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In this tutorial we will go through the character design process as well as go over various painting techniques. During the course of this tutorial, we will go over the sketch and design process for creating NPCs (Non-Player Characters). We will take, from beginning to end, the entire process of creating a Goblin minion that could be handed off to an art team to move into further development. We'll create several armor sets for the goblin to wear.

We will begin this process by learning what atmosphere is by looking at some real life examples and discuss how light interacts with atmosphere. From there we'll study some other examples of atmospheric effects such as misty and foggy conditions as well as sunsets. Along the way we'll explore how we can incorporate these different atmospheric effects into an illustration.

In this series of tutorials we are not just going to create a sci-fi villain, but rather than repeat what was shown in my previous course, we will investigate a few other important aspects of character creation, expanding on what you learned previously.

275 fully illustrated tutorials (Video and Audio Narrations) with more than 12.48 Hours of viewing time. Shows all possible details, from very beginning to advanced level. Academic Learning Style. Demonstrating every mouse click along the way, and using class room training methods. Goes through every subject, and shows every possible practical tips and design aspects.

I absolutely HATE doing UVW unwrapping – for me it’s the most boring part of 3D. If at all possible I just use simple UVW mapping options (planar,box,cylinder, etc)
For 90% of the work its enough to throw on some box maps on faces or elements and call it finished, especially if it’s a rigid object like a wooden chair or cupboard. But sometimes, when you need that extra level of detail and realism, there is now way around it – you simply have to use the Unwrap modifier.

Introducing panoramic photography for digital set building, photographer Greg Downing walks you through a step-by-step-process of creating high-resolution omni-directional panoramas. This highly detailed description starts with an equipment survey, revealing all relevant photography instructions and demonstrations. Using a normal film or digital camera with Realviz Stitcher, Greg provides a complete guide to image stitching, culminating in some some exciting ways to use your panoramas for 3D, visual effects, print or the web.

Trish and Chris Meyer share fifteen years of real-world film and video production experience inside the critically acclaimed Creating Motion Graphics with After Effects. More than a step-by-step review of the features in After Effects, you will learn how the program thinks so that you can realize your own visions more quickly and efficiently. This full-color book is jammed full of tips, gotchas, and sage advice that will help you survive whatever your next project throws at you.

У вас может быть совершенным мастерство использования инструментов и фильтров в Photoshop, но как говорится нет придела совершенству! В этой привлекательной мастерской, автор и эксперт Стив Кэплин научит вас работать с перспективой, одной из наиважнейших состовляющих качественных фотоснимков. Вы также узнаете, как адаптировать фотографию так, чтобы она согласовалась под любым углом зрения, в которой вы хотите ее разместить. Данный курс позволит Вам лучше узнать Photoshop и снимет завесу тайн с перспективных искажений раз и навсегда.

You may have perfect mastery of all Photoshop’s tools and filters, but unless you get the perspective right, your montages will always look a little off. In this engaging workshop, author and expert Steve Caplin teaches you how to work with horizons, vanishing lines, and Photoshop?s extraordinary Vanishing Point filter. You’ll also learn how to adapt a photograph so that it fits in with the perspective of any scene in which you want to place it. This course will make you a better Photoshop artist by teaching you essential techniques and taking the mystery out of perspective once and for all.

Making of FILMOFON intro. Project overview, tips and tricks. Creating a 3D model in 3Ds max, shooting, necessities for post-production, matchmoving, lighting the scene in 3d software, compositing in After Effects.

In this tutorial we will learn about a workflow that can be used to design stylized female characters with Photoshop CS5. We’ll get started by learning about a few things that should be considered for every character we design. Here we will discuss the importance of things like character intent, character back story as well as references. Once our direction has been established, we’ll jump in and spend some time doing concept sketches. After our initial character design has been settled upon, we will move on and begin exploring our character by rendering them in different poses. To wrap the tutorial up, we’ll learn about techniques that can be used to create inked line-work as well as cell shaded color for our character. After completing this tutorial, you’ll be familiar with a workflow that can be used to develop stylized characters in Photoshop.

In this series of lessons we are going to go through the process of building and detailing a sword using CINEMA 4D and ZBrush. When building 3D assets, the ability of your computer to manipulate those objects is limited, especially when dealing with very high resolution meshes. Because of this, we use 2D images, like normal maps, to simulate the high resolution detail in a way that we can more easily use.

In this CINEMA 4D tutorial you will learn how to create a walk cycle in CINEMA 4D. Going one step at a time, we’ll dissect the body mechanics of a walk. We’ll learn key positions, we’ll learn how to create seamless cycles, and we’ll also explore ways to add convincing follow-through and weight to, in the end, produce a walk that is natural, and that has a little personality.

In this class Rob Nederhorst will take you through the necessary steps to dial in a composite to give it its realism. The focus of the class will be on adding small details to the composite, which most do not notice, but can make all the difference when making the shot "feel" real versus just "looking" real.

In this course we're going to use ZBrush and TopoGun to convert a very high resolution female hero character into a lower resolution game-type model. Sculpting applications like ZBrush are great for creating extremely detailed models, complete with surface texture and color. But to be able to rig, animate, or integrate these models into a game engine, we first have to convert the model to a much lower resolution.

In this InDesign tutorial, we will learn how to build interactivity into our InDesign projects for both PDF and Adobe Flash output.
With the emergence of the eBook and ePub file format, building interactivity into layouts has become quite popular. So we will get started with this tutorial, and explore first the features of InDesign that are exclusive to creating interactive PDFs. We’ll learn about things like bookmarks, hyperlinks and buttons. In addition, we will also learn how to add both audio and video files to our layouts. From here we will begin exploring features that are exclusive to output for Adobe Flash. We will learn about things like multi-state objects as well as how we can create animation right inside of InDesign.

Using DOPs to control initial performance, this tutorial teaches the user how to use extra information like speed, size and orientation and to manage it. Generating little bugs that walk around and avoid one another. We will cover expressions, channel generation, and rendering with physically based rendering.

In this Blender 2.5 video tutorial we go through the process of creating three different types of vegetation that can be used to help add life to any of your Blender scenes. This tutorial covers modeling and texturing different plants and focuses on correctly setting up your textures with alphas to get the best possible results.

In this collection of lessons we will learn about the process of creating a military concept vehicle based on a 3D sketch. "We will get started by learning a little about perspective and how we can use it just a bit differently. In this course, we will learn how to set it up in

There is no question that eyes are one of the most critical elements of a character. While there are several way to approach the creation of eyes, this lecture presents an intuitive and quick technique that ensures believability and realism. Starting from scratch, we discuss modeling, texturing, shaders, lighting and rendering with Mental Ray. We analyze photographic reference to determine the anatomical structure of eyes so that our textures and shaders create natural color, bump, transparency, specularity, reflection, refraction and highlights.