders   Created In:Photoshop  In the previous chapter we looked at how various render passes can be composited in Photoshop to create a still image that integrates different components in a scene. We saw how, by rendering these elements separately,

Photoshop is a powerful tool when used in

such as lighting, as well as some of the surface

lengthy and time consuming operation to get unwrap every piece of geometry and hand paint

hand side wall displays a richer detail as this

and tear caused by either human contact or

more effort has been afforded to this portion of

many cases.

through more natural means. Adding dirt and

In this chapter we will be carrying on as it were

subtle details that make a scene tangible, can

meets the wall adds interest and helps integrate the two planes, but the opposite side looks somewhat inconsistent.

from Chapter 1, and assume that we have composited all our render passes together.

It is true that the same attention could have photos at the right resolution, and often the what the author would like, either due to time

solution comes at a price – namely, tiling. This

but assuming that time is limited then less

constraints or not being able to set the scene

is an effective alternative, but it does have its

conspicuous sections will be granted swifter

drawbacks in the form of symmetry, which is a

treatment.

rare thing in the world. The key problem areas are highlighted as follows, and indicated on the render accordingly Fig.02): Photoshop can prove just as worthy – and far more economical with regards to time.

1. There is evidence of tiling along this lower section of the wall 2.

Fig.01

of any dirt makes this area less convincing these have been composited in Photoshop to create the still we can see here.

compared to the opposite side 3. This junction between the wall and ceiling also suffers a similar problem but also

bad – and so it shouldn’t given that it has been

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running vertically

Chapter 02

Chapter 2: Retouching Final Renders 

shown in Fig.03, and then hold down the Alt

evident by a white crosshair.

Now move the cursor to the area you wish to Fig.04), release

Alternatively, you can use a graphics tablet

remove any tiling this way, and you will notice

above this section.

Now we will add some dirt to the left side of the corridor, and to do this we can take advantage

Fig.05).

Fig.06), and

90 degrees, as a vertical map will be easier to manipulate in this instance.

Now, with the new layer selected in the scene

a new window similar to that shown in Fig.07.

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Chapter 02

Chapter 2: Retouching Final Renders

The Create Plane tool will automatically be selected, so simply drag and click to create a grid that matches the perspective of your render.

Fig.08).

Use the control points to accurately position the

Fig.10). the grid where it will automatically align with the perspective, and use the Transform tool to scale Fig.09).

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becomes white, and vice versa) and then set the

Chapter 02

Chapter 2: Retouching Final Renders  blending mode of the layer to Multiply at around Fig.11).

it should have a little color to match the

and yellow.

to delete sections that wrongly overlap, such as the panels below the pipes and the end of this metal pole in Fig.12. A tiny amount of blurring

This same procedure can be repeated for the dirt map on the wall and the ceiling by adding

one by holding down Ctrl and dragging one of the points in the relevant direction.

nearest the camera. Instead of adding more geometric particles, or perhaps a normal map,

highlighted in Fig.13.

duplicate. Using this tool on the wall section

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Chapter 02

Chapter 2: Retouching Final Renders highlighted in red means we can then transfer the rough appearance of

Fig.14 shows the original untouched Color render, and Fig.15 is the

can see how these minor tweaks help improve the render and can be

 a great amount of time perfecting things, even though it may drive us to madness!

However, this is not the case, and invariably concessions have to be

generally enhancing the mood of the render.

 For more from this artist visit http://www.richardtilburyart.com/ render, but the sum of all these small changes contribute towards a more

or contact

convincing and plausible outcome.

[email protected]

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

Chapter 02

 Lighting and Particle Effects | By Richard Tilbury



   Software Used: Photoshop

 This third chapter is a continuation from Chapter August 2009 issue), and will use the same scene as before. We will look at ways to enhance the lighting effects and mood of the render and create a dusty atmosphere that suits the subject matter.

In Fig.01 you can see the stage where we ended Chapter 2. The render at the moment is

Fig.02).

your preferences, as this is purely subjective,

this instance.

the hue dependant on the particular scene, but in this case I have made it warmer. Go to Image

Fig.03).

that have already been composited in Photoshop with the tweaks that we dealt with

in the last tutorial. We could leave the scene

highlights on the opposing wall. As such, we

as it is, but instead we will use what we have

can create what is commonly known as “light

so far in our render to suggest ways in which to

bloom”. This is an effect often used in computer

enhance things a little.

graphics and describes the way light can appear to “bleed” beyond its natural border when seen



through a camera lens. In Fig.04 you can see

There is a strong light source outside the

the result of this effect around the window.

building, left of the picture, which has cast

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Chapter 03



and then put this above all the other layers and

Fig.05).

on the diagonal line and adjust it similar to what is shown in Fig.06 until you have darkened most

tidy up you can use a brush to paint over any Fig.07).

ig.08).

