Elements+ +digital+painting+tutorial+series+v02

Digital Painting Tutorial Series : Volume Two

Contents

Rock and Stone Rich Tilbury

Rock and Stone Vinegar

SkyLinda Tso

Sky AquaSixio

Sky Rich Tilbury

Skin Rich Tilbury

Skin Emrah Elmasli

Trees Chris Thunig

Trees Rich Tilbury

Water Rich Tilbury

Waterfall Don Seegmiller

Chapter 01003

Chapter 02009

Chapter 03017

Chapter 04023

Chapter 05034

Chapter 06040

Chapter 07045

Chapter 08052

Chapter 09058

Chapter 10063

Chapter 11071

Chapter 1 : By Richard Tilbury

Rock & Stone

v2 Elements : Rock and Stonewww.2dartistmag.com

elementsRock and Stone

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Painting Rock and Stone Step 1:The first 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 final 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 filled 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 define the light source as this is

paramount in how the viewer reads the image

and interprets the forms. Rock can be a difficult

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 find it is best to work

on a larger scale to begin with and gradually

work your way down to the finer 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 final piece.

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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 flow

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 refinement until it is finished. Quick

and seemingly random marks are perfectly

suitable and may even inadvertently suggest

part of the final 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 reflective surface but white should

only be reserved for the extreme highlights

and not used across the entire picture. In order

to tone it down I’ve added a new layer set to

multiply at 71% which I called “Overlay”, and

with a very pale brown filled in some warm

tones to soften the contrast and reduce the

white to certain areas (Fig04).




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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 signifies shadows cast by the sun (Fig06).

At this stage we have the main elements firmly

established and we can now begin the final

phase which is that of refining what we already

have and painting in some details across the

rock face. You can either do this on separate

layers, work on the existing ones or even

flatten the PSD file and then continue – it is up

to you. It is wise not to continually create new

layers as the file 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 fitting 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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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 flat face on

the left. However the overall surface still looks

flat 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 I’ve added a lot more

detail in the form of cracks and crevices as

well 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 fit.

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 definition and the whole

image looks less sketchy.




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Step 9:The final 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

final result as shown in Fig10.

Tutorial by :

Richard Tilbury


Chapter 2 : By Vinegar

Rock & Stone

www.2dartistmag.com


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

the final 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 I’ll 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 doesn’t really

matter which program you’re using.



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

without any fancy lights, thinking that it’ll show

you how some things work. As for colours – it’s

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 didn’t follow

this simple rule. Draw some basic outlines

of the rock face you’re interested in (image

3), I’d recommend to draw these two plains

on separate layers as it will help to keep the

focus on each. At this point it doesn’t matter

what brushes you’re 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 won’t 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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Photoshop’s low opacity brushes, smudge tool

or Painter’s blenders – it’s all up to you, just

remember not to overuse them later in final

touch up’s.. Right now you’re 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, it’s time to focus on rendering smaller

bits of rocks. Let’s see the general work flow

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

should’ve seen many pictures of rocks already

so try to add some more details to this structure

using what you noticed about stone’s structure

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

stones as a 3D form, don’t forget it has it’s

own depths and is lightened from one or more

sources. It doesn’t matter what brushes you’re

using. In Photoshop I’d recommend standard

brushes with low opacity and flow 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 (rocks on the first plan):Right now let’s focus on the rocks at the first

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 finding 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, flat

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

won’t loose your basic light scheme so quickly

(although you’ll probably need to correct it very

often and you’ll see that in a minute). You can

blend the general structure you have using



v2 Elements : Rock and Stonewww.2dartistmag.com page13

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

photos for creating textures. Well, I can’t forbid

you anything but if you’re using photos you’re

not really painting, you’re just making a photo

manipulation and that’s not what we’re doing

here. Use photos to make your own textures

and brushes with which you’ll paint later. Also

– whenever you use some photo make sure it’s

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 don’t do it mindlessly.

Try to imagine which texture will be better in

which place – some are more flat, some have

very rough structure (image 12). Don’t 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 aren’t any strict rules when

it comes to painting. It’s 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 flat 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

Photoshop’s 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 flow. Let’s

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

defined after playing about with it a bit (erasing

some parts, repainting others). Use Edit >

Define Brush in Photoshop and voila! You have

a new brush. Here I’m showing a few I created

and used to paint this picture (image 18). But

you’re not done yet, now have some fun with

the Brushes options (image 19), spend some

time to see how it’ll act with some scattering

options, play with adding a texture to it, change

it’s opacity, flow 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 environment Now the reasonable thing to do, would be to

set your rocks in some environment so they

don’t look too fake (it’s a simple thing of fixing

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 here’s a

little trick on how to fix 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 fill

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 can’t

reach, became darker (image 23). Compare

image 21 and 23, and the difference I think is

obvious.

Right now you’re pretty done with the rocks on

foreground. Of course later on, some additional

touch up’s will be needed to blend it well with

the rest of your picture, but as for now let’s

focus on the background.



v2 Elements : Rock and Stonewww.2dartistmag.com page1�

Painting rocks and mountains in the distanceThe general work flow will be, of course, similar.

