In this tutorial, Creature Designer David Meng guides you through his process of designing and sculpting a stylized character maquette. Beginning with the armature assembly and block out, he demonstrates his method for building up a rigid, yet still flexible, base onto which he will build up his sculpture. At this stage, he begins to add clay to begin defining the forms of his "stylized" orangutan character, all the while narrating specific anatomical and creative choices he makes as he builds up the forms. He then moves in with tools to begin fine tuning the sculpture, creating folds and refining forms before moving into the detailing phase. In this phase, he demonstrates how to sculpt skin wrinkles and pores, as well as how to handle long fur on a character. When finished, David creates a highly believable, yet stylized interpretation of an orangutan. Sculpting Stylized Characters with David Meng https://www.thegnomonworkshop.com/tutorials/sculpting-a-stylized-character
Views: 92630 The Gnomon Workshop
Jordu Schell Creature Studio Maquette Sculpting and Painting https://www.thegnomonworkshop.com/tutorials/jordu-schell-creature-studio In this lecture, one of Hollywood's most prolific concept sculptors, Jordu Schell demonstrates the techniques he employs in creating a dynamic creature concept sculpture. Jordu begins with a rough armature, then walks you through the process of correctly building up forms by roughing in the large masses of the creature before the addition of muscular and other anatomical forms. He then covers the topic of dynamically posing the creature for maximum impact. Once the pose is decided on and the shape of the creature is established, Jordu transitions from using only his hands to using tools to begin refining the creature, working on defining the muscular forms, adding definition and detail, and finally blending the forms back together to create a unified appearance. Once the creature sculpt is smoothed and refined, textural detail is added back into the skin, using small tubes of clay for veins, a pin for pore detail, and finally using a texture stamp to apply a texture over the entire sculpt. Next, Jordu applies paint to the creature using a paintbrush to apply the base color of the creature. Next he uses an airbrush to refine the color and establish a translucent appearance to the skin. The final touches include placing individual translucent teeth and applying glossy paint to the eyes and teeth.
Views: 119199 The Gnomon Workshop
Airship Arrival with Syd Mead https://www.thegnomonworkshop.com/tutorials/airship-arrival In this demonstration, legendary designer Syd Mead shares his techniques to create a finished illustration of a futuristic Airship. Image making requires the next step from mastering drawing skill and technique. To produce a sense of ‘being there’ combines drawing and technique skills with a visceral illusion called ‘presence.’ Without these elements coming successfully together, the finished image will look stilted, contrived and unbelievable. Painting with guache, a classic opaque watercolor pigment that dries with a matte finish, Syd discusses the medium, brushes and guides, while sharing his thoughts on the creation of a successful design illustration that is imbued with presence. As the process unfolds, Syd emphasizes how he effectively creates the illusion of reality through the almost abstract representation of various natural and mechanical detail. With clear vision, inspired by imagination and knowledge of the familiar, a plausible future reality comes together at the hands of a master draftsman, designer and artist.
Views: 52167 The Gnomon Workshop
In this tutorial, Ben Erdt shares his workflow for creating a sci-fi creature/character from a 2D sketch to the final production model ready for rigging and animation. He starts by analyzing the 2D sketch to get to know the character and breaks the design down into its basic parts. Inside ZBrush, Ben sketches out the character in 3D starting with the base body, continuing with the armour parts while he makes sure the model stays functional for animation. After preparing the final sculpt for export out of ZBrush, Ben gives an introduction into the modeling basics of Modo that are needed to rebuild the character for Sub-D. He starts with the re-topo of the head and body, then moves on to parts of the armor showing how a mix of the Modo retopology and regular modeling tools can be used to start rebuilding and finishing the armor plates. Towards the end of the tutorial, Ben models the last bits of the character such as smaller details, the inner mouth and prepares the organic parts for surface detailing in ZBrush. In the end, he recaps the character workflow and shows some test animations of the final character model. For those interested in both organic and hard-surface modeling, this title offers an in-depth look into how to achieve professional results using an efficient and production proven workflow. More info at https://goo.gl/UHBpGG Teaser Music By: gilv "Electronic Inspiring"
Views: 99131 The Gnomon Workshop
The Gnomon Workshop is pleased to announce the release of "Designing for Production in ZBrush", with Rafael Grassetti In this title, Art Director Rafael Grassetti demonstrates his entire process of designing and creating a character in ZBrush. He explores the different tools and techniques used to sketch concepts while keeping the mindset of later creating a character for production. Starting with the character blockout, Rafael creates the secondary shapes, refines the model, then moves on to sculpting the fine details and texturing the character. The final rendering is taken into Photoshop for compositing to illustrate the final character as a product that is ready to be taken through a game or cinematic production. Watch the full tutorial at https://www.thegnomonworkshop.com/tutorials/designing-for-production-in-zbrush/
Views: 22861 The Gnomon Workshop
In this workshop, Ryan Meinerding shares his workflow for designing characters that effectively illustrate a story's narrative. Ryan begins by discussing how to create iconic and memorable characters, creating a legitimate reality, framing characters by values the audience should judge them by, empathy and story. He illustrates these topics by evaluating some popular examples from film and animation to explains the importance of thinking about Character vs Character, Character vs Environment, Visual Design vs True Character and Range of Change. For the demonstration of this workshop, he begins by breaking down the Story that will inspire design; an old man, Arnold, who develops superhuman strength and the surrounding story points. Ryan then uses Adobe Photoshop to design the Range of Change for Arnold's character from a frail old man, to his new disguised strengths, to his empowerment as a super hero. While sharing timelapses of design and development, Ryan's workflow is revealed as he explains how decisions are made, exploration, reference and thought process. For those looking to further their understanding of how to approach Narrative Character Design, this workshop offers invaluable insights from one of the industry's leading artists. Watch the full tutorial at https://www.thegnomonworkshop.com/tutorials/narrative-character-design/
Views: 6456 The Gnomon Workshop
Creating an Epic Matte Painting Shot, Advanced Techniques with Igor Staritsin In this lecture, Igor Staritsin takes you through the entire process of creating the epic matte shot. He starts from painting a few thumbnails and covering artistic essentials, which are invaluable in the way of understanding the fundamental principles of successful art. Then he starts painting compositional sketch and establishing mood of the painting. Igor uses Maya in order to create a base model for the architectural pieces and then he proceeds in Photoshop creating high-end environment using a broad range of advanced techniques. Finally, he utilizes Nuke to set up camera projection and to establish the final comp. Along the way, Igor covers a lot of necessary aspects of what it takes to be a successful painter, what should be taken into account when dealing with landscape paintings and what should be avoided to make a painting be enjoyable to the audience. He also shares a lot of technical aspects of matte-painters’ job and demonstrates how to use them in order to be more efficient. http://www.thegnomonworkshop.com/store/product/1153/ Teaser Music By Bolsound "Dont stop"
Views: 71667 The Gnomon Workshop
Painting Realistic Skin in Mari 2.0 with Justin Holt https://www.thegnomonworkshop.com/tutorials/painting-realistic-skin-in-mari-2-0 In Justin's second texture DVD tutorial, he covers how to paint realistic female skin in the new Mari 2.0. Justin will explore various types of photographic reference as well as demonstrate relatively new techniques to painting pore displacement textures using scanned pore details. He will introduce you to Mari 2.0, the best way to transition from Mari 1.6 or 1.5 and explore the all new and exciting layer system within Mari 2.0 to ensure a 100% non-destructive workflow. To finish off the demos, Justin will show the easiest methods in which to paint convincing eyes that will breathe life and soul into your characters.
