Mat Van Den Art's Blog

Final Artwork Dimensions and Fitting

Posted in "M" Collective Project by matvandenart on October 27, 2009

_0002_artwork dimensions top_0001_artwork dimensions_0000_fitting system overview

3x Final Concept Animation

Posted in "M" Collective Project by matvandenart on October 27, 2009

360 Final Artwork Structure Concepts

Posted in "M" Collective Project by matvandenart on October 27, 2009

1st Concept Past

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2nd Concept Past
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3rd Concept Past
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1st Concept Future
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2nd Concept Future
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3rd Concept Future
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Fitting Concepts – Stability Study

Posted in "M" Collective Project by matvandenart on October 27, 2009

3version of past3version of future

Location Research

Posted in "M" Collective Project by matvandenart on October 27, 2009

panorama-UnionTerraceGarden1panorama-UnionTerraceGarden2panorama-UnionTerraceGarden3hide

Nick’s Box and Frame Prototyping

Posted in "M" Collective Project by matvandenart on October 27, 2009

frame_conceptbox_prototypebox_prototype2

Contemporary issues

Posted in "M" Master Project Ideation by matvandenart on October 26, 2009

1) globalization and its effect on our behaviour, inability of average western person to understand the impacts of his actions to the other nations in the world.

-guitar player

2) medicinemen in Uganda kill infants and use the parts of their bodies during the rituals ought to bring fortune.

3) 25 years after the Live Aid series of concerts the countries as India, North Korea, Somalia, Ethiopia,  Democratic republic of Congo are threatened with the same food shortages as it was during 1984-1985 when the Live Aid was born.

4) Consumerism and the unification of our likes, dislikes by the shaping forces of modern communication media. Distortion of beauty and our ability to recognize what is real and what is fake. Glorification of the external beauty and diversion from the inner-world worth to be admired rather than hidden behind the layer of fake additions.

5) Childish inability to take responsibility and lack acknowledgement of our place in the fully interlinked world.

6) Old Britain is dead. The image of idealistic country disappearing in front of our eyes.

7) Use of child labour in various parts of the world, giving the western world often extremely cheap goods which we enjoy but forget about the heavy price kids have to pay on the other half of the world.

– cocoa plantation in Uganda – most of our chocolate comes from there

– China, India, Nepal young labour force exploitation

8 ) The initiation in world politics and even our everyday relations is slowly taken over by business. Harvesting the bigger and bigger amounts of money, forgetting about the human or Christian values concentrating on our dictated tasks instead on our free will.

9) Uprooting and devastation of the rain forests all around the world. Pressing social conditions of people in poor countries often force them to illegally find patch of soil for themselves. However this fact was multified by the exploitation of poor people by the local mafias not only exploiting the pressing situation of the local natives but also riches of the natural environment.  Soya as well as other eucalyptus trees are becoming the biggest exhausters of soil. These plants are also one of the most widely planted in the areas of the rain forest. Once the soil is exhausted into the level not suitable for industrial production the line of exploitation bites further into the natural environment leaving the devastation and full scale exhaustion behind it. It was calculated that it will take more money to regenerate the exploited areas that the amount of money harvested from them.

10) Exploitation of Roma children by Roma parents originating from Romania all around the richest countries of EU.

Projected image branstorming

Posted in "M" Collective Project by matvandenart on October 26, 2009

Past

garden, landscape, field of flowers with wind mill, old village.

Presence

just the frame, printed message.

Future

urban environment, factory, apocalypse, money/business, money harvest, fire-burning the real values, hyper futuristic city, barren landscape.

Droste effect branstorming

Posted in "M" Collective Project by matvandenart on October 26, 2009

Past

natural, flowers, sundial, old clock, tree leaf, Celtic symbol, human-old man, magnifying glass.

Presence

photographer, camera, just the frame, tv screen, contemporary clock, human-middle age.

Future

cogs/gears, key-unlocking the future, eye-clairvoyant, hyper modern clock, hand reaching out to the future, human kid.

Design Idea Generation Process

Posted in Uncategorized by matvandenart on October 22, 2009

Design Idea Generation Porcess

Mounting Details

Posted in "M" Collective Project by matvandenart on October 21, 2009

Detailed planning enables our team to use our financial budget effectively. Computer based pre-visualization can also help us to find proper dimensions and mounting systems, print requirements and even test stability of the stand for the artwork.

Artwork design side view

Side View

Frame Mounting Detail

Mounting Details

Basic Stand Design

c

Print layout:

It will be only necessary to print two full images which can be consequently attached to the 4 separate framing pieces.

