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Ambient Occlusion Painting Tutorial, sorta

Ambient Occlusion Painting Tutorial, sorta
Newest Update: I made a new video tutorial about How to Paint Ambient Occlusion for Digital Painting. You can download it here: Ambient Occlusion Tutorial It's affordable and very cheap! Hey guys! Why Ambient Occlusion or AO painting? 1. I sketch it in photoshop. 2. So, I started with blocking the character with light grey color, and in that light grey, I painted the shadow. 3. Okay, here is the tricky part. Make your painting looks almost like a 3d sculpt in this process. 4. So, when you satisfied with your shadow and AO layers, you may proceed to the next level which is awesome. 5. Actually this process could be done before you start the shadowing. 6. As you see, the painting would looks flat, so you should add more color temperature on each of your colors. 7. Here is the final Image. 8. This method is fun and really technical. You can ask me anything about this tutorial, I'll gladly answer it :) Related:  arteARTISTTUTORIAL

Sunmin Inn Portfolio girishbalakrishnan | We Are Beyond Ink | Page 2 Over Break: During the holidays, I wanted to get a head start in breaking down our story into scenes, creating a key asset list, and researching interactive interface elements that can enhance our story. The following is an example of an interactive element that I came up with as well as a reference: Shot: “Calmly, Marshall pulled his hand from the blaze and shut the hatch.”Interactive Element: Soot from the furnace blaze covers the screen. Wipe/Shake the screen to clear the soot.Reference: iSand Interactive Sand Particle Simulator Technology: The idea is to build this interactive element in Flash using the Flint Particle System, a robust open-source particle generation Flash library. For more details, feel free to refer to the Shot Breakdown. In addition, I spent some time working with Bobby on fleshing out on how to implement the interface animations required within the Codex, Memoria, and Main Story interfaces. Week 1: Simple Rig System and Sample Pose Next Week:

Some more thoughts about thinking...about things This is the not-so-long-awaited follow-up post to the 12-step program [i had too many coffees]...I’ve been wandering around…going to faraway places, riding airplanes, avoiding the touch of strangers... Back in June I quit my job in Singapore and moved to San Francisco to study at the Safehouse Atelier, then realized how expensive San Francisco is...and went back to Maine while I did some job interviews and more freelance work, and then in February moved [back] to Shanghai…I need to stop moving so much. Every time I move, I’m telling myself this, and then I end up moving again and again and again. So I made a post that was geared more towards getting presentable thumbnails and then I started wondering… if I could take it a bit further and make a final image with a similar approach. This has been sitting on my SSD since October already, and overall, I suppose I’d consider it a half-success at best. Layers breakdown~! And just to give you an idea of what it looks like at 100%

PETE loish blog Phil Straub Composition Tutorial Sun 4th Dec 2005, by Phil Straub | Tutorial This article was written by Phil Straub back in 2005, and it is as fresh and vital today as it was then. Phil’s tips and trick are timeless, and can help you make your images pop! Composition is everything! No amount of detail in an illustration or Concept Painting will be successful without a strong composition foundation. Composition in Environment Concept painting can be quite difficult since your focal point usually isn’t as obvious as in a character piece. DIVINE PROPORTIONS: The Golden Rule and Rule of Thirds When you take the canvas area and divide it into ‘thirds’ Horizontally and Vertically, where the lines cross in the picture area is a ‘Golden Mean’, or the best spot in which to place your Main Subject or Object of Interest as it is the Focal Point of your picture. The golden rule can and usually is applied to a paintings canvas proportions. The Rule of Thirds Implied Forms The Circle Another example of circular composition! The Radii

DOUSSE How to model a realistic 3D character | 3D modelling For me, this piece of work is all about paying tribute to my own Nana for all the support and encouragement she has given me throughout my life as an artist. I have been working in the industry for around 10 years as a character artist for companies such as Activision, 2K, Square Enix and LucasArts. Most recently I was lead character artist on Star Wars 1313, before taking up a position at Crystal Dynamics. ‘Happy Birthday Nana’ took me three months to create in total, working using a variety of techniques including photo projections and hand painting textures. As an artist, I try to take inspiration from the world around me. Stage 1: Sculpting, texturing and shaders 01 Start by sculpting the major forms I started by importing my generic head mesh into Mudbox. 02 Wrinkles and pores With the major forms and facial expression complete, I gradually stepped up my subdivisions in Mudbox and began sculpting in the wrinkles and pores. 03 Sculpt the shirt 04 Texturing the face 10 Creating the eyes

20 Questions-réponses fréquentes sur le Digital Painting Le digital painting ou « peinture numérique » continue son essor. De plus en plus de monde est attiré par cette discipline et aimerait devenir un adepte du stylet ou un pro du digital painting. Bien souvent, on me pose des questions à ce sujet et ce sont souvent les mêmes qui reviennent. J’ai pensé qu’il était temps de faire un article regroupant les questions fréquemment posées sur le digital painting. 1. La palme de la question la plus posée revient à celle-ci. Voici un bel exemple de digital painting : « Don’t be afraid, monsters » par MartaNael 2. Oui et non. En revanche il est très dur de devenir un véritable as du digital painting si on est débutant en dessin et/ou en peinture, même traditionnels. 3. Oui il faut savoir dessiner. 4. Non, on peut très bien progresser soi-même ou entre amis. 5. Oui une tablette graphique est absolument nécessaire. 6. Non, c’est même quelque chose que je déconseillerais. 7. La réponse dépendra de votre niveau, de votre budget et de votre écran. 8. 9.

The Original Star Wars Concept Art Is Amazing AnimSchool Student Spotlight: Ernesto Ruiz Velasco We would like to introduce Ernesto Ruiz Velasco. Ernesto, can you tell us a little about yourself and what 3D experience you've had before entering AnimSchool? I began to get interested in animation and VFX really early in my childhood, and started to do 3D by myself when I was 15 years old. In 2007, as a graduated from a very technical High School, I won a Scholarship to study Animation and Digital Arts at ITESM, Guadalajara with my portfolio work. Later, in 2009 I entered an internship in a small mexican advertising VFX studio. In March 2012 I got a job as a Tools Dev. and RnD Lead in a 3D Animation Studio in Guadalajara, México. Do you have any artists who inspire you? I’m really bad at remembering names, but I have a wide range of references when I’m working. The names that I recall, whose work I really enjoy are: Rafael Grassetti, Jon Troy Nickel, Andrew Hickinbottom, Michael Defeo, Elsa Chang, Lou Romano, Josh Carey, Vincent E. Yes, I had taken other rigging courses before.

digital: Wield + Weld Hello, everyone! Firstly, as a self-plug, I'd like to thank Anjin Anhut for mentioning me in this article about concept art. Though most of my activity is on tumblr now, I'm taking my blog out of retirement to post what, for many of you, will be a remedial tutorial about form. WIELD + WELDwith Paul Richards What if constructive drawing could feel like wielding magic or weaponry, instead of some mathematical chore? In this talk, we'll temporarily set aside things like horizon lines and vanishing points, dealing only with our general sense of perspective. Mistakes will be made, but be forgiving! So, without further ado, let's begin with the first part : wielding! Trends in art come ago, but primitive geometry stays the same. Also, get to know the primitives in their inside-out states! Think of normals like thorns on a cactus, pointing in the direction of the planes they lie on. Here are the primitives stretched along the vertical axis. Here is the geometry squashed flat.

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