What’s most important to remember, is that

things in the distance won’t have as much detail

as these on foreground. If you’ll add too many

you’ll lose a feeling of depth as everything will

look too flat. 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 you’re done with it start working on

smaller details and more specific 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 Photoshop’s Filter > Noise >

Add Noise or Painter’s Add Grain tool to get

this effect. Adding textures can also work fine,

just remember it needs to be less sharp than

the ones you used on foreground. You know

what I’m going to say now, just take one last

look at what you’ve done and add adjustments

if needed so it all looks more natural. And you’re

done! I hope you’ll find this tutorial helpful :)

Tutorial by:

[email protected]

www.vinegaria.com


mailto:[email protected]

http://www.vinegaria.com

Chapter 3 : By Linda Tso

Sky

v2 Elements : Skies 1www.2dartistmag.com

elementsSkies 1

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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.


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 refining 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.



elementsSkies 1

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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.


elementsSkies 1

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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.



elementsSkies 1

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In order to bind the image together and finish

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 reflect 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


Chapter 4 : By AquaSixio

Sky

v2 Elements : Skywww.2dartistmag.com

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‘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 flow: 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 flow:

20 ). Reduce the opacity to add a misty effect

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


elementsSky

v2 Elements : Skywww.2dartistmag.com page2�

The light outlineI added A third colour ( don’t 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

cloud’s form( size: 6 opacity: 75 flow: 20 ).



elementsSky

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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 ).


elementsSky


It’s 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).



elementsSky

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Recapitulatory for the brushesRemember there are no strict rules here

because there no magic formula ha ha...

Canvas’s size 480*640 pixels and one layer

used. For crude cloud’s form: Size 100 opacity

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

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

opacity 30-50 flow 15-25. For the light’s out-

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

can build the cloud structures using the form of

the brush, it easier.


elementsSky

v2 Elements : Skywww.2dartistmag.com page29

The second partThe heaven thing... bah it’s the continuation of

the drawing. You will see what I draw when I

haven’t any inspiration lol. So I added another

light effect with the basic brush ( size: 150

opacity: 20 flow: 10 ).



elementsSky

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The compositionHehe now it’s time for the composition. What’s

the composition ? It is the structuring of how

people see your work and read your picture. If

you don’t consider the perspective, the frame

or the colours then the render won’t be as in-

teresting as your work. I am sure my composi-

tion is not perfect but I tried my best.


elementsSky




elementsSky

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Canvas’s size revolution Here you can see the new composition of the

drawing as I was not satisfied 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 can’t 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 waterfall’s mist.


elementsSky


Finished ArtworkI 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



Sky

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 find a

technique to in which to tackle a very popular

and universal subject and one that features in

much digital painting

Step 1: The first step is to fill 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 filled 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

refine 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.



elementsSky

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Step 4: With these two key components blocked in it is time to refine the main cloud by varying the tones to prevent it looking too flat. 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 first 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.


elementsSky


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 refining what we have already done by either adding one or two final layers or manipulating the ones

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

it some definition 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 finished article done in about an hour and a half.



elementsSky

page3�

Conclusion: It is a good rule of thumb to paint in rough shapes and then use the Gaussian blur filter 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 filling in where the eye is only offered a suggestion

of something.

Tutorial by :

Richard Tilbury


elementsSky




Skin

elementsSkin

v2 Elements : Skinwww.2dartistmag.com page�1

Step 2 Quite 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 filled 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 first 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.


v2 Elements : Skinwww.2dartistmag.com

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Step 3

This 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 flow 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 define the key shadows and

will be done using a soft airbrush and will help to

further define 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 defined 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 defined edge, as

demonstrated by the two brush strokes in Fig 4.


elementsSkin


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 flattening the image and making

colour adjustments. One shall be reserved for

detail only, namely the nipples and veins, and

the other will be called ‘refinements’ 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 finer strokes, as well as

paint in the brightest areas. Keeping this as a

separate layer just means more control when

making final adjustments to the tonal ranges.

Step 8 With 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 colour

variation.

Step 9 One 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 Elmasli

Skin


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In this tutorial, I’ll try to explain the painting process of a realistic human

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

is a very good surface to apply light, form and detail. It’s 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 first step is drawing the lines of the torso. I start by drawing the

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

a torso reference found in an anatomy book. To begin, it’s 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 (figure 02). After finishing

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

“multiply” and open up a new layer underneath it. I fill this new layer with a

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

my painting, using the “fill” tool (figure 03).