Print Layout

Location 3D Visualization

Posted in "M" Collective Project by matvandenart on October 21, 2009

Before the artwork can be exposed on the set all aspects of it have to be properly considered. That is why we decided to create a 3D visualization of the proposed location. Following image shows two designs – flat board as well as the layered framed artwork.

a

3D Visualization can save a lot of time as well money and can help to avoid revealing unexpected problems during the production stage of design process.  Pre-visualization process helped us to find the best design for our artwork.

d

Following 3D animation visually describes how the artwork will be visible/approachable from a pedestrian perspective.

Following 3D animation shows how the artwork becomes live/complete when viewed from proper angle.

Face Anatomy Sculpting

Posted in "M" Master Project Tools & Techniques by matvandenart on October 21, 2009

This 60 minute tutorial explains how to sculpt the anatomy of the human face using ZBrush’s innovative ZSpheres and advanced Digital Clay system. Most of the major muscles of the face are covered with an emphasis on those most responsible for the form and function of facial expressions.

This tutorial focuses on the arm and shoulder region of the body. Ryan focuses on the primary muscles responsible for form and function. Many muscles are simplified for presentation.
The Ecorche is sculpted in ZBrush 3. The musccles are created using ZSpheres and ZBrush’s sculpting brushes.

ZBrush is the industry leading application for digital sculpting, a rapidly growing sector of the 3D industry. While sculpting in ZBrush artists work with highly advanced digital clay that consists of millions and millions of polygons. However, when artists need to transport those milions of polygons to other 3D applications it is necessary to engage in the polygon economy and start redistributing the wealth. This tutorial will show the artist how to retopologize a model in ZBrush as well as how to reproject the sculpting details from one model to another.

Creature Design

Posted in "M" Master Project Tools & Techniques by matvandenart on October 21, 2009

n this tutorial Alex will show his techniques for designing the texture style for a creature head. Using a new model made for this tutorial based on a personal sketch, the creature’s skin detailing and style is designed in both 2D and 3D. With a 2D grayscale drawing, little information exists for how the creature would look once textured. Using Photoshop we can quickly develop a variety of looks which can be photo-realistically previewed in both Photoshop and Maya.

By layering specular, reflection and ambient occlusion passes out of Maya, the textures can be designed photorealistically in Photoshop while being projected onto the surface and rendered from different angles in 3D. This approach allows a texture artist to show a supervisor various approaches to a creature’s texture design in little time. Once a look is approved, this technique makes the process of developing the final textures quick and straight forward.

This “making of” demonstration and lecture began with the decision to create a new still image and record the entire process. Using Maya, UVlayout, ZBrush and Photoshop, “Smile” was created in ten hours over the course of a couple evenings. Observe and listen as Alex shares his workflow, thought process and techniques, covering everything from creating a base mesh and laying out UVs to creating a final comp in Photoshop.

Trin was started to create a high-res 4k still image, yet evolved to become a looping ten second animation rendered in vertical HD at 1200×1920 to be displayed on a wall-mounted digital display. Starting from a personal sketch, Trin was created in twenty hours using Photoshop, Maya, Zbrush, UVlayout, Bodypaint and Mental Ray. The entire process was recorded and is demonstrated using timelapse footage, where I explain every step with an emphasis on both the technical and aesthetic thought processes. The process covers everything from orthographics to shaders, lighting and compositing.

These chapters represent a technical overview of how the image ‘Fume’ was created using Maya, ZBrush and Photoshop. In contrast to some of my other work on Gnomonology and The Gnomon Workshop, Fume was created without any initial design direction. There was no sketch to develop, as was the case with Jester or Trin. Therefore this tutorial demonstrates a slightly different workflow as I allowed a design to evolve organically. The actual creation of Fume was not recorded, therefore these lectures are all created in realtime as I explain, in detail, the process of creating the image. ‘Fume’ has been toprow plugged at cgtalk, zbrushcentral, 3dtotal and was a ‘daily deviation’ at Deviant Art.

This ‘making of’ demonstration and lecture began with the decision to take a personal sketch, develop it in 3D and produce a lifesize print. This would require the development of high-resolution detail and textures that could hold up to a 4000×6000 pixel render, effectively making Jester a film-res character. Using Maya, UVlayout, Zbrush, Bodypaint and Photoshop, ‘Jester’ was created in 60 hours. Observe and listen as Alex shares his workflow, thought process and techniques.

Simon Blanc of Blur Studio, shows you the tools he used to create his ZBrush work No More Wine. Follow along step by step asSimon creates his base character from ZSpheres then continues to sculpt and paint.

more wine

In this tutorial Jose Drust, Senior Character Artist at Vicious Cycle Software, shows you how to bake your ZBrush materials into a texture map.

matcaps

Character Texturing

Posted in "M" Master Project Tools & Techniques by matvandenart on October 21, 2009

BEHIND THE SCENES (BTS) is a new and exciting DVD series developed to showcase the creation of a game cinematic sequence. The series follows a team of artists as they demonstrate their production techniques from concept phase to final rendered animation. In this chapter of the BTS series Ben Neall explores the many aspects of texture creation for the main character Geo. Some of these aspects include techniques such as UVing, Projecting, Texture Painting using 2D and 3D softwares, as well as overviews of shader and render setup. Ben also shows techniques to help the artist in the visual development stage, using compositing software to make real-time decisions. The viewer will also see actual production meetings in which the design and creation of the textures are discussed.