Views: 131404 The Gnomon Workshop
Character rigging is a process that starts the moment the design of a character is established. To get the most out of a character it involves a lot of communication between the modeler, the rigger and, whenever possible, the animator. This tutorial begins by working with the basic blockout ZBrush file from Ben Erdt's tutorial "Creature Modeling for Production" to start generating the skeleton. The rig is set up in several components, divided by the limbs, and aims to create a fully functional body rig before the modeler is done creating a clean topology. The components make use of IK, FK and Spline-IK systems with blending where necessary. Some python code is shared to speed up some of these workflows. Tools that are not part of the original Maya tool-set will be used to create controls and help out with skinning the basic blockout mesh. This will then become the base information used in the final mesh, where a second phase of rigging starts: adding the extra detail controls on the character. The end-result contains a rig that is easy to use for an animator and which can be directly used in a game engine. Perry uses some custom rigging scripts available for free to download at gumroad.com/peerke. More info at https://goo.gl/CfbZNq Teaser Music By: Venaccio "The Grid"
Views: 49607 The Gnomon Workshop
In this lecture, senior environment artist Devon Fay takes you through his process of creating complex and believable CG environments. He starts at the very beginning with the development of an idea with research, reference and exploration. Devon then discusses how to expand on your ideas with clear steps towards working efficiently and creatively. Topics include reference gathering, blocking-out scenes through effective layout techniques, modeling, lighting, texturing, painting, rendering and the exploration of new tools. Through this project, Devon demonstrates how to get the full benefits of programs that include Maya, VRay, Photoshop, ZBrush, and others. As his science fiction inspired alleyway is full of narrative detail, Devon explains the importance and application of composition, set dressing, storytelling, realism and the final post techniques that create an immersive environment. By the end of the lesson and demonstration, artists should have a clear idea of how to approach detailed environment work for production. http://www.thegnomonworkshop.com/store/product/1159/ Teaser Music By: Ben Lindholm "Deep Space"
Views: 98615 The Gnomon Workshop
In this tutorial, Tor Frick shares his techniques in Modo to design, model and texture a sci-fi gun. Tor begins with scene setup and a basic animation setup for the gun, in order to test functionality and to make sure that everything works while blocking out the design. While building the gun, Tor sets up a small kitbash and boolean library, and explains how best to use them. In the refinement and detailing phase, he dives deeper into Modo’s modeling tools and how to quickly create concept and high-poly models. In the last chapter, Tor goes through, in detail, how to set up the shaders and materials for the final renders, and how to leverage some of Modo’s shaders and procedural effects without the need to go into UVmapping. Watch it now at https://goo.gl/3HlCcu Teaser Music By: Spellrise_ "Dark Electronic"
Views: 31449 The Gnomon Workshop
In this video series, Eric Keller demonstrates his process for designing, modeling and texturing an original realistic insect using ZBrush, Maya, and Substance Painter, sharing techniques that he has developed over the years working on projects for both the scientific community and the entertainment industry. He talks about how he relies on insect physiology and evolutionary biology as guidelines for his original concept and how to bring photo and microscope reference directly into ZBrush using Spotlight. Eric takes the design from basic blockout using Dynamesh all the way to completed model. The chapters focus on how to sculpt and detail specific parts of the insect based on comparisons with other insects. The final model is then rigged and posed in Maya and lit and rendered based on simulating real world macro photography techniques. Eric also demonstrates how to light and render variations of the insect using the Octane for Maya plug-in. While the lectures demonstrate advanced techniques in these specific software packages the general principles can be applied to alternate workflows. The lecture also includes a bonus chapter on spider physiology and rendering techniques. More info at https://goo.gl/qajCkn Teaser Music By: DDmyzik "Wonderland"
Views: 31149 The Gnomon Workshop
This workshop is for intermediate to advanced environment artists in the games industry that want to hone new skills in photogrammetry to assemble a look-dev environment using Unreal. In this title, Brian Recktenwald goes over the entire process from start to finish and addresses different approaches and techniques used to create a photorealistic, yet stylized, scene. Planning, capturing, clean up and creation of real-time ready models and tileable textures is gone over in detail using Reality Capture, 3ds Max, Marmoset Toolbag and ZBrush. Brian discusses sculpting techniques for rocks using ZBrush and then textures one using Substance Painter with the photo scanned textures as a base. After he has all of the game-ready assets, he goes over the philosophy and approach of “asset gyms” that are often used in production settings to help organize and prep the scene for assembly. Finally, Brian assembles a desert scene in Unreal breaking down material creation, lighting and general philosophies regarding building modular environments for games. More info at https://goo.gl/PYXkf7 Teaser Music By: Symphony-of-Specters "Epic Cinematic Trailer Music 2"
Views: 40117 The Gnomon Workshop
In this tutorial, Garrett Fry demonstrates the entire process of how to create a 3D matte painted and projected environment, including modeling, texturing, lighting, rendering, painting, projecting and compositing. Garrett thoroughly discusses how to approach, problem solve and plan complex 3D projection based Matte Paintings using Maya, Nuke and Mari. He shares his techniques for developing an efficient Matte Painting workflow, incorporating photogrammetry into a Matte Painted environment and creating projection setups in multiple software packages. Using the latest Matte Painting techniques used in the film industry, this advanced lecture is designed for both aspiring and experienced artists. Advanced 3D Matte Painting Techniques with Garrett Fry http://www.thegnomonworkshop.com/store/product/1068/
Views: 80396 The Gnomon Workshop
