Digital Mayhem 3D Landscape Techniques: Where Inspiration, Techniques and Digital Art Meet
The secrets to creating stunning landscapes are at your fingertips with Digital Mayhem 3D Landscapes Techniques. Compiled by Duncan Evans, launch Editor of 3D Artist Magazine, Digital Mayhem features a variety of beautiful art from some of the finest digital artists working today.
Inspiration and technique meet here as you learn how to create every type of landscape from harsh desert savannahs to icy tundra. Using a blend of showcase images, step-by-step and long-form tutorials, you will be guided through the featured artist’s process so you can incorporate their techniques and workflow into your own projects. Not just another button-pushing manual or coffee table book, Digital Mayhem will help develop your critical eye for composition, choice of camera lens, lighting, rendering, and post production, allowing you to work more intuitively. With insight from some of the best digital artists in the world, Digital Mayhem will have you creating your own masterpiece in no time!
- Unique coverage on a variety of software allows you to hone your skills across different platforms.
- Illustrious and colorful artwork coupled with artist insight will both inspire and inform your creative decisions.
- Comprehensive companion website offers additional resources for you to further expand your skillset.
and bubble trails painted. 66 Digital MayheM 3D lanDscapes CREAtiNG tEXtuRES AND MAPS ZBrush was used for all organic and boat texturing, exporting the diffuse, normals and displacement maps to be then used in VRay. The obvious effect was to create a weathered, aged feel to both the town assets and the underwater elements. We gathered a whole heap of grunge textures and reference photography for how stuff ages underwater, particularly metal. It was quite fun finding old sunken boats and
;OLTHPUYLUKLYZL[[PUNZZL[[OLX\HSP[`VM[OLYLUKLYI\[[OLIL[[LYP[PZ [OLSVUNLY[OLYLUKLY[PTL ;OL(U[P(SPHZPUNZL[[PUNZLUZ\YLK[OH[[OLYL^LYLUV\U^HU[LKHY[LMHJ[ZHUK [OH[[OLX\HSP[`^HZNVVKLUV\NO In the render settings, Blurred reﬂections, Blurred transparency, Motion blurring and Depth of ﬁeld were all disabled since the scene exhibited none of those features. The Soft shadows box was ticked because they were needed for both the shadows from the spotlight and the sunlight.
achieve a very dramatic sunset, that would create glare and a caustic, metallic sheen. It would also create shadows from the human ﬁgures and help give the scene a sense of scale. To achieve this a Vray Sun was used to create the effect of dusk and this was linked to a Vray Sky which changed colour in response to the tilt of the Vray Sun. The textures for all the objects outside the house were deployed in the Material Editor of 3ds Max. These included those for the house itself as well as the
techniques, pushing the ﬁnal art style of the image along. The ﬁrst step was to create actual 3D models and geometry to use later in building the ﬁnal environment for the image. To speed up the process I started +0.0;(34(@/,4+3(5+:*(7,: to expand and enrich the story behind the illustration and to give me an option quickly to expand or change the environment itself. After formulating the overall idea of the project in my mind the ﬁrst step was to search and gather a database of some
+0.0;(34(@/,4+3(5+:*(7,: */(7;,9<9)(53(5+:*(7,: URBAN LANDSCAPES SHOWCASE: ANDY WALSH ` I was inspired by some 3d art I’d seen on the subject of postapocalyptic ruined cities which reawakened a love of the subject that goes back to my early teens. I wanted to create a city that looked over grown with vegetation but didn’t show any signs of war or obvious destruction, to imply that our extinction was perhaps less predictable or more mysterious. Other inspirations were the