In this DVD, Ian textures and completes the game cinematic character he modeled in Character Modeling for Production. In this lecture, he shows different techniques to UV map objects of various complexities quickly and efficiently using 3ds Max’s UV tools and DeepUV. Ian covers both hand-painted and image-based methods to create textures for the character. From there he uses various ZBrush plugins to both block-in and finalize textures and he uses BodyPaint to fix seams and to begin new textures. Ian demonstrates a variety of other techniques incorporated in the Max > ZBrush > BodyPaint pipeline and shows you how to enhance the hair created in his first DVD, and take it to a more finalized level. Finally, Ian shows how you can reuse your rigs from character to character using Biped, and how to use Adobe Photoshop® to add an extra level of professionalism to your final models before submitting them to a client. In this DVD Ian uses: Max, DeepUV, PolyBoost, ZBrush, ZappLink, Zmapper, BodyPaint and Adobe Photoshop®.

Character Modeling

Posted in "M" Master Project Tools & Techniques by matvandenart on October 21, 2009

Richard Smith guides you through modeling a Next-Gen game character. Richard starts with a rough concept design and then creates a low-res base mesh. From there he sculpts each part in ZBrush with special attention paid to creating realistic clothing folds. Once each part is completely sculpted Richard retopologizes it inside of Maya using a plug-in called Nex. Finally, using XNormal he creates the normal map and then sets everything up in Maya.

BEHIND THE SCENES (BTS) is a new and exciting DVD series developed to showcase the creation of a game cinematic sequence. The series follows a team of artists as they demonstrate their production techniques from concept phase to final rendered animation. This chapter in the series focuses on the creation of the character Geo, a seasoned veteran of numerous infiltration missions. Cajun Hylton takes the viewer step-by-step through the 3D modeling process, from simple proxy to final model using Maya and ZBrush. The viewer also gets to go behind the scenes and witness actual production meetings that discuss the design and creation of the character.

n this DVD, Ian shows you the tools and techniques he uses to quickly create a full character model in 3ds Max, leading you through the basic character production pipeline used at Blur Studio. He takes you through the process of building clean geometry using Max’s built-in toolset as well as using the PolyBoost plugin. Ian shows how to easily enhance objects with ZBrush, and how to quickly find the form and detail of your character. From there he demonstrates how to bring the geometry back into Max to make it animation friendly by retopologizing. After the model is finished, Ian covers how to set up hair using Hair FX as well as how to set up lights, cameras and a simple rig using Biped to pose and render the character. Finally, using Adobe Photoshop®, Ian discusses how to present the character in a professional manner. This DVD is intended for artists with a basic understanding of polygon modeling in Max, but is useful to anyone regardless of skill level or software. In this DVD Ian uses: Max, PolyBoost, ZBrush, BodyPaint and Adobe Photoshop®.

Sculpting Realistic Detail

Posted in "M" Master Project Tools & Techniques by matvandenart on October 21, 2009

In this new series from Aaron Sims, he reveals his process for building the 3D world of his project Tethered Islands. In this lecture, Aaron demonstrates his techniques for sculpting character textures using ZBrush. Aaron shows the basics of using sculpting tools, and covers how to use alpha textures for applying detail to a character. This DVD contains a library of over 150 pre-made alpha textures which are available for your own projects. Aaron also illustrates how to make your own custom alphas using Adobe Photoshop®.

more alphas can be found on http://gnomonology.com/prod/19/25

In this tutorials, Cesar Dacol Jr. gives us a master class on how to sculpt realistic skin details such as wrinkles, warts and skin bunching by hand. As a veteran of the visual effects industry, Cesar passes along techniques used by make-up effects artists for decades. Using Layers, Morph Targets and ZBrush’s sculpting brushes he uses a complete sculpting workflow for designing details in a traditional sculpting workflow with all the advantages of digital clay

Z brush can be however used to sculpt even more detail using the new tools available in the latest version.

zbrush

Using Photos as Displacement

Posted in "M" Master Project Tools & Techniques by matvandenart on October 21, 2009

In this tutorial we will be taking a look at how we can use Photos as mask to build controlled displacement on our model inside of ZBrush. We will be using textures, alphas, ZBrush deformation tools and 3D layers. The Final 3D ZTool and images will be provided with the tutorial.