This title offers an in-depth demonstration on how to effectively use ZBrush to create a hyper realistic character. Hossein Diba shares a thorough breakdown of his workflow, tools and methods using a character study of the wrestler Steve Austin. Likeness sculpting starts with a low resolution base-mesh, then continues with sculpting of the primary shapes, where Hossein focuses on refining the base-mesh and sculpting the landmark anatomical features including those of the head, such as the ears and nose. He then begins to work out the secondary forms as he refines muscle shapes, facial anatomy and the detailed analysis of reference in order to finish the facial likeness. Tertiary detail is then added using alphas and different brush techniques to create the small skin wrinkles and pores which add the final element of realism. With the sculpt complete, Hossein demonstrates how to use Fibermesh to create facial hair as well basic texturing with Polypaint. Lastly the character is posed with Transpose Master and a presentation render is produced using ZBrush render passes that are composited in Photoshop. Artists of all levels interested in realistic 3D character creation will be inspired by this masterful demonstration by Hossein Diba, who generously shares his experience, thoughts and technique. Watch the tutorial at https://www.thegnomonworkshop.com/tutorials/creating-hyper-realistic-characters-in-zbrush/ Teaser Music By: boomopera "Sport"
Views: 89562 The Gnomon Workshop
In this workshop, environment artist Olivier Dubard goes through the process of building an environment from concept to finish, using a wide range of software including SketchBook Pro, Maya, Photoshop, ZBrush, Mari, V-Ray and Nuke. These chapters demonstrate what it takes to be a well rounded environment artist for film, as Olivier goes from an initial 2D sketch, to the step-by-step finalizing of a full shot. He explains his workflow for concepting, modeling, texturing, lookDev, lighting, precompositing, paintovers and quick mattepainting. For those looking to explore a professional pipeline for quick and effective environment construction, this title offers a myriad of tips and techniques. More info at https://goo.gl/u236ND Teaser Music By: James Brett "Jungle Trek"
Views: 101202 The Gnomon Workshop
In Designing a Modular Environment using Unreal, Environment Artist Brian Recktenwald guides you through his workflow for creating a subway environment with some supernatural elements. In breaking down the scene, Brian takes you through his entire creation process of reference gathering, modeling modular blockouts & assets in 3ds Max, testing blockouts in Unreal, texturing in Substance Designer, final modeling, uv’s, and rendering in V-ray Next. He also covers photogrammetry techniques using Reality Capture, organic modeling in ZBrush and final scene assembly, lighting, and post processing. For those looking to create efficient environments, using a few objects to imply detailed complexity, this tutorial provides invaluable tips and techniques.
Views: 14131 The Gnomon Workshop
The Gnomon Workshop is pleased to announce the release of "3d Scan and Retopology for Production", Photogrammetry Workflow with Ara Kermanikian. In this workshop, Designer Ara Kermanikian shares his Photogrammetry workflow as he goes through the step-by-step process of taking scan data into CG applications to generate production ready character assets for use in film, TV, VR, videogame or VFX projects. The workshop focuses on efficient workflows starting with loading and processing the photogrammetry images into Reality Capture to generate and export the 3D model and texture. The 3D character scan is then imported into ZBrush, Maya and Wrap3 for effective treatment, simplification, cleanup, texturing, and retopology. The lectures cover the efficient use of intermediate and advanced modeling and retopology capabilities in ZBrush such as ZModeler, Dynamesh, ZRemesher, and mesh projection. Topology requirements and methodology are covered using Quad Draw and the Modeling toolkit in Maya to manually generate animation ready topology on top of the scan data. Finally, Wrap3 is used to automatically wrap animation ready topology onto the 3D scan character. For those looking to integrate photogrammetry into their pipelines, this title offers an in-depth look at how various tools complement each other to produce efficient and production ready results for both static and animatable meshes. More info at https://goo.gl/6Rdi9c Teaser Music By: IMGsound "Technological Beat"
Views: 37797 The Gnomon Workshop
In this class Vitaly demonstrates and explains his approach and techniques for creating a solid “1st Pass” 3D Design of a robotic character for a Film or a Videogame project. The first pass design phase is considered one of the most challenging and critical stages of the 3D design creation process. “Challenging” because fast turnaround times with high quality are usually expected by clients at the beginning of a project when there is still room for exploration. Therefore, this stage demands an array of skills throughout several software packages and clarity of design thinking about the task at hand. “Critical” because a properly done and a successful 1st pass design creates a definite visual target for the project early on and lays the foundation for the future iterative work on the more refined/final design version. It also reduces overall cost and saves time of the asset production for the entire team while not compromising quality. Software and techniques explored by Vitaly include block-out sculpting in ZBrush, SubD modeling, retopo, CAD modeling in Moi3D, utilizing 3D KitBash libraries, Octane Render and Finalizing the image in Lightroom and Photoshop. More infos at https://goo.gl/Erbtx9
Views: 13506 The Gnomon Workshop
This tutorial teaches how to create dynamic and exciting combat animations in a step-by-step method that is used by many professional animators. The core foundations of combat are covered such as strong posing, aggressive timing and appeal. Riot Games’ Senior Animator Jason Shum shares his process from the initial idea stage to final polish. He begins with an introduction to the Gnomon Bounty Hunter rig in Maya, followed by a lecture on the concepts of successful combat including personality, energy and flow. He then works through generating a good idea and executing it via first, second and polish passes. Students will gain a strong understanding of how to ideate and build a combat animation using a workflow that includes the use of reference, key poses, retiming, breakdown keys and arcs. More info at https://goo.gl/9tuoTi Teaser Music By: EuphoriaAudio "An Epic"
Views: 60119 The Gnomon Workshop
In this lecture, Jeremy Vickery continues on the foundation of his first lesson 'Efficient Cinematic Lighting'. Leaving the basics behind, Jeremy delves into lighting for animation. He shares his methods for lighting a one minute short film with two characters and 17 shots that culminates into a beautiful short film. The lecture’s emphasis is on shot continuity, getting characters to read in the short moments they appear on screen, how to approach lighting entire sequences and not just still images, and how to keep render times down in consideration of the budget of an independent film. Jeremy also discusses his methods for being fast and efficient and how to organize the lighting and compositing of a sequence of shots.
