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j* VOLUME 5, ISSUE 1, FEB - MAR 10
CGArena/
Get Attention in the Computer Graphics Community
Interview
Nicolas Crombez
ZBrush
Batman Desertstorm
Photoshop
Cadenus and Vanessa Barbarossa
Gal
Latest 3D inspiring art
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VOL
5

Get Attention in the Computer Graphics Community
Gallery
Volume 5, Issue 1 Feb - Mar 2010
Showcase of latest 3D art

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Magazine Edited: Ashish Rastogi, India Magazine Cover Image: Rafael Teruel, Spain Magazine Design: Yousef Ikhreis, Jordan
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Industry News
^Veta ^Vorkshop Adopts StudioGPU MachStudio Pro
Issue 1 Feb - Mar 2010
CGArena
Prime Focus Software Releases Deadline 4.0
StudioGPU has entered into an agreement with Weta Workshop, a multiple Oscar® winning one-stop studio servicing the world's creative industries, to integrate and further develop StudioGPU MachStudio™ Pro for its television production pipeline.
MachStudio Pro real-time 3D workflow and rendering software allows artists, designers, engineers, directors, and technical directors (TDs) to work with 3D lighting, camera views and multi-point perspectives in an interactive non-linear fashion with real-time high fidelity views as they will appear in the final rendered format. For more information on this software please visit - http://www.studiogpu. com/machstudio/
Prime Focus Software, the R&D and software development arm of Prime Focus, announced the release of Deadline 4.0, the company's easy-to-use administration and rendering toolkit for Windows, Linux and Mac OSX-based render farms. This new version includes improved Mac OSX support, enhanced scalability and stability, in addition to an abundance of key new features.
"Most notable in this release is the number of subtle enhancements that have been made, to not just the main applications, but also all the underlying software-specific scripts," continued Mike Owen, senior technical director. Deadline 4.0 is now available through Prime Focus Software. Please visit http://software. primefocusworld.com for additional information.
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How to Cheat in Maya 2010 - With this essential handbook, learn which circumstances call for which techniques, and how to get quality results fast. You will not only learn how to be productive in Maya, but also be given access under the hood to the actual scene files of a professional animator. Covering such topics such as pose to pose blocking, layered animation, fixing gimbal lock, facial animation, and much more, How to Cheat in Maya 2010 is an invaluable resource for artists and animators alike. ISBN - 13: 978-0240811888
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ZBrush 3.5 Character Production - High Res Sculpting, Polypaint-ing, ZPlugins, and more - After the new features are covered instructor takes everything that you have learned up to this point and puts it into practice by creating an entire highres character right inside Zbrush. Many techniques are used during this character creation process that would benefit almost anyone. After the character is made he goes through many of the useful ZPlugins like Zapplink, Subtool Master and even goes through creating a turntable video of your character.
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Interview with
Issue 1 Feb - Mar 2010
CGArena
Nicolas
Writing is the art form which is the simplest to implement and takes us furthest in
Q. Hello Nicolas, like we ask everyone could you tell I the imagination
us a bit about yourself, location, employment etc. and what first inspired you to take up a career in the Arts.
Hello and thanks for your interest in my work. My name is Nicolas Crombez, I was born in Belgium in 1975 and currently live in France. I have two professional activities: freelance graphic design (web design, etc...) and in parallel, I teach computer graphics in art school in Belgium, the Institute Saint Luc of Tournai. I studied myself in that school, the concept and the basics of computer graphics. My school career was essentially artistic; it's the only thing I can do!
I felt very early the need for creating and developing worlds. The computer and the tools it offers, both in graphics and sound or interactivity initiated by the Internet, allows a total autonomy in the development of a project. I have no specific cultural references. I operate on instinct, I digest what I see, what I feel and I transform it all. Many subjects interest me, the technical side, strict, purely functional and, on the other side, the emotional, sensual and awkward stimulate me a lot in my projects. I love making incongruous connections.
Q. What is your first job or from starting you are freelance graphic designer?
I started working in the industry of comics. In Belgium, this is a real institution. I sculpt licensed figures for mass production.
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Interview with
(Л
Issue 1 Feb - Mar 2010
CGArena
Nicolas
Q. Today, traditional sculpting helps you in any way in creating digital art? Which software's you use to create digital art and why?
The traditional sculpting has a certain influence in my virtual development; I can abstract the volume and imagine the contours before the image was built. I appreciate the anatomical rigor, but this is not the main objective in my work. The imperfection and chance are, for me, allies. I do not want to fight them, but rather, to integrate them into the design process. I like creating my own techniques, the need to divert their original functions.
I mostly use the software Lightwave 3D (Newtek), very flexible and powerful. It meets all my needs. In addition, the plug-in "FPrime" is an essential tool in Lightwave, to view near real-time changes to a scene, in conditions close to the final rendering.
I also work a lot with Photoshop, especially in the use of brushes and retouching.
Q. Besides, CG work anything else you doing professionally?
Sometimes I make skins for various audio projects (sound effects for plays, for example), but the majority of my work revolves around the CG.
Q. Can you tell us in detail about your panorama image (The procession of pigs), from where you got the idea and how this related to your upcoming album?
I develop in parallel with my professional activities, a personal universe, called DEU TER ROR, for which I've created "A picture". This latest achievement will accompany, with some other visual, a fourth album of music.
Structured around the sound and image, DEU TER ROR makes me stage the reality while playing on its deep sense (through the symbols, the use of incongruous elements, for example). The CG images allow me exploration and transformation of a reality into another.
I started working on this project since 2007, after my first album, "Le gueule de guerre ". First, I wanted to consider the notion of space / time and develop a story without using animated techniques. Therefore, I did not have time fixed structure, like a movie in which the action unfolds in a linear mode. My idea was to allow the viewer to make his own history by moving into the picture, as in the paintings of Flemish Primitives.
Then I developed the story that the picture should be told. This is a result of research that began last few years, forming the heart of the project DEU TER ROR. I wonder especially about this "faith", which makes us stand, and this gigantic timeline in which we operate without knowing where, when and to what it takes
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Interview with
Issue 1 Feb - Mar 2010
CQArena
Nicolas
us (the meaning of life has not stopped questioning us, even in the computer age).
Formally, I use symbols, such as items related to traditional Belgian, wildlife and local flora, etc.
The red Magma is initiated by a light wave (wave mechanics) who hits the ground and whose course through the universe and the matter will be reported in the musical part (electromagnetic wave).
This course illustrates several scenes, animals. First naked, then clothed in animal skins, they are adorned with leather armor and warlike. Some devour each other; others are fighting, etc... Where are they? What is the reason for their actions? Each has its own interpretation.
On a technical level, once the concept is validated, I began to realize a number of sketches and drawings, to get a rough idea of the whole.
I cut the scene into five main parts + transitions between scenes because even 64-bit software has limits...
I first modeled the components, from stock or old models converted achievements. Modeling and positioning these elements took me several months; I worked a few hours per month.
My idea was not to make a "full 3D" picture, but to mix several processes. I believe that art must serve the story and not stand on its own.
Therefore, the models are not as fine or perfect accurate. They have mainly served basis. The textures are also relatively rudimentary.
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Besides a key light and a sun, most models were lit to create a light-type "studio". The rim light effect allows separating the subject from the background. This technique has been used so sparingly because I did not want to produce on the picture, an "advertising" effect.
Each part of the picture was calculated separately with FPrime. For each, I set the camera according to several angles to choose what would suit me best when compositing. Not being a fanatic of "flying camera" or "endoscopical shoot" I'm more impressed by the sequence shots of Kubrick or those of Alfonso Cuaron for "Children of Men." The camera has a role in the narrative; it does not replace the story that captured a plethora of visual effects or motion. I didn't want to interfere in the course of history. The camera is present as a witness, as if, on the other side, I noticed the facts that happen to me. This fits so perfectly with the introspective nature of the music I compose.
Finally, the most important and longest in terms of time is the work under Photoshop.
The whole picture, with few exceptions, was reworked: animal's fur, clouds, some plants and a lot of work for cleaning and harmonization of the whole. The picture was assembled at one time under Photoshop to ensure the homogeneity. The file weighs more or less, 15 gigs and I had to make several copies for the increasing number of layers significantly slowed the computer.