ZBrush Texturing

Posted in "M" Master Project Tools & Techniques by matvandenart on October 21, 2009

This tutorial examines using ZBrush’s ZProject Brush to quickly capture our model’s texture from photographic reference. It looks at ways to capture texture information from the canvas as well as from SubTool to SubTool. It also looks at how to use ZAppLink to mirror a texture.

Sculpting Clothing

Posted in "M" Master Project Tools & Techniques by matvandenart on October 21, 2009

In this tutorial Richard Smith demonstrates how to sculpt amazingly realistic folds in clothing using ZBrush. He covers the fundamentals of direction and weight as well as gathering reference. This tutorial documents the entire process for sculpting the jacket of Richard’s latest character, Bad Girl. It is an absolute must-have for anyone wanting to learn how to create more realistic clothing for their characters.

Zbrush

Posted in "M" Master Project Tools & Techniques by matvandenart on October 21, 2009

ZBrush is a digital sculpting and painting program that has revolutionized the 3D industry with its powerful features and intuitive workflows. Built within an elegant interface, ZBrush offers the world’s most advanced tools for today’s digital artists. With an arsenal of features that have been developed with usability in mind, ZBrush creates a user experience that feels incredibly natural while simultaneously inspiring the artist within. With the ability to sculpt up to a billion polygons, ZBrush allows you to create limited only by your imagination.

3D TOTAL community developed an ebook featuring the proper use of Zbrush’s modeling tools to create various versions of human head.

The similar approach is available at the gnomonology web site featuring 4 chapter tutorial from Rick Baker creating the sculpture of an African Woman. This demonstration is a four hour timelapse of the entire making of the African Woman by Rick Baker. There is no audio. Rick begins with a simple humanoid torso basemesh from which he sculpts the woman. The final result consists of several subtools that originate from mesh extractions.

This digital sculpture of Jonas Thornqvist’s troll model contains the body, eyes, teeth and clothes. It also includes all the displacement maps needed to render it in MAX, Maya, XSI. The Troll model was modeled using 3ds max and further enhanced in Zbrush. The displacement texture was exported from Zbrush and reimported into the 3ds max which is the chosen software for rendering.

Rabbit Holes

Posted in "M" Master Project Tools & Techniques by matvandenart on October 21, 2009

An entirely new print medium, RabbitHoles 3D Motion Holograms portray 3D action on 2D surfaces and no stereoscopic glasses are required to see them. This patented technology is aptly named for its immersive and awe-inspiring ability, for its experiential and story-telling nature, for generating and triggering wonder. RabbitHoles are truly a tool for image-makers and marketeers that is exponentially more effective than 2D print at attracting and retaining viewer attention.

RabbitHoles are technically speaking the new technological/evolutional step from classic painting on canvas. 3D artists were not able to properly present their designs using classic presentation media unless using video format. This has now changed by the evolution of 3D motion holograms.

It will be interesting to follow the development of the media and its potential influence of the world of film.

“Past” and the “Future” board design

Posted in "M" Collective Project by matvandenart on October 21, 2009

After the mutual agreement our group decided to pursue with the layered designs for “Past” and “Future” representation of the Aberdeen Union Terrace Garden.

Past:

The following series of images describe the phases of how pedestrians/viewers will approach the artwork – “hide” from the Schoolhill. It represents the way how the effect will become live.

This design expanding  towards the viewer is visual metaphor for spyglass/telescope pointing to the past trying to get the snapshot of what it once was.

board design past

We all know our past and that is why it is clear to us, we all know what we gained and what we lost. The picture of past is complete and clear to us, however we do not often remember it. That is why we decided to use this shape of frame to present past. From the distance the viewer can not clearly see the image because it is very small due to the fact it is attached to the last layer of the design. However as the viewer comes closer to the artwork the picture starts to appear. Once the viewer is peeking into the hole he can see the full – clear image of the past. The process of exploring the artwork from the first second till the full story is revealed represents our everyday relationship with the past.

Future:

The following series of images describe the phases of how pedestrians/viewers will approach the artwork – “hide” from the Schoolhill. It represents the way how the effect will become live.

This design recessing from the viewer is visual metaphor for teleportal/travelling in time – pointing to the future trying to get the snapshot of what it once might be.

board design future

By contrast from the past, we can not clearly see our future. We can only guess what it once actually could be like. That is why it was decided to use only small image of the past attached to the most forward place of the art-frame to symbolize the insecurity and the doubts about the future. The placement of the image representing the future to the convergence point of droste effect painted on the art-frame also fortify the visual metaphor of space/time travel. The other key aspect of this design is that viewer to clearly see the image has to put his head into the artwork as close to the furthest rectangular frame as possible. In that moment the viewer becomes more than the viewer, he becomes the part of the artwork and the whole story.