Views: 26281 The Gnomon Workshop
In this lecture, Environment Artist Nate Stephens will demonstrate how to model and sculpt assets to be assembled into a 3D environment. Starting with reference photography, Nate locks in on a concept for his environment before blocking in his scene layout in Maya and building reference objects that will be further refined and detailed in ZBrush. He then imports the various assets into ZBrush for detail sculpting using GoZ where he Polygroups the different pieces and defines the crease levels of the different parts of the model. Next, Nate begins roughing in his sculpt using Dynamesh in ZBrush. He begins by sculpting in some of the larger feature details before adding the higher frequency surface noise to the meshes. Returning to Maya, he generates low-resolution polygonal models of some detail pieces for his environment before taking these pieces into ZBrush to generate some high resolution details on top of the low resolution geometry. He adds further detail and refinement to the meshes using a variety of tools including trim dynamic brushes, masking by noise and then, using the Insert Multi Mesh (IMM) tool, he drops high resolution meshes onto his low res tools with simple brush strokes, creating the look of an ancient stone block wall. For smaller, repeating features in his scene, Nate demonstrates how to construct these assets in a tileable fashion in ZBrush. Finally, he moves onto designing architectural features to the columns in his scene using standard sculpt and symmetry tools before duplicating these features around his column to test for scale and prep the feature for further refinement later. He then adds more features to the columns before adding fine surface detail to the features and the columns as a whole. Once the hi-resolution sculpts are complete, Nate spends time doing some re-topology before baking normal maps and ambient occlusion maps using xNormal. To finish things off, he uses the real-time features in Marmoset Toolbag to assemble a quick scene. This enables him to fully visualize the assets by assembling the low resolution assets with the extracted normal and ambient occlusion maps with Marmoset’s real-time materials and image based lighting. Although this lecture is focused primarily on sculpting environment details for game art, it is also very accessible to film artists, concept artists, students or anyone interested in learning how to generate believable environment and architectural details for use in a 3D environment.
Views: 50870 The Gnomon Workshop
ARCHETYPE VFX Breakdown Lighting and Rendering Pipeline with Rob Nederhorst http://www.thegnomonworkshop.com/store/product/987/ In this tutorial, Robert Nederhorst (VFX Supervisor on Archetype) shows the entire process on how a shot came to be. He starts at the beginning by creating an HDRI using PTGui and ends with a final composite. After constructing the HDRI, Rob moves into Maya for shader development and rendering, using VRay to output the various passes and layers for the shot. Once the plate is cleaned up and the 3D character has been color graded and integrated into the shot, he constructs a production "gizmo" to give the artists control over various attributes of the composite. Rob then applies the final touches, like atmospheric effects created using PhoenixFD, film flicker and grain, along with realistic camera shake, lens flares and lens distortion to create the most believable result.
Views: 21593 The Gnomon Workshop
The Gnomon Workshop is pleased to announce the release of "Realistic Dog Grooming for Production with XGen", with Jordan Soler. In this workshop, Grooming Artist Jordan Soler shares his entire process for creating a realistic dog groom from scratch using Maya, XGen and a bit of Mari. He begins by explaining how to properly setup your files and analyze your references. He then moves on to guide creation and the refinement of modifiers while providing production proven tips and tricks in XGen and grooming in general. To conclude, Jordan covers a quick overview of the shader he uses and how he sets up color maps to make a great looking final render. If you're looking to create a realistic animal / creature or for those seeking useful tips on grooming, this course provide a complete overview of the production workflow for creating a realistic animal groom. Watch the full tutorial at https://www.thegnomonworkshop.com/tutorials/realistic-dog-grooming-for-production-with-xgen
Views: 16536 The Gnomon Workshop
In this workshop, Neville Page shares his creative development process, starting with a script and ending with a resolved design and presentation. Neville discusses philosophies regarding creature design and techniques that allow for new ways of seeing. Beginning with 2D approaches, he explores how to use Photobooth to mirror various objects that can be further developed in Photoshop, which allow him to arrive at unique design solutions. That methodology is then further explored using his own 2D sketches which allow for designs that, while spontaneous, follow his predetermined form language. With a 2D design in place, Neville then develops this into a fully realized and rendered 3D design using ZBrush for modeling and detailing, Keyshot for rendering, and Photoshop for the final paintover and presentation. For those interested in learning how one of the industry's leading artists approaches design using the latest tools and techniques, this workshop provides invaluable insights for how to think about solving design problems while working efficiently for the quick turnaround times often expected of a designer in the film industry. Watch the full tutorial at https://www.thegnomonworkshop.com/tutorials/creative-creature-design
Views: 7089 The Gnomon Workshop
Mechanical Character Design with Joe Peterson http://www.thegnomonworkshop.com/store/product/1031/ In this tutorial, concept designer Joe Peterson breaks down the process of creating a mechanical character using only a story outline as the starting point. With the initial premise being a believable sci-fi future world, Joe sets out to design an appropriate mechanized unit for a high-tech SWAT team. He begins by discussing how this initial idea influences the entire design process, beginning with reference gathering and following all the way to the final detailing and rendering phases. Joe demonstrates how, once a level of technology is decided on, the appearance and features of the mechanics are much easier to design. Throughout the tutorial, he discusses the balance between using imagination over using real-world design elements and the importance of building up a visual design vocabulary to help make informed design choices, leading to appropriate mechanical designs. By walking through every step, from initial sketch, to refinement, detailing and final rendering, Joe shows his process of balancing imaginative features with real-world design to deliver a convincing, yet unique and creative mechanical design. He also discusses how to frame your mechanical design around the needs of the story or setting, ensuring that the context will help drive your creative decisions along the way. This tutorial offers various techniques and processes for creating and refining a mechanical design that is intended to not only look cool, but also communicate its function at a glance.