You can either leave this layer black and white, or you can tint the white areas, which I have done by adding a warmer tint similar to the

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Chapter 03

 Fig.09 you

the resultant effect it has. I decided that the door did not work so erased this section, indicated by the white area on the layer thumbnail.

To add even more intensity to the light from the windows make a selection area around both,

Fig.10 – #2).

Fig.10 – #3).

With these effects complete we shall now go on and add some volumetric lighting to suggest a



selection area that will correspond to the beam

Fig.11).

Make the foreground color a pale orange and

on Fig.11 by the arrow.

in Fig.12

edge of the selection area to the opposite side

soften the effect and aim for something similar to Fig.13.

Now duplicate this layer and scale it to match Fig.14).

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Chapter 03



Fig.15).

The volumetric lighting now helps give the atmosphere a more dusty feel, but to enhance it further we are going to break it up slightly.

Create a new layer and, making sure you have black and white as the foreground/background

pattern similar to Fig.16. Through Photoshop we have been able to Make sure this new layer is above the

enhance the lighting and create the effect of

in order that you can see its parameters for Free Brushes icon to

the red line that divides the two layers, as seen

the impression of a dusty atmosphere. This

download).

in Fig.17. Fig.19).

To load it, go to the root folder of Photoshop on

This will create a clipping mask that will only reveal the clouds layer within the boundaries of

 some steam emanating from the near set of

Fig.18).

pipes on the left. Again, this is a particle effect

You can increase the contrast of the clouds

to the brush thumbnail). Now click on the upper

layer to make it more apparent, and even add some noise to create visible particles if you

In Fig.20 you can see a custom brush I already

Fig.21

wish, but I prefer to keep the things subtle.

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Chapter 03



If you look in your brushes menu you should

Fig.22). If you click on the small icon ringed in red, this will open up the brushes palette where you can see the settings for your brush. The key sections are the ones underlined, so go ahead

the best way of understanding what they do.

ahead and paint in your steam. You can use

Fig.23).

This essentially wraps up this tutorial, but there is one last thing we could do to emphasize the

 Fig.24).

Now adjust the curves similar to Fig.25 by clicking and dragging on the line which will have the effect of increasing the contrast slightly, and because it is below the volumetric layer it will make the sunbeams stand out a little more.

version, which can be seen in Fig.26.

 For more from this artist visit http://www.richardtilburyart.com/ or contact [email protected]

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

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Chapter 03

 Curves, Levels, Colour Balance & Layer Styles | By Richard Tilbury



   Software Used: Photoshop

 In the forth workshop of this tutorial series we’ll be taking a look at some of

Adjustments menu, as shown in Fig.01

or lesser degree, or indeed as a way of completely transforming the In this tutorial we will cover a brief overview of the above mentioned tools, environment, but as this tutorial will hopefully show, using Photoshop can

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Fig.01a).

 Levels Adjustments. When you open up this tool you’ll see the following dialogue

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Chapter 04

 Fig.02). There are two main sliders which

In Fig.03 you can see the original version on the left, where the four outer sliders are at

are moved inwards, the contrast is reduced, meaning that the black value is made lighter correspond to the black and white values in the image – black being a value of 0 and white being a value of 255 – and these determine the to the adjustment as shown by the red lines

and highlights manually, or return the values, we must now move the Input sliders to the outer edge of this new range, thus returning the black value to 0 and the white to 255, as seen on the

and lower will be set at 0 and those of a value of 228 and higher will be set at 255. The middle slider affects the midtone range, and by moving it left makes the image lighter, and vice versa.

inwards on the Input slider, we can brighten up the render and give the impression of a stronger Fig.04 the sky is the brightest area without much contrast, the adjustment has rendered it almost completely white. If you wish to avoid this you could have a separate render pass of just the buildings and apply it to the foreground only, which would enable individual control of both the

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Chapter 04

 buildings and the sky. Alternatively, if you save out the render with an alpha channel that carries a mask for just the buildings, then you could

the foreground conditions.

 The Curves image adjustment tool essentially

have more control over the tonal range. With

the different color channels. When opening fourteen. To delete a point simply drag it outside of the window.