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As we know, skin tones vary by the races and countries we live in. The skin that I’m 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 figure 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 figure out the form of the skin, the curves of the muscles

and the colour of the final skin tone. (figure 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 defined (figure 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 (figure 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 (figure 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 (figure 09). Human skin is a reflective surface, in despite of its matte appearance. If we look at the area between the bicep

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

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

the lines (figure 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, I’ll 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.


elementsSkin


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

until it becomes pure black and white (figure 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% (figure 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 (figure 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 (figure 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). (figure 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 (figure 17). After adding all these details, I’ve almost finished 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 find 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 fill 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 (figure 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) (figure 19). Lastly, I decrease the opacity of the layer to 4%. Finally, my skin

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


elementsSkin


Emrah ElmasliMore work from this artist can be found at:

www.partycule.com

You can contact them via:

[email protected]


Chapter 8 : By Chris Thunig

Winter Trees

elementsWinter Trees

v2 Elements : Winter Treeswww.2dartistmag.com page�3

Intro: This tutorial will attempt to outline

a 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, find

a decent composition and define the general direction I plan on going into. Besides the fact that I am able to stay looser when exploring an idea

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

otherwise difficult 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 first of all applied an overall Brightness/Contrast layer to darken the image enough to allow me to add

both, darker and lighter values when rendering the volume of the tree later on. I then roughly filled 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)


v2 Elements : Winter Treeswww.2dartistmag.com


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Step 3: Since the subject matter is characterized by a rather limited colour spectrum and sharp, contrasty lines in a usually diffuse light

situation I am using what I call a shape-based approach in creating this image rather than setting a definite light source and going straight for a

realistic light source-based rendering. In doing so I try to define 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 start

blocking 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 filling white space by relatively simple means.

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

Step 6: As the detailing continued by fleshing out the texture of the bark I also took the opportunity to add small gimmicks such as icicles and

tiny 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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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 tree’s

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.thunig.com


v2 Elements : Winter Treeswww.2dartistmag.com page��



Trees

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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 first 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 filled it

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

Step 2:Then using one of Photoshop’s 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 (fig 02). Try varying

the size of the brush until you get the scale

right.


v2 Elements : Treeswww.2dartistmag.com

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Continue adding the leaves until you are happy

with the look and have filled out the shape of

the tree (fig 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

(fig 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 (fig 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 (fig 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 reflective quality.


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Step 5:All that is left to do now is flatten 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 Element’s tutorial and tweaked this using the

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

Tutorial by :

Richard Tilbury



Water

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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 fluid and transformable and

therefore does not have a particular form to

it. It is both transparent and at the same time

very reflective 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 infinite number

of ways. A waterfall or fast flowing rapids look

white and opaque compared to a still pool for

example and the colour of the ocean always

reflects 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 first thing to do is block

in 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 fill 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 fill 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 sufficiently 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 blocked

in the next thing to do is start to create the

reflections across the surface which will define

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 round

airbrush 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 final result

can be seen in the upper right.



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Step 3: The next stage involves creating

a 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 to

have a setting sun in the centre of the image

just above the horizon line and so will need

stronger reflections 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 finished. 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 and

then 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 one

brush 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 reflecting 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 fill 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 have

added 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 add

too 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 the

colour 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 fill in with an orange yellow and set the blending mode to Colour at around 25% opacity. In fig 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 pale

orange and fill 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 refinements could be made but

hopefully it will prove useful to many people

wishing to paint seascapes. The final image

can be seen above.

Tutorial by :

Richard Tilbury


Chapter 11 : By Don Seegmiller

Waterfall

v2 Elements : Waterfallwww.2dartistmag.com

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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 final touches.

The general procedure would be the same

regardless of what application you would use.

Figure 1:You first 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 refined as I work them into the higher areas of

the rock. I find 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 figure 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 refine 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 flow in the cracks and crevices.

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

as it flows 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 flows in

and out of the shadows, the whole image will

look flat and will not help give the illusion of

flowing 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 flock 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 first 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 fill it with a

circular 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 fixed.

Figure 13: Using the Gaussian blur tool in Photoshop, I soften the rainbow. There is no correct amount and you will need to experiment to

get 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 the

blending 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 final touch I carefully

erase some of the lower part of

the rainbow. The image is now

finished.

Tutorial by :

Don Seegmiller


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.

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

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 mapping to finally adding bones.Chapter 1: Modeling of the Body - BodyChapter 2: Modeling of the Head - Head, Ear & AssemblyChapter 3: Modeling of the Accessories - The Sword & Armour LegsChapter 4: Modeling of the Accessories - Armour Bust, Hair & GloveChapter 5: Modeling of the Accessories - Accessories & UVW MappingChapter 6: UVW Mapping - Sword, Clothing, Armour & BodyChapter 7: Texturing & Hair - Eyes, Skin & Hair Chapter 8: Bones & Skinning - Bases, Hierarchy & Skinning

Imag

e by

Mic

hel R

oger

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

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 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 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.


Chapter 1: Modelling the HeadChapter 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/textures/

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:

André Holzmeister, Andrey Yamkovoy, Balazs Kiss, Cetin Tuker, Daniele Montel-

la, d’Ettorre 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. González, Juliano Castro,

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

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 Côte, Ronnie Olsthoorn, Rudolf Herczog, Ryan

Lim, Siku and Thierry Canon

: volume 1

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

Introduction:A Collection of the finest 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 generating much exposure for these talented artists at the same time.


- Running Time: 3hrs 8 mins- 27 Shorts movies- 3 Trailiers- Region Free, NTSC & PAL versions- Shorts & trailers from studios such as: Blur Studios Keytoon Animations Studios Redrover Studios & Platige Image

- Loads of extra including images and storyboards

- 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/

Documents

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