Views: 19674 The Gnomon Workshop
In this lecture, Alex Alvarez shares his workflow and techniques for creating 'Totem', a commissioned 3D illustration for the cover of 3D World magazine. Over six hours of lecture, Alex delves into all aspects of how the image was created. Beginning with the initial design brief of a 'stone head in a jungle', Alex began with a series of sketches for approval. The 3D development began with the head in ZBrush, moving to terrain layout and camera setup in Maya. The terrain was then sculpted in ZBrush to finalize the foundation upon which all of the plants and trees would be placed. Scene lighting was then blocked out using Mental Ray's physical sun/sky system, while designing the areas of illumination and shadow using a library of trees created with Onyx. Plants and trees were created using SpeedTree, including custom assets such as hanging vines and ground ivy. The moss that grows upon the stone head, as well as the tree branches, was creating interactively in Maya with custom PaintFX brushes. Further areas of discussion include texturing, shaders, the SP Paint script, nDo, Quixel Megascan, ZDepth, Volume Fog and final compositing in Photoshop. As an intermediate to advanced level lecture, artists who have seen Alex's DVD series on natural environments will greatly benefit from this detailed overview of his creative and technical process. More info at http://www.thegnomonworkshop.com/store/product/1063/ Teaser Music By cleanmindsounds "Global Industrialization"
Views: 52612 The Gnomon Workshop
Hyper-real Insect Design with Eric Keller http://www.thegnomonworkshop.com/store/product/1020/ In this DVD Eric Keller demonstrates his process for designing, modeling, and rendering an original photo realistic insect using ZBrush 4 R4, Photshop, Maya, and V-Ray. Eric talks about how he relies on insect physiology and evolutionary biology as guidelines for his original concept and how to bring photo reference directly into ZBrush using Spotlight. Eric takes the design from basic blockout using dynamesh all the way to completed model. Eric demonstrates the new topology tools of ZBrush 4 R 4 as well as how to generate UV texture coordinates. The model is brought into Maya and prepared for rendering. Eric discusses displacement and bump map set up in VRay, how to create custom materials, and how to set up the VRay Physical camera to create the look of macro photography.
Views: 19643 The Gnomon Workshop
In this workshop, Matte Painter, Concept Artist and Art Director Nick Hiatt shares his process for creating 360 Concept Art for Production. Using 2D techniques in Photoshop and After Effects, as well as 3D tools such as Maya, ZBrush, Daz3D and V-Ray, Nick demonstrates how to combine both 2D and 3D approaches together seamlessly to create stunning 360 images. The ability for the viewer to see an environment in its entirety, just by moving the camera around, has created a new art form which is quickly gaining industry adoption. However, this new methodology creates a challenge for artists as one is no longer constrained to the camera crop of the environment. In this tutorial, Nick shows his process, shortcuts and differing techniques that allow for greater ease and efficiency, while also covering the pros and cons of each workflow. For those interested in presenting their environment designs in a far more immersive and engaging manner, this title is an amazing resource from a leading industry artist. Watch the full tutorial at https://www.thegnomonworkshop.com/tutorials/creating-360-concept-art-for-production/
Views: 9322 The Gnomon Workshop
In this title, concept artist Aaron Limonick demonstrates the critical importance of a complete design process when approaching environment design and illustration. From traditional ideation sketching and exploration, students will learn how to bring personality and a feeling of depth and history to their designs. Then, using 3D Coat and Modo, Aaron’s initial ideas are brought into a 3D space where many refinements can easily be made, and the foundation of a finished rendering is built. Lastly, using Photoshop, the 3D rendering is turned into a final illustration that maintains the character and intent of the very first sketch. For those looking communicate effective and efficient environment designs for the entertainment industry, this title provides a thorough look into the thought process and workflow of an experienced artist. More infos at https://www.thegnomonworkshop.com/tutorials/environment-design-and-illustration/
Views: 12529 The Gnomon Workshop
In this tutorial, Mark shows how to layer multiple mia materials using a combination of Maya surface shaders, a layered texture node, and various nodes to serve as masks for the layered texture node. http://www.thegnomonworkshop.com/ Professional Training for Artist
Views: 5586 The Gnomon Workshop
In Introduction to VFX for Games in Unreal, senior VFX artist Jeremy Griffith walks through his thought processes and workflows for every stage of VFX creation for games, from sketch to final animation in the Unreal 4 VFX toolset. Jeremy first lays down some fundamentals with a static water spout project, diving into the details of how to think about natural phenomena (like water and mist) and how to tackle VFX animation through a shader-heavy workflow. Then, Jeremy applies these techniques and assets to a non-static water spell project, covering high-level considerations such as animation principles. Along the way, viewers will gain experience with Photoshop, Maya, the Unreal material editor, and Unreal Cascade. By the end of this tutorial, viewers will have a strong grasp on every step involved in VFX animation for games. Most importantly, viewers will be able to approach the craft with a mindset that is sensitive both to the inner workings of natural phenomena and to the power of animation principles. More info at https://goo.gl/b7meXS Teaser Music By: Bolsound "Don't Stop"
Views: 18054 The Gnomon Workshop
Welcome to Vehicle Texturing in Substance Painter: From clean to mean. In this workshop, James Schauf walks you through two different projects, each telling their own story. The first is Night Fire; a clean hot rod with slight imperfections. In this project, James demonstrates the creation of key materials and shares his workflow for adding just enough detail to create realistic believability. Upon completing the work in substance painter, maps are exported for rendering in Keyshot. James discusses various tips and tricks for material modifications, camera set-up and using backplates, just to name a few. The second project is the Rusty Scorpion; a mean, mad max inspired, rusty and dusty rat rod. In this project, smart materials are explained in order to understand the importance of gradually building up detail. Once complete, the vehicle is rendered with Iray inside Substance Painter, while James shares his process for final renders. Overall topics and materials discussed include reference, UVs, Look Dev, Leather, Painted Metal, Chrome, Rust, Rubber, Texture Sets, Masking, Decals, HDRs and detailing. For artists that are looking to get a jump start on a new project, over 40 smart materials are shared from both projects, plus a few extras. You'll be able to see the build-up process and breakdown each smart material, then modify them and make them your own. Watch the full tutorial at https://www.thegnomonworkshop.com/tutorials/vehicle-texturing-in-substance-painter-from-clean-to-mean/