Fig.04).

resembling what is shown in Fig.05. In Fig.06 you can see the number of points I have added to the baseline, and the resultant

control over the tonal range, but which approach

effect is shown in Fig.07. The top three points

you use depends on the render and artistic aims

right corner of the window representing the

most point affects the shadow, with the black

combined.

highlights, and the opposite corner representing

point affecting the general range of midtones.

the shadows. You can click on the line to add

You can see that by adding numerous points



points and then drag these accordingly to

I have been able to brighten up the scene,

This command is used to add a tint to the overall

I won’t cover every aspect of this as you can

image and is very useful when you wish to alter

manipulate the tonal range, adding as many as

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Chapter 04

 the general color of the lighting conditions. You access these controls Color Balance

the slider towards Red and Yellow to create a warmer light, perhaps

more control.



colors. In Fig.09 you can see the original image at the top, with the

The bottom image is a version which has been transformed into a

color channels or the overall image, which is labeled Master. These are the key things worth noting and what you will use in most cases, but for a

As this image has been turned into a nocturnal scene we could also apply Curves to reduce the contrast and tonal range, as well as making the shadows darker.

These are perhaps the most commonly used tools with regard to

involve the subtle combination of all the above. We will now go on and look at how we can apply some of these tools to create three variations of

 and more dramatic light, akin to some of the photography in the epic Fig.10).

series, Band of Brothers

essentially affect the brightest parts of the scene without altering the areas

in other instances, also.

the areas that appear too light, to reveal the original render below. I’ve

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page 28

Chapter 04

 added a new layer between this one and the

Fig.11). Using

would receive less or no light, i.e. the underside of the bunker and facing wall of the building far right, as the sun is casting light from left to right.

and make it a touch darker and less saturated, after which I give it a very subtle green tint by

contrast creates a more dramatic mood with strong sunlight, and the suggestion of an Fig.12).

We have created a more dramatic daytime version of our scene, but let’s imagine that we now want to set the clock forwards to late afternoon, somewhere around sunset…

 First of all, I make a duplicate of the render layer

yellow, as shown in Fig.13.

new layer, but by changing the entire layer we

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page 29

Chapter 04

 obtain a better idea about the overall light when

the settings, I delete the foreground buildings so that we end up with something similar to Fig.14.

Now I make a duplicate layer of the original and then place this over the new sky; once done

Fig.15. Here you can control

Gradient Type.

Clicking on the Gradient bar to open the

the sunlight. You could in fact leave the sky

together more.

by the arrow. I also make sure that I select Foreground to Transparent from the upper

Fig.17. You

row of Presets by clicking on the appropriate

difference in time, if you wish. If you selected the orange color from the Gradient and then

Fig.16 with some tinted sunlight on the near left section where the light hits the rock face.

of which only the sky and roof attachments are visible. Above this is a duplicate of the

 Photoshop’s Image Adjustments menu, particularly amongst matte painters, is the ability to turn a daylight scene into a nighttime version. To do this, we will, as usual, make a

tool. Fig.18 shows the base render with the

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Chapter 04



Fig.19). The

have a readymade mask. With this area put

scene still looks a little too light and rather blue,

shown in Fig.20. This essentially puts a light inside the building with the source being on The scene, as it stands, looks a little

the left, gently fading towards the right hand

uninteresting, even though it resembles nighttime, so to improve things we are going to

illustrated in Fig.21. The above mentioned layer

switch some lights on inside the bunker. To do

is at the top and below this is a duplicate with all

backlit clouds that would be ideal as it will

this I either duplicate the window section that

but the left hand windows deleted. You can see

suggest moonlight illuminating them from behind

corresponds to the glass, or render just this face

– this proves very effective for nocturnal scenes!

in my scene with an alpha channel, meaning I

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page 31

Chapter 04

 Fig.22 and this about covers the principal Image Adjustments, and more crucially, the ones you will most likely use. However, there is perhaps one more worth mentioning … the Photo Filter.

 over a camera lens; it is again found under

effective, depending on your render.

in Fig.23

palette, and the cool ones work well under a

different results.

 You will notice that we’ve only covered the

conclude this tutorial I would like to mention two

material to it to represent the actual light. For the purposes of this tutorial I have painted a simple version onto the render to represent our in your image, such as a lamp or bulb, or even a

in the last chapter of this tutorial series. These

Fig.24.

We would then normally make a duplicate copy traces the source element. These are the main areas you will use but you can also alter the

their intensity, and are achievable in Photoshop.

shape and intensity of the glow by altering and Range, and even add a pattern by adjusting the

Imagine that we want to place a bulkhead lamp on the face of our bunker. We would probably

Glow and apply the settings shown in Fig.25

Contour.