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Since the beginning of this project, my main anxiety was to find a way to present this image in its original format. While researching on the net, I found the tool Openzoom by Daniel Gasienica.
With this application, the picture is divided into thousands of 256 pixel images large, called by a powerful script in Flash, depending on the zoom done.I would also print this work and present it in its entirety at an exhibition, which is impossible to present on a classic screen.
You can watch the panorama on the web here: www.deuterror.org/dtr.html

What you enjoy the most, creating CG art or albums?
My work revolves around sound and image. I like to alternate these two disciplines to attack a work I rested a while from a new angle. I also try to write, I realized a short story in audio-book. Writing is the art form, which is the simplest to implement
(it only takes a pencil and a sheet), but it is, paradoxically, one that takes us the furthest in the imagination.
I take great pleasure to start a new job and draw up an outline. The technical aspect is also a form of creation and invention to solve all problems.
According to you what are the main elements which keep in mind while creating and developing the art?
In my point of view, the crucial element is not closing any doors. Art is life. Therefore, any feeling, any information, any idea may at some point be incorporated into a project. It is also important to be critical about his own work and segment phases of work: I dream/imagine (I do not close any doors), I create (I apply or I turn techniques) and I criticize (I take the time necessary to assess whether I am in harmony with myself). My answer may seem intellectual and rational, but in practice, these steps are done so entirely subjective and instinctive in my case.