Views: 21131 The Gnomon Workshop
Creating assets for real-time game projects has become more intuitive and streamlined than ever. By breaking down the entire process into easily digestible sections, we can focus on the most important parts in the creative process while staying non-destructive and open to improvements all the way through to our final bakes. In this introduction to creating props for games, senior environment artist Nick Reynolds examines each step of the process starting with the basic fundamentals and building up to a final low poly model of a sci-fi vehicle. Beginning with easy to follow lectures using simple primitives, Nick explains how you can take detailed information from your high poly models and bake it into a texture for use on an optimized low poly object. Once the fundamentals are fully examined, the lessons are then shown in practice on a complex model using Maya, ZBrush, Substance Painter, Marmoset Toolbag and xNormal. In the end, viewers will have a full understanding of how to create their own game assets from start to finish, moving forward with confidence through all of the steps and hurdles involved in getting a great end result for your real-time game project. More info at https://www.thegnomonworkshop.com/tutorials/intro-to-props-for-games-vol-1/ Teaser Music By: Kinone "Downtempo"
Views: 33959 The Gnomon Workshop
Many of today's films are extensively pre-visualized using 3D tools, in order to block out scenes and plan for both on-set shoots and visual effects. In this title, Jason Michael Hall will show you the power of pre-viz and how much a single artist can achieve in a relatively short amount of time. The demonstration will also prepare you for what it will be like to work as a pre-viz artist in the film industry. Starting from an empty scene in Maya, Jason will show the process of building assets and setting up your scene, including free and affordable resources for retaining assets and streamlining your workflow. Followed by a discussion on cameras and cinematography basics, he'll take you through the blocking stage to a fully realized action sequence while discussing efficiency, organization, cinematography techniques, and tips and tricks to speed up and streamline your workflow. More info at https://goo.gl/zqlS7S Teaser Music By: boomopera "Action Sport"
Views: 13367 The Gnomon Workshop
Environment Design for Film: Integrating 2D and 3D Techniques with Maciej Kuciara http://www.thegnomonworkshop.com/store/product/1096/ From quick thumbnails to a finished illustration, in this presentation Maciej Kuciara explores his techniques and workflow used in film production to create environment designs with a hybrid 2D/3D approach. Beginning with the 2D design of a sci-fi scene in Photoshop, Maciej then switches to 3ds Max to resolve the design of the ship while blocking the final composition. Lighting is established using V-Ray which then results in a series of render passes that can be composited in Photoshop. The finishing touches that bring the illustration to life are designed through a combination of digital painting and photo bashing, where various elements are integrated to create texture and photo-realistic detail. For artists interested in learning how 2D and 3D have come to co-exist in the field concept design, this demonstration offers a valuable resource executed by a gifted and experienced designer.
Views: 20929 The Gnomon Workshop
Designing within specific parameters can only make you a stronger designer and almost always, in the film industry, physically building props and sets comes with a wide set of restrictions. In this workshop, Concept Artist Matthew Savage will take you through the process of transforming a commercially available vehicle by stripping it down to its chassis and designing a new sci-fi vehicle over the existing frame. Starting by building a rough block model to be used as a sketching underlay, we start in Photoshop before moving to MODO for modeling, texturing and adding decals without having to UV the model. Finally, we move back into Photoshop for finalizing our finished piece of production ready concept art. More info at https://goo.gl/NW9M2J Teaser Music By: Sound-Maguas "Dubstep On"
Views: 24535 The Gnomon Workshop
In this workshop, Senior Art Director and Illustrator Pascal Blanché guides you through his entire process of creating an illustration in his signature style. Pascal starts the creative process by gathering reference images and inspiration through sci-fi and fantasy. Using 3ds Max, he begins by posing a base character model followed by a kit bashing session to block-out the overall design. He then refines his character and assets with a detailed sculpting pass in ZBrush. Pascal takes the model into KeyShot for materials, lighting and rendering, then moves into Photoshop for final 2D adjustments. Using various passes and blending techniques, the image comes together through a creative methodology that Pascal has fine-tuned over time; one that results in a powerful, non-photoreal, style reminiscent of comics and 80s fantasy illustration. For those looking to explore efficient and creative techniques that combine 2D and 3D tools, this title offers a glimpse into the creative workflow of one of the industry’s most revered artists. Watch the full tutorial at https://www.thegnomonworkshop.com/tutorials/creating-an-illustration-from-a-to-z
Views: 5934 The Gnomon Workshop
Performance & Acting Creating Believable Characters with In-Ah Roediger http://www.thegnomonworkshop.com/store/product/1092/ In this lecture and demonstration, In-Ah Roediger shares a step-by-step walkthrough of the process of working on a short animation that requires lipsync. She covers all the basics, from shot planning and getting your reference material together, to polishing your curves and animation in order to give it that extra push. This is an effective example of how one would approach a shot in a studio environment that is running a full feature production. In-Ah provides hands on advice from years of working on animated features and VFX shows, and illustrates her animation workflow in full detail. Assuming a basic knowledge of animating in Maya, this title will help you further your skills to a professional level and get those acting performances and lipsync shots to feel spot on.