I now select just a portion of the white area of the light and copy this into a new layer, and

time I apply different settings to create the glow Fig.26).

the new structure and the effect of each glow Fig.27).

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Chapter 04



Fig.28).

The last tool we will look at, which can be

which can be used to add surface detail to your scene that can incorporate shading effects,

map.

Fig.29. At the top you can choose

whether the layer recedes or appears to come

and start painting in some marks that will

and clarity.

look almost invisible on our bunker scene, but crosshair to alter the direction of the light, and

with a white background they look like Fig.30.

to any brush marks you add, meaning you can

and blending mode of both the highlights and Fig.31), and the result can be seen



allows you to use the same lighting angle across

on the right in Fig.32

For more from this artist visit

multiple layer effects, such as drop shadow

of brush helps when using this effect, and also

http://www.richardtilburyart.com/

enabling some of the brush settings, such

or contact [email protected]

To apply this effect I create a new layer and

as well as any of the before mentioned Image

then select a brush with a neutral gray color,

Adjustments.



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Chapter 04

 Layer Masks & Adjustment Layers | By Andrzej Sykut



   Software Used: Photoshop

It can range from simple color correction and the adjustment of brightness and contrast, to a

totally change the look of an image.

The most popular tool for the job is of course Photoshop. The great thing about it is that you

angles. Not to mention the ease of going back on the low resolution test render early in the

and changing things if you or your client decides more, but not all of them are actually useful

can process a series of images for the same consistent look by using the same set of

you can decide which parts of the image should

adjustment layers on all of them. This is great if

a while you can’t work without adjustment layers

you have to show the same scene from many

at all!

be affected.

This makes selecting the parts you want to tweak much, much easier.

Now for the layers themselves:

Gradient is a nice tool for vignettes, to darken the sky a bit, or as a starting point for the background. Personally I more often use old Gradient Fill tool – when creating a vignette, it’s usually faster to draw the gradient four times in the image corners on a single layer, than to

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Chapter 05



be white, black, or somewhere in the middle.

shadows need to be warmer, you just change

) and make some color correction, since it can work on either the

but probably easier and more intuitive to use in

the curve in the lower part of the red channel.

some ways, due to the displayed histogram.

If you have only 2 points on the curve, this will

of the sliders uder the histogram or use color pickers to decide which part of the image should

the curve in the way you wish. If you feel the

by adding a third point you can limit the effect plus much more. This is because you can shape same to the highlights, midtones – anywhere you want. You can do it on separate layers for greater control and order. The color pickers work in a similar way to how they work in

you really try you can draw a curve that’ll look similar to Posterize.

yellow to the highlights. This is less powerful

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Chapter 05

 Brightness/Contrast is a very simple tool. If simple adjustment of the brightness or contrast is what you need, it’ll do. For anything more

Hue/Saturation, as the name implies, allows

It can also work on any selected part of the spectrum – Yellow, Red, etc. Those are only the presets; you can adjust which part is affected by using the slider at the bottom of the window Fig.09). You can also use the color picker to choose the color that needs to be changed directly from the image. In Colorize mode it makes the image monochromatic.

Selective Color can be used in a similar way

subtle and you don’t have as much control.

tuning.

Channel Mixer lets you change the amount of

the kind of effect they generate and so don’t use

contribution from each of the channels. You can

them in my work.

do all of that easily, and more, using Curves. I therefore don’t remember using the Channel

Invert adjustment. That’s because I use it mostly to invert masks and channels for selections.

Gradient Map is one of my favourites. It lets you achieve a wide variety of effects, from this works in the real world!

in choosing the right gradient and the right layer

Fig.10). lot of things to it, and I’ll try to cover the most Photo Filter mimics the effect of a colored

the Free Resources logo) so you can dissect it it’ll do.

and follow along with this tutorial as you go.

Posterize and Threshold Fig.11) I have found

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to be almost totally useless. That doesn’t mean

a light blue color, which I then added some

they are useless to everyone, I just don’t need

shading to using Gradient Fill, and blurred

page 37

Chapter 05



it a few times. I then added a few layers of

caution here: It’s easy to do a lot of harm to an Fig.14).

Fig.12).

