Keep up-to-date with Free tutorials!!

 

Sign up to our twice-monthly newsletter today for the latest tutorials, interviews and product information.

Sign me up to receive third-party emails from 3dtotal's partners, too!

- Latest news
- Exclusive Shop Offers
- Preview early content
- Plus much more

 

Not Ready to take that step? OK, Why not just Subscribe to the RSS Feed

 
submit tutorial
1 | 2 | 3
Making Of 'Morass'

| Your Rating:
rating star fullrating star fullrating star fullrating star fullrating star none
(9 Votes)
| 89545 Views
| 1 Comments
| Comments 1
Date Added: 27th January 2011
Software used:

126_tid_image_10_mesh_editing_technique.jpg
Fig. 11

126_tid_image_11_alpha_maps.jpg
Fig. 12

Lighting

The lighting was very simple: only one texture (Fig.12) on a geosphere ("Sky"). But for the reflections, this texture was not suitable so I I used the sky material, VRayOverrideMtl (Fig.13). It allowed me to use two different materials for the reflection and illumination on one object ("Sky").



126_tid_image_12_sky_texture.jpg
Fig. 13

126_tid_image_13_sky_material.jpg
Fig. 14

The textures for the reflection and illumination were created in Vue, with the minimum quality. The final texture for the background was created with the maximum quality. I then finished the textures in Photoshop (for example, some dark blue stains on a texture (see Fig.12) were necessary for the creation of dark blue reflections from the spectator). This texture was used for the background (Fig.14).

126_tid_image_14_sky_texture_final.jpg
Fig. 15

I switched off Visible to Camera in the properties of the geosphere ("Sky"), so that the background was visible through it. I then developed materials for the scene objects in a separate file with the same lighting as in the main file. In this additional file there were only objects necessary for lighting and those developed with a material in mind to speed up test renders.

Post Production

I added contrast to one of the cocoons in the foreground, and dipped the bright lights in the distance (in Photoshop). Experiments with Max's fog failed right from the very beginning of the work, and so I decided to render VRay Zdepth as a render element. To make sure I didn't lose the sky in this fog, I also created a Vray Alpha. The fog image layers were then processed in Photoshop (Fig.15) and then combined back in Max (Fig.15).

126_tid_image_15_composition.jpg
Fig. 16

Final Thoughts

I have tried to cover the most important aspects in the creation of my artwork in this article - I apologise if some think that I have not explained things enough. Have a look at the final image again and you'll see that there is nothing too difficult going on here - just time, and a love for art. I wish you all the very best success. Thanks for reading.

126_tid_image_16_final_render.jpg
Final Render



< previous page

 
1 | 2 | 3
Related Tutorials

Making 'Sleepy'

by Serguei Krikalev
published on 2016-06-07

Keywords: Serguei Krikalev, Maya, character, making of

Go to tutorial
rating star fullrating star fullrating star fullrating star fullrating star half (7)
Comments 0 Views 7372

Morph, Sculpt & Create 3D Characters with Reallusion Character Creator & ZBrush

by M. D. McCallum
published on 2016-04-07

Keywords: iClone 6, 3DXchange 6, Character Creator 1.4, ZBrush, iClone

Go to tutorial
rating star fullrating star fullrating star fullrating star halfrating star none (14)
Comments 0 Views 7005

A ZBrush workflow

by Gregory Stoffel
published on 2015-11-11

Keywords: Gregory Stoffel, ZBrush, Creature Box, making of

Go to tutorial
rating star fullrating star fullrating star fullrating star fullrating star full (5)
Comments 0 Views 12998

Making Of 'Keep the Streets Empty'

by Markus Lovadina
published on 2012-09-13

Keywords: scene, monster, streets, empty,

Go to tutorial
rating star fullrating star fullrating star fullrating star fullrating star half (2)
Comments 0 Views 64072
Readers Comments (Newest on Top)
avatar
Leonardo Galhardo on Wed, 20 March 2013 10:39pm
Lindo! *_*
Add Your Comment