Views: 23647 The Gnomon Workshop
The Gnomon Workshop is pleased to announce the release of "Creature Sculpting with Dominic Qwek": ZBrush, Keyshot and Photoshop Techniques. In Creature Sculpting, Character Artist Dominic Qwek shares his workflow for creating a creature bust using ZBrush, KeyShot and Photoshop. He covers the initial design process and how to block out the primary and secondary forms and evolve the design in 3D. He then details the sculpt in multiple stages while covering the features in Sculptris Pro and talks about the various techniques he uses in each stage. Lastly, Dominic shows how to quickly setup lighting and rendering in KeyShot, then composite the render passes in Photoshop to create a realistic 3D creature concept for final presentation. For those interested in 3D creature design, this title offers valuable workflow and techniques from one of the industry’s leading artists. Watch the full tutorial at: https://www.thegnomonworkshop.com/tutorials/creature-sculpting-with-dominic-qwek/
Views: 2401 The Gnomon Workshop
The Gnomon Workshop is pleased to announce the release of "Creating Complex Designs and Patterns, Substance Designer and ZBrush Techniques with Nate Stephens". In this title, Principal Artist Nate Stephens demonstrates the creation of a complex decorative medallion asset using Substance Designer, ZBrush, Maya, and Marmoset Toolbag. Starting in Substance Designer, complex shapes are formed and explored, leveraging the flexibility and experimental power of the software. Once a template network has been setup, and a base heightmap has been designed, he then moves to ZBrush to finalize the sculpting. Multiple techniques and workflows are explored in ZBrush to finish the model, and then begin the retopology process. The asset then moves to Maya for additional retopology and UV creation. Finally, Nate imports everything into Marmoset Toolbag to bake texture maps, and setup a lighting rig that can be used for finalizing material work. Additionally, Nate discusses the benefits of this modular workflow, Substance Designer network reuse, texel density, and lighting theory that can help all artists present their work in a professional manner. Watch the full tutorial at: https://www.thegnomonworkshop.com/tutorials/creating-complex-designs-and-patterns/
Views: 1959 The Gnomon Workshop
The Gnomon Workshop is pleased to announce the release of "Houdini Terrain Techniques", Creating Landscapes with Robby Branham. In this title, Senior Visual Effects Artist Robby Branham provides a broad overview of the terrain workflows in Side FX’s Houdini 17. Houdini's heightfield nodes are shown in depth to demonstrate how to create terrains from scratch. Masking techniques are utilized to create unique and layered surfaces. Instancing and terrain duplication techniques are demonstrated to create large landscapes. Several different types of landscapes are created including a snowy mountain, a meteor crater, agricultural terracing and more. Texturing and shading the terrain is accomplished inside of Houdini’s Mantra, and Redshift shading networks are used to add color and micro details to the terrain surfaces. Houdini's built in compositor is taught to create detailed texture maps for the height field using the built in attributes from the erosion nodes. Robby demonstrates Earth Explorer’s satellite data and how to create terrains from existing real world data. A tree scattering and randomization workflow is covered that takes advantage of the Height Field node’s attributes to complement the natural look of the landscapes. Robby creates the cover art terrain from scratch in the tutorial through mesh creation, texturing, shading, rendering, and layout. The cover art Nuke composite is broken down throughout the entire shot process, from concepting, previsualization, asset creation, terrain creation, layout, lighting, rendering and final compositing. Watch the full tutorial at https://www.thegnomonworkshop.com/tutorials/houdini-terrain-techniques/
Views: 12675 The Gnomon Workshop
The Gnomon Workshop is pleased to announce the release of "Mech Design for the Entertainment Industry", with with Furio Tedeschi. In this mech design workshop, Concept Artist Furio Tedeschi covers his workflow and techniques for creating concepts for film and games. Starting with the blockout phase, he demonstrates how he uses ZBrush to create the general blockout, then moves on to mesh cleanup and refinement, followed by kitbashing for adding detail and levels of complexity to the model. Furio then preps the model for material assignment in ZBrush, moving over to Keyshot for final rendering where various materials are applied to the mech. An environment HDRI is selected that best illustrates the design, then passes are sent to Photoshop for final touch ups and presentation. Watch the full tutorial at https://www.thegnomonworkshop.com/tutorials/mech-design-for-the-entertainment-industry/
Views: 5603 The Gnomon Workshop
The Gnomon Workshop is pleased to announce the release of " Look Development with V-Ray for Maya", with Stephen DeLalla Look development is the art of giving emotion to a model via textures, shaders, lighting, and even compositing. It is a very exciting time as you get to see your model take shape, and the story you are telling begins to fall into place. In this lecture, Stephen DeLalla will be covering his entire look development process with V-Ray for Maya. He begins with a newly modeled asset to discuss proper preparation. Since there is a need for consistency among shading work, Stephen explains how to create a look dev scene to use for all render tests. This same scene is used during our asset work, and also during an in-depth look at creating realistic shaders for cloth, metal, wood, glass, concrete, stone, and leather. After applying a set of base shaders to the asset, we take a render into Photoshop for a quick paint over to design the color palette of the asset. Look development is an exploratory process, where there needs to be room for change as the artist is working. Substance Painter gives a lot of freedom in this sense, and will be used for creating our textures for the asset. During the texturing process there is discussion of the thought process behind the choices being made that leads us to our result. You will also be able to see how Photoshop (or any other painting package) can be used in combination with Substance Painter to get even better control. Once the asset is fully textured, the shaders are built in Maya with the exported files from Substance. Lastly, Stephen brings the completed asset into a small lighting scene, and finishes the lecture with the explanation of the lighting/rendering workflow and compositing in Nuke to really finalize our look. By the end of this lesson, artists should have a clear understanding of how to approach their own look development tasks both at home and in production. more info at https://www..thegnomonworkshop.com/tutorials/look-development-with-v-ray-for-maya Teaser Music By: SanibelliAudio "Dubstep Atmosphere"
Views: 23323 The Gnomon Workshop