The glow of the eyes was done with a couple

image this way, simply by overdoing it. I don’t

photographic artifacts – I do however like it because it changes the sharp edges, softening

The main character was rather more heavily

photographed, overlayed smoke, and again a

them, but in a slightly different way to just subtle

them feel alight.

nicely, adding some color variation to the bump shading. The easiest way to apply chromatic

Curves were then used to darken the image a the whole robot.

aberration is by using a tool designed to

bit, along with some vignetting and some subtle carefully playing with the settings.

the details of the hands and the eyes, and made

As mentioned earlier, you can dissect the Fig.15).

the separation between the jaw and the head more visible.

included to download with this tutorial, so take

Using Curves, I changed the coloring of the

The last thing I did to the image was to add

a look and see how the various layers work for

a tiny bit of chromatic aberration. A word of

yourself.

blue paint a bit, and made a few more subtle

The fading into the background was created by

brush and colors sampled from the background. This was augmented by a duplicated

pass and some subtle smoke screened on top Fig.13).

The leaves were corrected and faded in the

them.

Then came a few gradients to both darken and brighten the image.

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Chapter 05

The conclusion…? Use Curves! It’s

change blending modes and the opacity

duplicate them. Accidents and errors are

have happened. And sometimes, of course, these accidents can even produce some interesting effects themselves!

 For more from this artist visit: http://azazel.carbonmade.com/ or contact them at: [email protected]



 Creating Backgrounds for Characters | By Fabio M. Ragonha

    Software Used: software of choice)

This tutorial will aim to show you how to use Photoshop to compose a still image; using some nice renders and masks we will discover

which will enable you to easily change and test

We’ll then continue by looking at how to create

started.

interesting and appropriate pose for him, I make

passes for one of your own character images and follow along:

Render Layer 1

Fig.01)

Render Layer 2 used the same pass to render the black parts that will look like rubber accessories Fig.02) Render Layer 3 Fig.03)

Render Layer 4 – Here I’ve had to render each part with a different color as these will be used to select each part to make masks Fig.04)

Render Layer 5 – This one was done in the same way as the last, but with more details to get all those screws and small parts Fig.05)

With all the render passes ready, we can now go into Photoshop. We need to open all

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Chapter 06



Fig.06).

Channels, hold the Ctrl key on your keyboard, and click on the Alpha thumbnail to make a Fig.07).

layer mask” button to create a mask for the

Unhide and select the rendered mask layer with

Hide the mask layers now. Then unhide the Car

character. Connect the two layers above by

the part you want to select, press the Magic

Paint shader layer and select it, and click on the

holding the Alt button on your keyboard and

Fig.10).

clicking between the two layers. We then want

your keyboard, and then select the parts where

to create a black layer for our background

you want the Car Paint shader and the black

Fig.08).

Fig.09).

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page 42

If you’ve forgotten to select some parts – no problem! We just need to go back to the mask

Chapter 06



layers, select the parts we want to appear, press

color palette to black and white, and then with the mask of the Car Paint shader layer selected,

parts in white.

Fig.11).

to invert the selection, and use the right arrow key on your keyboard to move the selection

hide the selection that’s still there. Then with the black brush, paint this area to remove the white Fig.12).

renders, select the parts that correspond to the blue Car Paint shader, click on the “Create new

and then scale the selection around the object you want, and render it. This way, when you play with different choices of colors for these

import this render as a new layer in Photoshop, it

Fig.13).

Fig.15).

and select the parts that correspond to the eyes. manometer eyes, and for those pipes in his belly Fig.14).

Fig.16).

a good opacity for your image – I’ve set mine

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Chapter 06

 to 80% – and then change the layer blending Fig.17).

Use the masks to make some adjustments to

Fig.18).

in these areas. I’ve used masks to make these

Fig.19).

Now let’s dirty the image up a little – we’ll need some dirty and scratched maps for this job Fig.20).

In the same way that we’ve made all the masks,

dirty maps to each part of the model. You can

Fig.21).

repeat parts, rotate and copy using the Clone

Fig.22). out on your own composition to discover what the best blending mode to use is for your own purposes. If you need to, you can also adjust

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page 44

Fig.23) and placed them above the black

Chapter 06



Alt and hit the “Add layer mask” button – this creates a black mask. With a white brush now, I paint the areas where I want the map to appear.

Fig.24).

two parameters above; change the blending

This will make the image get a nice contrast Fig.25a).

Channels, and choose the channel that has the most contrast – in this image it’s the blue one – and duplicate it, dragging the channel to

Fig.25b).

Fig.25d).

Now hold Ctrl and click on the thumbnail of this channel to select only the white parts. Go back

fun changing the colors, making adjustments

to the layers and put a Curves adjustment to clear it. Now go to the masks and feather it to

Fig.26).

look like a glow effect – if it needs it, duplicate this new layer to get more of a glow, and then m) Fig.25c).