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What are your hobbies and please describe your free time, if you have any?
Almost all of my free time is spent in developing my projects. I'm very lucky because my daily life allows me to dream a lot.

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You have 5 cats, so are you animal lover or just a cat lover?
I love animals; they have a great importance in my inspiration. Cats have a soothing power over me and innate understanding.
Here is what E.M. Cioran told about it: "For the animal life is everything; for humans, it is a question mark." That is why we want to know what's behind the hill, while the animals already know.


Anything you like to add? It is your chance now to state your opinion about anything
Thank you for your attention regarding my project. I would also like to thank all those who have expressed their support and my wife Maud, without whom I could definitely not consider my life or my dreams.
I invite those who wish to follow this project through my website. Please let me share your impressions.
Web: www.deuterror.org Email: nicolas@dehollander.net
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Issue 1 Feb - Mar 2010
Tutorial
ч by Rafael Teruel, Spain
CGArena
Software:
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Making of Cadenus and Vanessa
Painter, Photoshop
I secretly made this drawing to gift it to my girlfriend. So, for me, it has a special value. Her name is Vanessa and hence the title of the painting. 'Cadenus and Vanessa' is the title of a poem by Jonathan Swift gave rise to the name of Vanessa.
Its original resolution was 5000px x 3000px and it was made using my Wacom Intuos 3, Corel Painter XI for painting and Adobe Photoshop CS4 for post-production.
The brushes I used in Corel painter were divided in two groups: painting and blending. Painting Brushes:
1.- Round Camel Hair texture, custom brush for paint details. With light pen pressure acts as a blender.
2.- Square Conte, for blocking colors and big color areas.
3.- Digital airbrush, for smooth color transitions
Blend Brushes:
1.- Grainy water, I adjust the jitter to 0.39 for a better no-linear blending
2.- Real Blender Round, for blending on the oil way.
3lend brushes
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Tutorial
by Rafael Teruel, Spain
Issue 1 Feb - Mar 2010
CGArena

Making of Cadenus and Vanessa
I alternately used 'basic paper' and 'coarse cotton canvas' changing the contrast depending on the area I'm painting or blending.
STEP 1 - I started on a white canvas and began blocking colors and defining forms in a very traditional way. I decided on a dark color and my first intention was to make Vanessa floating on the water. I chose a green dress as I would like to add a touch of fairy forest. The color palette on this stage was basically skin tones and green tones for the dress.
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Page 4
Tutorial
by Rafael Teruel, Spain
Issue 1 Feb - Mar 2010
CGArena
Making of Cadenus and Vanessa
STEP 2 - I started to add details: a little bit to the dress and to her face. I decided to add flowers as per the concept that I had in my mind.
STEP 3 - I further added more details on the face. I stressed on the looks and the eyes because I considered it to be very important. I added patterns and ornaments to the dress to make it more appealing and glamorous. But, this didn't look good to me so I would change this later.
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Tutorial
by Rafael Teruel, Spain
Issue 1 Feb - Mar 2010
CGArena
Making of Cadenus and Vanessa
STEP 4 - After doing some color tests, finally I decided to choose another style of clothing, more like of nineteenth century and with some violet tones. I also did a test with a secondary pink light that was outlining the right side of the face.
STEP 5 - I painted do the sleeves with the same color as the torso and added some semi-transparent flounces. At this point I observed that flowers were not fitting-in. I painted above the front portion to eliminate them and I put something else on the neck that was consistent with the dress.
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Page 6
Tutorial
by Rafael Teruel, Spain
Issue 1 Feb - Mar 2010
CGArena

Making of Cadenus and Vanessa
STEP 6 - I didn't like the hair much and decided to draw it with pencil on paper to give wavy looks that can fit into the artwork which could be scanned and could be used as base to work with it. I added some more details on the makeup so it looked more Gothic. I didn't like the background color and I chose a much lighter color, very neutral beige that better differentiated the background from the figure.
STEP 7 - With the scanned hair layer in multiple mode, I started to color on a new layer. I chose two color palettes for the hair - Warmer color for the light parts and a little bit colder color for

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