In this title, David Finch reveals his step-by-step process for drawing the human body. He starts with simple tube form shapes, and then covers the placement of muscle throughout both the male and female bodies. David demonstrates how to pose a simple tube form effectively, allowing you to block-in and draw a figure in perspective and in a variety of poses. He discusses balance, posture and presentation, emphasizing line weight and lighting. Finally, David puts everything together and draws fully realized bodies with a variety of intricate poses, and a variety of proportions and details. This constructive drawing process teaches you to draw convincing human bodies without the need for tracing or using reference. https://www.thegnomonworkshop.com/tutorials/dynamic-figure-drawing-volume-3-the-body
Views: 35652 The Gnomon Workshop
Grass and Plant Instancing in Maya/Mental Ray Forests Techniques, part Two with Alex Alvarez http://www.thegnomonworkshop.com/store/product/991/ In this DVD, Alex covers how to create realistic grass using Maya, Paint Effects and Mental Ray while also sharing his techniques for developing a complete natural environment. We begin by evaluating the default Paint Effects grass library with discussion on the basic adjustments needed to make grass more natural. Techniques for covering large areas with grass are then explored via curves and instancing. Through the use of instancing, particles and surface emitters, Alex shows how to populate large scenes with grass geometry, rendering millions of polygons with a minimal RAM footprint. Included is an expression based technique for orienting instanced geometry with the normal of the generating surface, an issue less important for plants or trees but often very important for grass. When elements need to be interactively and precisely placed, Alex also demonstrates the use of a freely available geometry paint script, as well as how to bake particle instances to geometry. Generating textures, miaMaterials and workflow in conjunction with Physical Sun/Sky is thoroughly discussed. Alex also demonstrates how to render and utilize zDepth passes to add post depth-of-field and fog effects, how to render true volumetric fog effects, as well as Photoshop and After Effects post techniques to increase realism through the use of color correction and plug-ins, including Magic Bullet, LensCare and Sapphire.
Views: 36140 The Gnomon Workshop
In this Workshop, Guilherme Rambelli shows, step-by-step, his workflow to process and set-up an environment captured using Photogrammetry for VR in Unity Engine. First Guilherme shows how to pre-process images using DNG Converter and create a color profile using ColorChecker Passport. Once that is done, the images are taken to Adobe Lightroom for treatment and rendered out for Photogrammetry. Using Reality Capture, the images are processed to generate a high-resolution asset that will work as a source to create the low poly version of the environment used in Unity 3D Engine. After that, a cleanup pass of the data and retopology is handled within ZBrush and Maya, with the textures then baked in Xnormal. Finally, a project in Unity is set up, where the virtual reality viewer will be able to navigate and explore the photogrammetry environment captured and processed throughout this tutorial. The entire execution focuses on a high-quality scene that is developed within a realistic production schedule. More info at https://goo.gl/gK8Lyr Teaser Music By: Sawtooz "Inspiring Technology"
Views: 21240 The Gnomon Workshop
This tutorial teaches many of the skills needed to become a successful game animator; one that has an understanding of how their animations are used to create systemic solutions within a third person game project. Students are introduced to the powerful animation tools and capabilities within the Unreal Editor. Veteran game developer and Animation Director, Bill Buckley, guides students through multiple lessons while showcasing techniques developed throughout his career to speed up production, as well as ensure that the iteration process is streamlined and effective. He begins by using the ART Maya rig, provided by Unreal when you download the Unreal Editor, to create and replace existing animations within a provided project template, demonstrating how animation assets are used within a game project. Bill then moves into more advanced techniques by creating a three hit attack combination. Using an Animation Montage, he showcases how each combo of the attack has a successful blend and fail condition based on user input. In the end, viewers will have an understanding of how their animation assets will be best utilized within a game project, and what skills would be needed to showcase their ability to be a game animator. More info at https://www.thegnomonworkshop.com/tutorials/creating-game-ready-animations-for-production/ Teaser Music By: SeidlarMusic "Electro House"
Views: 19060 The Gnomon Workshop
http://www.thegnomonworkshop.com/store/product/1088/ 3D Creature Design: Alien Rock Grubber Concept, Model, Texture, Render with Jerad S. Marantz In this DVD, Jerad Marantz shares his creature design techniques in an extensive lecture and demonstration. Beginning with a brief description of the creature, Jerad begins the design process with some loose sketches on paper. These are scanned as Jerad then discusses traditional and Photoshop techniques for executing a rough concept. From there the design is brought into ZBrush and the creature is sculpted using a wide range of tools and techniques for both blocking forms and detailing, all while Jerad shares his thoughts on how to effectively design a creature that is imbued with character while fulfilling its narrative role. Once the digital sculpture is completed, the creature is then textured and posed on a base. From there the tutorial moves on to getting highly realistic renders in Keyshot. The lecture also covers the importance of animated turntables and final Photoshop composites of the creature from multiple views for presentation to a client. Whether you are an industry professional or a student, this in-depth DVD covers Creature Design, Sculpting and Painting in ZBrush, Keyshot and Photoshop and will inspire your workflow as Jerad shares his talents and years of experience.
Views: 19227 The Gnomon Workshop
Syd's first title introduces the student to the principles of creating thumbnail sketches and subsequent line drawings in the process of creating a successful composition. Topics illustrated include establishing value using only shades of black, and then using those shades to identify levels of detail in the composition, including vehicles, architecture, people and foliage. He guides the viewer through the process of choosing appropriate camera angles, and determining the geometry of the image. Syd goes through the process of defining proportion, the horizon line, the vanishing point, perspective and the ground plane, resulting in a series of sketches ready for further development. https://www.thegnomonworkshop.com/tutorials/the-techniques-of-syd-mead-1
Views: 12670 The Gnomon Workshop