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Chapter 06



www.refcomunicacao.com.br). I will use this image set to show you how to create a Fig.27).

After I composed the character in the same way as I did for the robot, I merged all layers together for each pose, and opened then in

Fig.28).

We need to make three render passes:

Render Pass 1

software, select the entire character, keeping

but doesn’t appear to render. It keeps only

I do the same thing for the other two poses, Fig.29)

Render Pass 2

Fig.30)

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page 47

Chapter 06



Render Pass 3

Fig.31 looks good too – you could use a wood map, the “Add layer mask” button to create a white

In Photoshop, I create a Gradient color for

to reset the color palette to black and white,

the background, import the new renders and

and then, with the Gradient Tool, paint a small

position them in the right order, grouping each

gradient at the bottom to smoothly fade out the Fig.33).

Fig.32).

Fig.34).

gradient mask to fade out the top, and with a black brush, paint the parts you don’t want to Fig.35).

tab and feather it a little; if you have an earlier

Fig.36).

I’ve chosen to change the background color

selection around the pose, and inside the white

for the left background, purple for the right one, and I’ve kept the central one orange; I also use a Curves adjustment for added contrast and Fig.37).

Now let’s make some adjustments that will really make him “pop” in the scene! First of all we can

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page 48

Chapter 06

 Fig.38).

Fig.39).

Fig.40).

three character thumbnails to select them Fig.41).

Again, you’ll want to use a Curves bar to clear this, and feather the mask a little to create a glow effect. With a black brush, paint the dark areas around the character, and we the result is Fig.42).

 for just one pass, and then render more and changed my life! No longer do you have to lose

more passes, make tests and adjustments as

necessary … you can also even add details that

with the concept! The possibilities are endless.

You can check out more illustrations made using

enjoyed this tutorial, thanks for reading!

 For more from this artist visit http://www.fabiomr.com/ or contact [email protected]

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page 49

Chapter 06

In this series we will be working our way through the basic process of creating a creature bust, then taking it to completion by the last chapter. We will be starting with a basic Zsphere base mesh that we will create The tutorial series is split into 7 chapters so that we can take it at a beginner’s pace and cover as much ground as possible for approach you own projects in a similar manner.) Original Author:

Platform:

Format:

Pages: 52

Downloadable Tutorial EBook

Introduction: The original character of the Swordmaster was created by Seong-wha Jeong and we had 3DTotal’s 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 rendering. We have also converted the tutorials into Cinema 4D, Maya, Lightwave and Softimage platforms. Even if you are not a user of one of them, 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.

image by Seong-wha Jeong

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

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Visit 3DTotal.com to see our full range of training products

The series is split into 6 chapters and will endeavour to give you an insight into how a fully realised 3D scene may be arrived at from beginning to end. The tutorials will attempt to address the key issues and techniques appropriate in achieving this, from concept sketches through to building the 3D scene, mapping and . The emphasis over the course of the series will be on the texturing and principally the aging and wear of materials. Original Author: 3DTotal.com Ltd | Platform: 3ds max, Cinema 4d, LightWave, Maya and Softimage XSI Format: DOWNLOAD ONLY PDF | Pages: 38+

Zbrush Character Creation is a comprehensive look at the techniques and tools used to sculpt a variety of

Original Author:

Platform:

Pages: 091

Introduction: Michel Roger’s 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 tutorial that has educated and inspired more budding 3d artists than anything else, this complete step by step project by Michel’s must be it. The community is in debt to him.

These 120 plus page, Downloadable PDF’s 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

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Image by Michel Roger

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 Chapter 4: Modeling of the Accessories - Armour Bust, Hair & Glove Chapter 5: Modeling of the Accessories - 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

This e-book provides a detailed account of building, texturing and lighting the interior of a Gothic Church based

of the character, highlighting the various brushes and tools used throughout. Original Author: Pages:

Visit 3DTotal.com to see our full range of training products

The tutorial eBook will begin by creating and applying materials for the various parts of the car, such as glass, chrome and tyres, as well as texturing some simple geometry that will make up a scene. It will then move onto lighting where the focus will be on setting up a lighting rig and the various parameters connected to this. Finally

Original Author: 3DTotal.com Ltd | Platform: 3ds max, Cinema 4d, LightWave, Maya and Softimage XSI Format: DOWNLOAD ONLY PDF | Pages: 44+

ZBrush

97